簡(jiǎn)介：湖南師范大學(xué)碩士學(xué)位論文融合與變通論傳統(tǒng)坦培拉繪畫與當(dāng)代中國(guó)油畫語言的拓展姓名黨朝陽(yáng)申請(qǐng)學(xué)位級(jí)別碩士專業(yè)課程與教學(xué)論（美術(shù)）指導(dǎo)教師段江華20060301ABSTRACTWBSHOULDLEAMMORE2LBOUTMEEVOLVEMENTOFTRADITIONALWESTEMPAINTINGWHENWESEEKTODEVELOPCHINESEOILPAINTINGANDMAKEITLOCALIZEDTHEINDIRECTMETHOD鋤DDIRECTMETHODOFWESTEMOILPAINTINGARESOCONLPLEXAILDPROFOUNDTHATWESHOULD，INSTEADOFTAKINGAP眥FORTHEWHOLEINLEANLILLGANDUSINGTHEM，TAKETHEMASTHEBASISON、VHICHWE鋤ALYZEANDCO叫AREⅡLEIRRESPECTIVELANGUAGECHARACTER’MAKEUSEOFTLLEMSELECTIVELYANDDEVELOPOUROWNINDIVIDUALLANGUAGETHEREFORE，ITISVE巧IMPORT鋤T，TOCHINESEOILPAINTINGANDEVENCHINESEPAINTING，TO丘NDMORELANGUAGESTYLESESPECIALLYTHEEVOLVEMENTOFTRADITIONALLANGUAGEFORSELECTIVERESEARCHESATACRITICALTIMEWHENWESTEMARTISSTRIVINGFORNEWCHANGEA11DDEVELOPMENT，THEMOSTSIGNIFICANTPROJECTCHINESEOILPAINTINGISFACINGISBYNOMEANSSIMPLEIMITATIONOFTHEWESTEMCONC印TIONORENDLESSPURSUINGINSTEAD，ITWILLBETOESTABLISHMODEMCHINESEOILPAINTINGPATTEMBASEDUPONOURO、VNCULTURALBACK伊OUNDSUCHRESEARCHESANDATTEMPTSONTRADITIONALPAINTINGLANGUAGECANKE叩OURPAINTINGFOMS仔OMBEINGTOOSIMPLISTICANDHELPUSOBTAINADIVERSITYOFESTHETICJUDGMENTSINCOMPARATIVERESEARCHESTHISTHESISEXPLORESTHEORIGINOFWESTEMPAINTINGLANGUAGESALONGWITHTHEEVOLVEMENTOFTRADITIONALEUROPEANT色MPERAPAINTINGSYSTEMDEVELOPMENTOFTHEINDIRECTMETHODANDDIRECTMETHODPEMEATESDISCUSSIONONDI仔IERENTASPECTSINCLUDINGTECHNIQUEEVOLVEMENT仔OMANCIENT膠彩TOMODEMOILPAINTING，MERELATIONSHIPBETWEENTECHNIQUEANDSPIRITINWESTEMTRADITIONALPAINTING，USEOFMULTIPLEMATERIALS，AND

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簡(jiǎn)介：南京師范大學(xué)碩士學(xué)位論文論繪畫藝術(shù)采風(fēng)中速寫與攝影的作用姓名趙亮申請(qǐng)學(xué)位級(jí)別碩士專業(yè)中國(guó)畫指導(dǎo)教師黃柔昌20100515ABSTRACTINTHEARTOFPAINTINGCOLLECTINGFOLKSONGS，THESKETCHHASBEENTHEMOSTIMPORTANTASPENS．TODAY，ASTIMESPROGRESSANDDEVELOPMENTOFTECHNOLOGY，CAMERASHAVEBEENACCEPTEDBYTHEMAJORITYOFARTISTS，HASBECOMEANINDISPENSABLEGOATOOLFORCOLLECTINGFOLKSONGS．THISPAPERSKETCHESOFTHEPAINTINGWITHTHECAMERATALKINGABOUTTHEIMPACTOFARTSANDCOLLECTINGFOLKSONGSWEREUSEDINTHETWODISCUSSEDTHECHARACTERISTICSOFTHEARTOFPAINTING，AFTERCOLLECTINGFOLKSONGSANDSHORTCOMINGSPOINTEDOUTTHATTHECAMERA’SUSEFULNESSINCOLLECTINGFOLKSONGSANDSKETCHESINSPIREDBYINSPIREDARTISTS，ANDSTRENGTHENMODELINGCAPABILITIES，AUNIQUETRAININGTHEROLEOFPERCEIVEDPOWER．SHOWSTHATBOTHORGANICINTEGRATIONOFTHECREATIVEWILLINTHEFUTUREWILLPLAYASTRONGSUPPORT，ANDTHUSILLUSTRATESTHEIMPORTANCEOFUSINGACOMBINATIONOFBOTH。WHILESTRESSINGTHEARTISTSHOULDHAVECOMPLETEARTISTICACCOMPLISHMENTSANDHISWORKSHOULDALSOFOCUSONARTISTRYANDCREATIVITY，ANDTHEARTOFCOLLECTINGFOLKSONGSINPAINTINGTHELARGENUMBEROFDRAWINGSKETCHES，RATIONALUSEOFCAMERAS，INORDERTOPLAYASCENEFORFUTUREWORKRICHWITHEQUALEMPHASISONTHEROLEOFMOOD。SOTHATTHETWOCANBECOMETHEARTOFPAINTINGASSISTANT．KEYWORDSPAINTINGARTCOLLECTINGFOLKSONGSSKETCHCAMERA5

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簡(jiǎn)介：天津美術(shù)學(xué)院碩士學(xué)位論文試論黃胄人物繪畫的成因和巨大成就姓名張?zhí)炻暾?qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師何延喆20070501引言黃胄是新中國(guó)繪畫史上一個(gè)全能的杰出畫家，他善畫動(dòng)物兼及風(fēng)景，人物畫代表了他的最高成就，無論是準(zhǔn)確的造型、得體的描寫，還是廣闊的題材和豐厚的時(shí)代內(nèi)容，特別是他全新的創(chuàng)作理念和獨(dú)特的創(chuàng)作藝術(shù)，都堪稱新中國(guó)畫壇的之巨匠。他把畢生的精力和全部創(chuàng)作熱情都獻(xiàn)給了廣大的勞動(dòng)人民，尤其是他建國(guó)后的作品幾乎全部是為歌頌新生活而作。作品以形神兼?zhèn)涞男问?，熱情奔放的氣?shì)，熱烈開闊的畫意，熱情洋溢地謳歌了解放后的新生活、新人物。其創(chuàng)作數(shù)量之多，題材范圍之廣，人物形象之豐富，堪稱新中國(guó)畫壇的第一人。在他的作品中高揚(yáng)著愛國(guó)主義的情操和對(duì)美好未來的企盼，凸顯著中國(guó)藝術(shù)家的傳統(tǒng)美德和平民情結(jié)。他的作品人物形象豐富，精神飽滿，襟懷開闊，內(nèi)容積極向上，鼓動(dòng)著時(shí)代的罡風(fēng)。歷史的檢驗(yàn)已經(jīng)證明，他的作品是一部新中國(guó)建設(shè)時(shí)期的史畫，是新社會(huì)生活的贊歌，是中國(guó)現(xiàn)代藝術(shù)史中現(xiàn)實(shí)主義繪畫藝術(shù)的杰作和珍品，具有深刻的認(rèn)識(shí)價(jià)值和富豐的審美價(jià)值，代表了新中國(guó)人物畫的歷史高度。總結(jié)他的藝術(shù)人生，展現(xiàn)他的創(chuàng)作才華，剖析他的時(shí)代內(nèi)涵和高妙境界，為中國(guó)畫壇留下可資憑借的藝術(shù)資源，是對(duì)中國(guó)畫史的貢獻(xiàn)。從黃胄的歷史人生與藝術(shù)實(shí)踐入手，去梳理和探尋他人物畫的藝術(shù)軌跡和特色，是揭開他藝術(shù)寶庫(kù)奧秘的最佳鑰匙，從中我們可以體悟到他藝術(shù)生命的真正本源和作為藝術(shù)家的偉大人格魅力。3

簡(jiǎn)介：內(nèi)蒙古師范大學(xué)碩士學(xué)位論文象征與符號(hào)論意大利文藝復(fù)興時(shí)期繪畫符號(hào)性語言的象征內(nèi)涵姓名翟明明申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師候德20070605ABSTRACTSYMBOLISMISANIMPORTANTSKILLINTHEFIELDOFOILPAINTINGANDUSEDASAVEHICLEFORCOMMUNICATIONWITHVIEWERBYITSCHARMTOBEAPAINTINGCODEINRENAISSANCEITALY，SYMBOLISMISIMPLICITINPLENTYOFPAINTINGWORKSITSHOWSNOTONLYITALIANARTISTSTALENTFORTHECREATIVEUSEOFSYMBOLBUTALSOANATIONWITHCONSIDERABLECULTUREINTHISTHESIS，TOBEGINWITH，ITRYTODEFINETHECONNOTATIONOFSYMBOLANDMARKANDGIVEAGENERALSUMMERYOFTHEEFFECTSOFSYMBOLISMONPAINTINGWORKSMOREOVERIEXPOUNDANDPROVEARTWORKSISAKINDOFSYMBOLORMARKITHASGREATHELPFORUNDERSTANDINGHOWSYMBOLWORKSASATECHNIQUEINTHEWORLDOFARTTHETHIRDPARTSOFTHETHESISCONCRETELYEXPLAINTHESYMBOLANDMARKOFPAINTINGINRENAISSANCEITALYTHROUGHNUMBERSOFEXAMPLESOFWORKSATLAST，ISUMUPTHEAESTHETICCHARACTERSOFSYMBOLISMONTHEBASISOFFORMERRESEARCHOFSYMBOLANDMARKS，ITRYTOMAKEARELATIVELYSYSTEMICANDCONCRETEANALYSISOFSYMBOLSINPAINTINGWORKSINRENAISSANCEITALYBYFINISHTHISPAPERIHOPEICOULDHAVEFURTHERUNDERSTANDINGOFARTINRENAISSANCEITALYKEYWORDSPAINTINGINRENAISSANCEITALY，SYMBOL，MARKS，AESTHETICCHARACTERS，IMAGINE

簡(jiǎn)介：中國(guó)美術(shù)學(xué)院中國(guó)畫系孫百安晉唐繪畫的應(yīng)物象形研究3導(dǎo)言中國(guó)畫具有寫意的本質(zhì)，這就要求畫家的天賦、學(xué)養(yǎng)、品性、思想等精神境界在畫中之形中得到落實(shí)，即意境。能在畫的意境中落實(shí)畫家的精神境界，就是寫意。中國(guó)畫又具有傳神的本質(zhì)，這就要求畫家對(duì)客觀物象的描繪必須抓住本質(zhì)，畫中之形是從大量無關(guān)傳神的形象中抽離出來的傳神之形。“物貌難盡”，只有對(duì)客觀物象傳神部分之形進(jìn)行描繪才能“情貌無遺”。中國(guó)畫又以形似為形式，“傳神者必以形”，無形的畫家之意和物象之神棲息于畫中之形中，因此，繪畫首先在于對(duì)客觀物象作精確的描繪，達(dá)到形似。繪畫創(chuàng)作就是要以形似的形式達(dá)到傳神寫意的目的。通過用筆描繪出寫形、傳神、達(dá)意的畫中之形，這就是應(yīng)物象形。朱景玄在益州名畫錄中對(duì)神格的界定是“大凡畫藝，應(yīng)物象形，其天機(jī)迥高，思于神合，創(chuàng)意立體，妙合化權(quán)?！倍洳嬛贾性啤爱嫾乙陨衿窞樽跇O”可見，繪畫創(chuàng)作就是應(yīng)物象形，應(yīng)物象形之形就是畫中之形，其形是形、神、意的三位一體，是畫家主觀之意與客觀物象之神“妙合”的“創(chuàng)意立體”。目前，國(guó)內(nèi)尚不見“應(yīng)物象形”的專著，更無人將形、神、意作為應(yīng)物象形的三個(gè)要素作系統(tǒng)研究。有的學(xué)者在研究古代畫論的著作中，涉及到了應(yīng)物象形的內(nèi)容，但多將研究重點(diǎn)放在顧愷之傳神論影響下應(yīng)物象形原始意義的闡述和謝赫六法系統(tǒng)中應(yīng)物象形的足文申意。如童書業(yè)所謂“六法”的原義釋“應(yīng)物象形”為“體物”和“形似”；鄧白中國(guó)畫論初探認(rèn)為謝赫“應(yīng)物象形”指的就是形似；劉海粟中國(guó)繪畫上的六法論把“應(yīng)物象形”解釋為“寫實(shí)”；徐復(fù)觀中國(guó)藝術(shù)精神、王伯敏標(biāo)點(diǎn)注釋、劉綱紀(jì)六法初步研究、陳綬祥略論魏晉南北朝時(shí)期“傳神論”發(fā)展的幾個(gè)階段等在“應(yīng)物象形”的闡釋上多指形似或形神相融。也有學(xué)者在研究形、神、意的理論中脫離繪畫作品和應(yīng)物象形，僅限在哲學(xué)范疇進(jìn)行探討。他們?cè)趹?yīng)物象形理論上的獨(dú)到見解和形、神、意方面的探究對(duì)本文具有很大的啟發(fā)作用，但就“應(yīng)物象形”這一理論體系來講，前者的論述尚失之于片面，后者則使理論流于思辨。應(yīng)物象形的理論命題是由謝赫在畫品中確立的，但在顧愷之的畫論中已有應(yīng)物象形的雛形。謝赫總結(jié)歸納了顧愷之、宗炳、王微的繪畫理論并結(jié)合當(dāng)時(shí)繪畫創(chuàng)作的發(fā)展水平，提出“畫有六法”，應(yīng)物象形就是其中一法。姚最緊接謝赫撰寫續(xù)畫品，對(duì)謝赫應(yīng)物象形的理論作了補(bǔ)充和發(fā)展。隨著繪畫實(shí)踐和理論的發(fā)展，應(yīng)物象形在唐代發(fā)展成完備的理論體系，其標(biāo)志是張彥遠(yuǎn)的歷代名畫紀(jì)。本文從繪畫發(fā)展史的角度，選取晉唐畫論中有關(guān)應(yīng)物象形的理論，用以史帶論的方法，結(jié)合不同時(shí)期的繪畫作品，對(duì)晉唐繪畫中的應(yīng)物象形作出系統(tǒng)的分析和研究。中國(guó)美術(shù)學(xué)院中國(guó)畫系孫百安晉唐繪畫的應(yīng)物象形研究5宋羅大經(jīng)鶴林玉露記述了兩個(gè)遷想妙得的很好的例子李伯時(shí)工畫馬，曹輔為太仆卿，太仆廨舍御馬皆在焉，伯時(shí)每過之，必終日縱觀，至不暇與客語。大概畫馬者，必先有全馬在胸中，若能積精儲(chǔ)神，賞其神駿，久久則胸中有全馬矣。信意落筆，自然超妙，所謂用意不分，乃凝于神者也。山谷詩(shī)云“李侯畫骨亦畫肉，下筆生馬如破竹?！鄙窒碌米蠲?，蓋胸中有全馬，故由筆端而生，初非想象模畫也。曾云巢無疑工畫草蟲，年邁愈精。余嘗問其所傳，無疑笑曰“是豈有法可傳哉某自少時(shí)取草蟲，籠而觀之，窮晝夜不厭。又恐其神不完也，復(fù)就草地之間觀之，于是始得其天。方其落筆之際，不知我之為草蟲耶草蟲之為我也。此與造化生物之機(jī)緘，蓋無以異，豈有可傳之法哉”李伯時(shí)以真馬為師，凝神于馬之神駿、心通意徹，“不暇與客語”，胸有全馬，落筆超妙。蘇東坡詩(shī)云“龍眠胸中有千駟，不惟畫肉兼畫骨”。巢無疑觀草蟲、畫草蟲時(shí)“不知我為草蟲耶草蟲之為我耶”我與物化，幾與莊周夢(mèng)蝶類。這就是遷想妙得之含義了。顧愷之認(rèn)為人物、山水、狗馬是可以遷想妙得的。人物、狗馬是有生命之物，山水雖無生命，但顧愷之時(shí)期的山水畫多以人物故事為背景，并點(diǎn)綴許多飛禽走獸。如其畫云臺(tái)山記一文是顧愷之山水畫的構(gòu)想圖，描繪的就是道教天師張道陵在云臺(tái)山上七試弟子王長(zhǎng)、趙升的故事，畫中不但有天師、王長(zhǎng)、趙升等人物，還有鳳、白虎、“鳥獸時(shí)用之”。因此，遷想妙得指的是有生命之物，主要是指人物畫。因?yàn)槿说乃枷敫星樽顝?fù)雜、微妙，傳人物之神最難，故言人物畫最難畫。“臺(tái)榭”為無生命之物，雖結(jié)構(gòu)復(fù)雜難畫，因無須“遷想妙得”，所以容易見好。盡管顧愷之的遷想妙得主要是指人物畫，但其人物、山水、狗馬可以遷想妙得，可以傳神的主張，為以后傳神論擴(kuò)大到山水、花鳥畫等其它題材露出了端倪。張彥遠(yuǎn)歷代名畫記云至于臺(tái)閣松石，車輿器用，無生動(dòng)之可擬，無氣韻之可侔，直要位置向背而已。顧愷之曰“畫人最難，次山水，次狗馬，其臺(tái)閣一定器耳，差易為也?！彼寡缘弥?。朱景玄唐朝名畫錄云夫畫者以人物居先，禽獸次之，山水次之，樓殿屋木次之。何者前朝陸探微屋木居第一，皆以人物禽獸，移生動(dòng)質(zhì)，變態(tài)不窮，凝神定照，固為難也。張彥遠(yuǎn)、朱景玄的觀點(diǎn)都和顧愷之一樣，認(rèn)為有生命之物可以傳神，人物傳神最難，因此，畫以人物為最。一、骨與傳神一、骨與傳神漢人重骨法，晉人重神理。漢末以“九品中正制”選拔人才。晉代，玄學(xué)清談勢(shì)力極大，結(jié)合“九品中正制”使得人倫鑒識(shí)之風(fēng)盛行。漢代重儒學(xué)，人倫鑒

簡(jiǎn)介：蘇州大學(xué)碩士學(xué)位論文“客觀化的自得”和“無生機(jī)的躍動(dòng)”法國(guó)和德國(guó)現(xiàn)代繪畫風(fēng)格的比較姓名董翎申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師沈愛鳳20080301“OBJECTIVEQUALITIESINHERENTINTHEOBJECTASBEAUTIFUL’’AND‘ANIMATIONOFTHEINORGANIC”ABSTRACT‘‘OBJECTIVEQUALITIESINHERENTINTHEOBJECTASBEAUTIFUL’’AND‘‘ANIMATIONOFTHEINORGANIC’’COINPARISONOFPAINTINGSTYLEBETWEENGERMANYANDFRANCEABSTRACTTHENINETEENTHANDTWENTIETHCENTURIESARETHEMAJORPERIODFORTHERISEANDDEVELOPMENTOFWESTERNMODERNARTHOWEVERTHEFRENCHARTANDGERMANART，EMBODYDIFFERENTPURSUITOFMODEMART，REPRESENTDIFFERENTDIRECTIONSOFDEVELOPMENTOFMODERNCULTUREINTHEWESTERNWORLDANDCONSTITUTETHEMOSTIMPORTANTPARTOFMODEMARTITISOFSIGNIFICANTACADEMICVALUEFORPEOPLETOUNDERSTANDDIFFERENTPURSUITOFARTOFTHETWOPEOPLESFROMTHEPERSPECTIVEOFNATIONALSPIRITANDANALYZETHESTYLISTICCHARACTERISTICSOFEUROPEANMODEMPAINTINGSTHISPAPERARGUESTHATFRANCEISINFLUENCEDBYGREEKANDROMANCULTURESANDITALIANARTINRENAISSANCEPERIOD，ANDTHEIRARTSWEREMARKEDWITHTHEVERYCLASSICSANDEMBODIEDTHEPURSUITOFNATURE，BEAUTYANDPOETRYHOWEVERTHEGERMANCULTUREWASFARBEHINDTHATOFITALYANDFRANCETHEGERMANNATIONALSENSEBEGANTOAWAKESINCEPROTESTANTREVOLUTION；HOWEVERITSMODEMARTWASALWAYSBEHINDTHATOFEUROPEBECAUSEOFTHELONGPERIODOFSECESSIONANDTURBULENCETHEGERMANMODEMARTSTARTEDASLATEASTHEENDOFNINETEENTHCENTURYSTRONGLYINSPIREDBYTHEFRENCHMODEMART，THEGERMANSCHOOLOFEXPRESSIONISMCAMEINTOBEINGANDTHUSGERMANYPOSSESSEDITSOWNMODEM砒WINLITSOWNNATIONALCHARACTERISTICSWITHART，THEGERMANARTISTSLONGEDTODEMONSTRATETHEIRNATIONALHISTORYANDINTEMALMISERYSOTHEIRARTWASTOTALLYDIFFERENTFORMLATINARTINTHEPURSUITOFBEAUTYFROMTHEPERSPECTIVESOFTHECULTURALTRADITIONANDNATIONALSPIRITTHISPAPERTRIESTOPROBETHEDIFFERENTSTYLISTICSOURCESANDMEANINGSOFMODEMARTBETWEENTHETWOCOUNTRIESINTHISWAYPEOPLECANKNOWMOREOBJECTIVELYTHENECESSITYANDHISTORICALMEANINGOFTHESTARTANDDEVELOPMENTOFWESTERNMODERNISTICARTKEYWORDSOBJECTIVEQUALITIESINHERENTINTHEOBJECTASBEAUTIFUL；ANIMATIONOFTHEINORGANIC；NATIONALSPIRIT；PAINTINGSTYLEHWRITTENBYDONGLINGSUPERVISEDBYSHENAIFENG