簡(jiǎn)介：湖南師范大學(xué)碩士學(xué)位論文繪畫圖與底的研究姓名周俊文申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師曲湘建20050301ABSTRACTFIGURE＆GROUNDISANIMPORTANTGESTALTLAWINGESTALTPSYCHOLOGY，ANDITISAVISUALSPONTANEOUSSYSTEMOFWHICHOURGRAPHICSARTSHOULDFOLLOW．INTHEPAINTINGTHEGROUNDANDFIGUREISAKINDOFNOUMENALVALUEUNDERTHEEFFECTOFHUMANSPONTANEOUSVISIONDURINGHUMANLONGARTISTICCREATIONHISTORY．．ARTISTICCREATIONISAPHYSICALCREATIVEACTIVITY，ANDFURTHERMOREASPIRITUALCREATIVEACTIVITY．THEDEVELOPMENTOFPAINTINGSTYLEISTHERESULTOFCOMBINEDACTIONOFHUMANREALISTICMATERIALCONDITIONANDHUMANSPIRITUALDEVELOPMENT，WHICHEMERGESINTHEFORMATIONOFTHEBASICRELATIONOFFIGURE＆GROUND．PAINTERLYLANGUAGEISANIMPORTANTCLEWFORUSRESEARCHINGTHEEXISTINGFORMATIONDIFFERENCEBETWEENFIGURE＆GROUND，ANDTHECONCEPTIONOFPAINTINGISTHEFOUNDATIONSTONEOFTHISCLEW．INTHISTHEMEWEBEGINFROMTHEMENTALFUNCTIONOFTHELIMITATIONOFGROUND，EMPHASIZINGTHEGROUNDISTHEPRIMARYMATERIALSUPPORTFORTHEFIGUREEMERGING，ANDINTRODUCINGTHEFIGURE＆GROUNDRESEARCHFROMTHEDOMAINOFPSYCHOLOGYINTOTHEDOMAINOFACTUALCONTEXTOFPAINTING，EXPATIATINGTHEGROUNDANDFRAMEFORTHENOUMENONFORMALVALUEOFPAINTING．THISVALUEPROVIDESAPERSISTENTLIMITFORPAINTINGANDOTHERARTISTICDIVISIONASWELLASASTARTFORTHEPAINTERTHINKINGTHELANGUAGEOFPAINTING．THECONCEPTIONOFFIGUREHASTHERELATIVEVALUEANDMEANINGNOMATTERINTHEVISUALPSYCHOLOGICALDOMAINORINTHEEMBODYINGOFPAINTINGLANGUAGE．THECHANGEOFFORMALLANGUAGEOFPAINTINGACTUALYCOULDBE

簡(jiǎn)介：學(xué)校代碼10270分類號(hào)學(xué)號(hào)132502347碩士專業(yè)學(xué)位論文我繪畫中理性的體現(xiàn)我繪畫中理性的體現(xiàn)學(xué)院美術(shù)學(xué)院專業(yè)油畫研究方向油畫研究生姓名龔漠峰指導(dǎo)教師韓巨良完成日期20160407上海師范大學(xué)碩士學(xué)位論文英文摘要IIABSTRACTPAINTINGARTINOURIMPRESSIONMESHOULDBEAKINDOFEMOTIONALEXPRESSIONBUTOVERTIMEINTHISGRARTOFTHEGALAXYHASNOTBEENASINGLEWAYTOEXPRESSAWKOFARTTHELIGHTOFREASONASTHETIMEOFTHETUNNELSLOWLYTOWARDSTHEARTTHEDEFINITIONOFAPICTUREOFTHEDIMENSIONSAREINTHEEXPANSIONRESULTSARENOLONGERALLFACTSAREDEFINEDTHECONCEPTOFCREATIVETHINKINGPROCESSWILLBECOMEPARTOFTHEDEFINITIONTHATINTHISSERIESOFDEFINITIONREASONWILLBECOMETHEMOSTIMPTANTINDISPENSABLEPREMISEIAMINTHISSERIESWITHARATIONALREFLECTIONOFTHEWKISAKINDOFMYHEARTBUTALSOREFLECTSTHEINNERWLDOFAREALWHENEVERISEEMYWKSALWAYSHAVEAKINDOFUNSPEAKABLECOLDTHECOLDLIKESTRANGERSMETFTHEFIRSTTIMESIMPLEMYSTERIOUSBUTWHENYOUTOTASTESLOWLYINTHISCOLDAPPEARANCEITWILLCONTAINASTRONGTEMPERATURETHETEMPERATUREMAKEITBEAUTIFULKEYWDSREASONPAINTING，ART

簡(jiǎn)介：四川美術(shù)學(xué)院碩士學(xué)位論文下一站“卡通”淺論卡通風(fēng)格在當(dāng)代架上繪畫中的源起和影響姓名向燕申請(qǐng)學(xué)位級(jí)別碩士專業(yè)指導(dǎo)教師陳衛(wèi)閩20070301四川美術(shù)學(xué)院碩士學(xué)位論文英文摘要IINEXTSTATION“CARTOON“SHALLOWLYDISCUSSESTHECARTOONSTYLETOGETUPTHEINFLUENCEINTHECONTEMPARYONDRAWINGSOURCEABSTRACTTHECHINESEONDRAWINGANIMATIONPICTUREWAYISARTENTERSF20THCENTURYLATERPERIODTOPRODUCEAFTERBUTHASBECOMETHECHINESEONDRAWINGNEWSTUDENTSMAINARMYINTHISARTISTICCULTUREPHENOMENONDEVELOPMENTALLTODAYALREADYCONSTITUTESANARTISTICPRESENTAGEONEKINDOFCOUNTFMUCHPARTTHISARTICLEISPRECISELYFOLLOWSTHECHINESEONDRAWINGANIMATIONPICTUREWAYIGINDEVELOPMENTEACHFACTSUCHCLUETOCOMETOTHISHISTICALCULTUREPROCESSTOCONDUCTTHERESEARCHATTEMPTSTOCOMBACHINESEONDRAWINGTHEANIMATIONPICTUREWAYLATENTPOSSIBILITYFIRSTMUSTCLEARACHINESEONDRAWINGTHEANIMATIONPICTUREWAYLONGSHTOFTHESTYTHISCANNOTBUTPUTTHECHINESEONDRAWINGANIMATIONPICTUREWAYTOINTHEARTISTICDEVELOPMENTHISTYSEEKSTHEANSWERITCANBESAIDTHATTHECHINESEONDRAWINGANIMATIONPICTUREWAYISASYNTHESISINFLUENCETHEARTICLEFROMOMNIDIRECTIONALSIMPLYELABATESITSIGININFLUENCETHECHINESEONDRAWINGANIMATIONPICTUREWAYINVOLVEMENTISAPHENOMENONWHICHALLPEOPLECANNOTNEGLECTALSOCONSTITUTEDTHISARTICLENARRATIONMAINBODYTOHISRESEARCHCERTAINLYTHECHINESEONDRAWINGANIMATIONPICTUREWAYINFLUENCEISACOMPLEXINFLUENCEPROCESSONROUGHLYTHEAUTHDIVIDESITTHREEPARTSWASSHALLOWHASDONEONTHESPOTTHEINDUCTIONTHEANIMATIONPICTUREWAYINTHECHINESEONDRAWINGBODYTHISARTICLETOTHECHINESEONDRAWINGANIMATIONPICTUREWAYEXPLATYRESEARCHSPECIALLYHELDTHESOCIETYTHECULTUREWHICHTHEMODERNCHINAONDRAWINGBACKGROUNDFMEDHASAFFECTEDELABATEDTHATATTEMPTEDTOCOMBACHINESEONDRAWINGTHEANIMATIONPICTUREWAYLATENTPOSSIBILITYTHISHASPROVIDEDTHEMENTALITYREGARDINGTHECHINESEONDRAWINGCREATIONWHICHMIGHTPROFITFROMREFERTOKEYWDVIEWTIMEANIMATIONFACTANIMATIONWAY

簡(jiǎn)介：獨(dú)創(chuàng)性聲明本人聲明所呈交的學(xué)位論文是本人在導(dǎo)師指導(dǎo)下進(jìn)行的研究工作及取得的研究成果，盡我所知，除了文中特別加以標(biāo)注和致謝的地方外，論文中不包含其他人已經(jīng)發(fā)表或撰寫過(guò)的研究成果，也不包含本人為獲得內(nèi)蒙古師范大學(xué)或其它教育機(jī)構(gòu)的學(xué)位或證書而使用過(guò)的材料。與我一同工作的同志對(duì)本研究所做的任何貢獻(xiàn)均已在論文中作了明確的說(shuō)明并表示感謝。簽名煎坐日期加侈年／月羅日關(guān)于論文使用授權(quán)的說(shuō)明本學(xué)位論文作者完全了解內(nèi)蒙古師范大學(xué)有關(guān)保留、使用學(xué)位論文的規(guī)定內(nèi)蒙古師范大學(xué)有權(quán)保留并向國(guó)家有關(guān)部門或機(jī)構(gòu)送交論文的復(fù)印件和磁盤，允許論文被查閱和借閱，可以將學(xué)位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫(kù)進(jìn)行檢索，可以采用影印、縮印或掃描等復(fù)制手段保存、匯編學(xué)位論文，并且本人電子I文檔的內(nèi)容和紙質(zhì)論文的內(nèi)容相一致。保密的學(xué)位論文在解密后也簽名梨也日期2∥／專年∥月夕日ABSTRACTINTHEHISTORYOFTHEARTOFPAINTING，THEREARECOUNTLESSPEOPLEWHOOFTENLIKEAWORKBYAPAINTERANDAROUNDTHEARTIST’SWORKSONTHETHEORYANDPRACTICEINDEPTHSTUDYANDDISCUSSION，LEARNERSWRITINGSTYLEANDARTISTICIDEASHAVEAPOSITIVETHEIMPACT，THUSPROMOTINGTHEDEVELOPMENTANDCONSTRUCTIONOFTHEARTOFPAINTINGINTHISPAPER，COMBINGPERSONAL1AINTINGSTYLE，ASWELLASEXPLORATIONANDRESEARCH，MYKHAILOGUIDABYUPDAINTINGFEATURESABRIEFTALKABOUTHISPAINTINGSTYLEOFMYWRITINGSTYLEDECOMPOSITIONOFHISPAINTINGSTYLEANDARTFORMPAINTINGPICTURECOMPOSITION，SHAPEANDCOLOROFANEWUNDERSTANDINGANDBREAKTHROUGH，THISISFROMONEWITHFIGURATIVEPAINTINGTOWARDCONTAININGNONREPRESENTATIONALPAINTINGLIKEMEANCHANGETHEPROCESSANDTHERESUITOFTHISCHANGEISNOTRECKLESSABANDONTHEFIGURATIVENATURE，BUTSTILLBASEDONTHEFIGURATIVEFIGURATIVE，BASEDONTOSTRENGTHENPOINTS，LINESANDAREASONTHESCREENINTHEFORMOFSENSEFROMTHERENAISSANCEASTIMEGOESON，MOREANDMOREARTISTSINTHECREATIONBECOMESMOREANDMOREABSTRACT，SUCHASBEHINDTHESCENESARTISTSOFTHEDESTIJLMOVEMENTANDNONFIGURATIVEPAINTINGONEOFTHEFOUNDERSHEAYEMONDRIAN，HISPAINTINGSISSTEPBYSTEPBECOMINGMOREANDMORESUBJECTIVE。THEREAREALSOALOTOFFOCUSONTHEFEELINGSOFPAINTERSSUCHASZHANGJINGSHENGHUANGZHONG，YUXIAOFU，SOMEOFTHEMFOCUSONTECHNIQUESMANIFESTATIONS，ANDSOMEFOCUSONTHECOMPOSITIONOFTHECOLOREXPERIENCE，ANDSOMEFOCUSONIMAGESOFTHEVARIANTSANDRECONSTRUCTION，BUTANYWAY，WHICHISAMEANSOFEXPRESSION，TOEXPRESSTHEMSELVESWITHTHEIROWNUMQUEPERTORMANCETEELOTTHIS●一一●OBIECTIVEWORLD，ASWELLASTHEMOODOFTHEARTOFLIVINGANDTHEIRWORKSALSOHAVEATASTEOFSYMBOLANDMETAPHORTHESOCALLEDSYMBOLICISTHATDEOPLEIGNORETHEACTUALOBJECTSURFACEFACTORSOBJECTIVEIMAGESTHE

簡(jiǎn)介：河北大學(xué)碩士學(xué)位論文巴爾蒂斯繪畫藝術(shù)研究姓名張雙申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師馬琳201106ABSTRACTIIABSTRACTBALTHUSISONEOFTHEMOSTFAMOUSPAINTERSINTHETWENTIETHCENTURYAMASTEROFTHEFIGURATIVEPAINTINGARTHISWKSBLENDTHETRADITIONALMODERNEASTERNWESTERNPAINTINGARTSTYLESFMINGASTYLEWHICHISDIFFERENTFROMBOTHTRADITIONALWESTERNIENTALPAINTINGARTTHEPAPERISDISCUSSINGABOUTTHEFMATIONOFBALTHUS’PAINTINGTHOUGHTTHEINTERPRETATIONOFHISPAINTINGSITINCLUDESTHATBALTHUS’IDEAISUNDERTHEINFLUENCEOFTRADITIONALMODERNEASTERNWESTERNPAINTINGARTSBALTHUSSTICKSTOTHETRADITIONALPAINTINGARTIDEACONTINUOUSLYABSBSNUTRIENTSFROMTHETRADITIONALARTONTHEBACKGROUNDOFINNOVATIONDIFFERENTTHOUGHTSAREAPPEARINGINTHETWENTIETHCENTURYTHEARTISTICIDEASOFFRANCESCOSCARBOUGHPOUSSINCZANNEWHOARETRADITIONALWESTERNPAINTINGMASTERSALLHAVEAPROFOUNDEFFECTONBALTHUS’PAINTINGSBALTHUSNOTONLYLIKESCHINESEARTPARTICULARLYTHETRADITIONALONEBUTALSOHASADEEPUNDERSTINGONITHEPUTSSOMECHINESEPAINTINGCALLIGRAPHYPAINTINGFACTSINTOHISARTCREATESAUNIQUEPAINTINGSTYLEWHICHISDIFFERENTFROMTHEWESTERNEASTERNPAINTINGSTYLESTHEINTERPRETATIONOFBALTHUS’PAINTINGWKSISNOTONLYTHESTUDYOFHISPAINTINGSBUTALSOACONCRETEDEIONOFHISPAINTINGSPIRITBALTHUS’PAINTINGWKSAREMOSTLYSCENESOFDAILYLIFEBUTTHEREAREVARIOUSSCENARIOSMETAPHSINTHESCENESOFDAILYLIFESOHISWKSSHOWBOTHREALISTICUNREALISTICCOLSTHROUGHARRANGINGTHEPICTURESTRUCTUREARTISTICLANGUAGERATIONALLYBALTHUS’WKSSHOWINGAPLANEGRAPHICEFFECTWITHACLEARSENSEOFFMATIONDECATIONBUTITSFMATIONSERVESFTHECONTENTRATHERTHANPURETHEFMALISMINTHISPAPERBALTHUS’PAINTINGARTISTHEOBJECTTHEFMATIONOFBALTHUS’ARTISTICTHOUGHTTHEINTERPRETATIONOFBALTHUS’PAINTINGWKSARETHEMAINCONTENTTHROUGHTHESTUDYOFBALTHUS’PAINTINGARTWECANRECOGNIZETHATSTUDYINGARTNEEDSTOLEARNFROMOTHERS’WKSESPECIALLYTHEATTITUDEINTHELEARNINGPROCESSTHATWESHOULDINSINSTONINNOVATINGBUTNOTLEAVINGFROMTHETRADITIONALART

簡(jiǎn)介：中國(guó)美術(shù)學(xué)院油畫系胡雅汀淺談攝影技術(shù)對(duì)繪畫的影響0分類號(hào)注一密級(jí)注二UDC注三編號(hào)中國(guó)美術(shù)學(xué)院碩士學(xué)位論文淺談淺談攝影技術(shù)對(duì)繪畫的影響攝影技術(shù)對(duì)繪畫的影響胡雅汀指導(dǎo)教師姓名（職務(wù)、職稱）何紅舟（副教授）孫景剛（副教授）陳宜明（教授）王羽天（副教授）申請(qǐng)學(xué)位級(jí)別碩士專業(yè)名稱油畫論文提交日期2011年6月3日論文答辯日期2011年6月10日學(xué)位授予單位和日期中國(guó)美術(shù)學(xué)院2011年6月答辯委員會(huì)主席評(píng)閱人年月日中國(guó)美術(shù)學(xué)院油畫系胡雅汀淺談攝影技術(shù)對(duì)繪畫的影響2目錄摘要3ABSTRACT4引言5淺談攝影技術(shù)對(duì)繪畫的影響6一攝影與繪畫斗爭(zhēng)與共榮的歷史61攝影技術(shù)的發(fā)展初期對(duì)繪畫的沖擊62十九世紀(jì)產(chǎn)生的“畫意攝影”83二十世紀(jì)二十年代的新客觀主義攝影流派8二結(jié)合畢業(yè)創(chuàng)作闡釋攝影與繪畫的關(guān)系91著名的波普教父安迪沃霍爾，印刷與繪畫相結(jié)合92大衛(wèi)霍克尼攝影拼貼的影響，創(chuàng)造畫面的立體效果10三選擇攝影照片作為畢業(yè)創(chuàng)作的表現(xiàn)手法121老革命電影中的一些經(jīng)典鏡頭圖片12①年輕一代的個(gè)人主義盛行13②個(gè)人經(jīng)驗(yàn)國(guó)家經(jīng)驗(yàn)142歐美黑白電影明星圖片153家庭的黑白舊照片154選擇黑白照片作為表現(xiàn)效果的原因17結(jié)論19致謝20參考文獻(xiàn)21

簡(jiǎn)介：分類號(hào)注一密級(jí)注二UDC注三編號(hào)中國(guó)美術(shù)學(xué)院藝術(shù)碩士學(xué)位論文線形筆觸在現(xiàn)代繪畫中的應(yīng)用THEUTILIZATIONOFLINEARBRUSHSTROKESTOMODERNPAINTINGS魏惠東指導(dǎo)教師姓名（職務(wù)、職稱）蔡楓教授申請(qǐng)學(xué)位級(jí)別藝術(shù)碩士專業(yè)名稱版畫論文提交日期2011年5月論文答辯日期2011年6月學(xué)位授予單位和日期中國(guó)美術(shù)學(xué)院2011年6月答辯委員會(huì)主席評(píng)閱人2011年6月8日中國(guó)美術(shù)學(xué)院版畫系魏惠東線形筆觸在現(xiàn)代繪畫中的應(yīng)用2摘要從洞窟巖畫、石窟壁畫發(fā)展以來(lái)的各種繪畫形式都含有線形筆觸的痕跡，線形筆觸不僅僅是一種修飾和美化，它是富有韻律的，超越物象的，抽象的，簡(jiǎn)約的，形而上的，它能形成潛在的藝術(shù)語(yǔ)言和符號(hào)，從而影響和促成畫面不同的形式風(fēng)格?，F(xiàn)代繪畫是關(guān)于點(diǎn)線面組合的藝術(shù)，線承接點(diǎn)和面的過(guò)渡，并通過(guò)線形筆觸的具體闡釋來(lái)表達(dá)畫面精神和隱喻。在當(dāng)代架上繪畫多元并存混濁困頓的境域中，試圖以線形筆觸為切入點(diǎn)進(jìn)行分析和研究來(lái)解決認(rèn)識(shí)的方向性問(wèn)題。具體通過(guò)線形筆觸的形態(tài)，線形筆觸的導(dǎo)向、密度和隱喻，線形筆觸與畫面形式的關(guān)系，線形符號(hào)在現(xiàn)代繪畫以及自己創(chuàng)作中運(yùn)用等內(nèi)容，總結(jié)和認(rèn)識(shí)線形筆觸的規(guī)律，尋找方法論的可能性和契機(jī)。［關(guān)鍵詞］線形筆觸形態(tài)符號(hào)隱喻SUMMARYFROMTHEDEVELOPMENTOFCAVEPAINTINGSGROTTOPAINTINGSALLKINDSOFPAINTINGSWILLCONTAINTHEIMPRESSIONOFLINEARBRUSHSTROKESITISNOTONLYASTOFDECATIONBEAUTYITISBEYONDTHEPHYSICALIMAGEABSTRACTSIMPLESUPERGANICITISABLETOFMTHEPOTENTIALARTLANGUAGESSYMBOLSTHUSITIMPACTSFMSTHESTYLEOFDIFFERENTENTIRETYPICTURETHEMODERNPAINTINGISABOUTTHEARTOFTHECOMBINATIONSOFDOTSLINESPLANES，THELINESUNDERTAKETHETRANSITIONOFDOTSPLANESEXPRESSTHESPIRITMETAPHSOFPICTURESBYTHESPECIFICCONFLICTOFLINEARSTROKES［KEYWD］LINEARBRUSHSTROKESFMSYMBOLMETAPH前言

簡(jiǎn)介：摘要文章首先簡(jiǎn)單介紹了米芾的生平事跡，特別記述了其怪僻顛狂的行狀，分析這一性格形成的原因及其對(duì)于繪畫藝術(shù)的影響。隨后概述米芾山水畫“米氏云山”的特點(diǎn)與“平淡天真”“高古”“游心寄性”的美學(xué)思想的淵源與意義，同時(shí)論述了米氏父子在畫壇的成就，對(duì)后來(lái)“文人畫”的興起以及董其昌的“南北宗”論的提出所產(chǎn)生的影響。最后是米氏父子在藝術(shù)上的創(chuàng)新精神在當(dāng)代水墨畫發(fā)展的問(wèn)題上給予我們的啟發(fā)。關(guān)鍵詞顛狂行狀，米氏云山，平淡天真，高古，美學(xué)思想，創(chuàng)新精神

簡(jiǎn)介：南開大學(xué)碩士學(xué)位論文論潘玉良繪畫“中西兼容”風(fēng)格的確立及其意義姓名曹莉申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師陳聿東20070501

簡(jiǎn)介：上海師范大學(xué)碩士學(xué)位論文攝影照片和具象寫實(shí)繪畫的相互影響及關(guān)系姓名李煜明申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師徐茫耀20050501ABSTRACTEXPRESSIONFIGURATIVEANDPHOTOGRAPHYHAVEVERYCLOSERELATIONSPHOTOGRAPHYOFERSTHEMOSTVALUABLEFASTHANDMATERIALSTODRAWINGCAMERASAREMORETHANPASSIVEANDCOLDSCIENTIFICMACHINESTHEYAREUSEFULEQUIPMENTEVERYINDIVIDUALWITHAESTHETICSENSECANFINDINTERESTINGANDDIFERENTWORLDSINAPICTUREEXPRESSIONFIGURATIVEISNEITHERSIMPLYSARCASTICBASEDONTHETHINGSORPEOPLEINTHEPHOTOSNORISITARATIONALREFLECTIONOFWHATAPHOTOTELLSINFIGURATIVEPHOTOSWECANALSOFINDSTRONGSENSIBLEANDOBJECTIVEFACTORSOFTHEARTISTWHOUSESHISSOPHISTICATEDDRAWINGTECHNIQUESANDTHOUGHTFULINSIGHTSTOSHOWTHEBEAUTYOFNATURETHEOBJECTIVESOFTHISESSAYINCLUDE1TODESCRIBETHERELATIONSANDMUTUALINFLUENCEBETWEENREALISTICPAINTINGANDPHOTOGRAPHYINTHEPASTANDFUTURE2TOTELLTHEDIFERENCESOFREALISTICPAINTINGANDPHOTOGRAPHYINPRODUCTIONFUNCTIONANDCHARACTERISTICS3TOSTREAMLINETHERELATIONSBETWEENEXPRESSIONFIGURATIVEANDPHOTOGRAPHYANDLAYASOLIDGROUNDFORFUTURESTUDYONTHEORIGINALITYOFARTWORKKEYWORDSEVANESCENCEVISIONARYREALITYCOPYFREEZINGTIMEMOVIE

簡(jiǎn)介：Y902389西南蟲學(xué)碩士學(xué)位論文德幽新表現(xiàn)豐義繪IIIIJ的文化身份問(wèn)題論文作者”1奠I”J指導(dǎo)教帥劉沛沛刪教授學(xué)科專業(yè)美術(shù)學(xué)研究方向油畫技法提交論文I|期2006年4JJ20論文答辯U期2006年6月2學(xué)位授予甲化兩南人學(xué)I，TR厭2006Q1JJ德國(guó)新表現(xiàn)主義繪畫的文化身份問(wèn)題油畫技法專業(yè)碩士研究生甘霞明指導(dǎo)教師劉沛沛副教授摘要本文主要討論德國(guó)新表現(xiàn)主義的文化身份問(wèn)題?！拔幕矸荨痹谶@里指在多元文化背景F顯示出來(lái)的某一民族文化自身的特點(diǎn)。這個(gè)概念跟“民族性”有一點(diǎn)小小的差異，后者基本J是無(wú)意識(shí)地歷史地形成的，而前者則包含著主動(dòng)追求的因素。文章首先分析了二戰(zhàn)對(duì)德國(guó)人造成的心理影響，以及當(dāng)時(shí)德國(guó)藝術(shù)家所處的歷史情境，尤其是美國(guó)文化和藝術(shù)對(duì)德國(guó)的滲透。由于美國(guó)文化的滲透和影響，德國(guó)文化面臨著被同化的危險(xiǎn)。而納粹的種族主義又使德國(guó)人不敢面對(duì)自己的歷史和文化。在這種情況下，德國(guó)藝術(shù)家要樹立自己的文化身份，一方面必須對(duì)以抽象表現(xiàn)主義為代表的美國(guó)藝術(shù)保持一定的距離，另一方面又必須正確認(rèn)識(shí)本民族的歷史傳統(tǒng)。在這兩個(gè)方面，波伊斯對(duì)新表現(xiàn)主義產(chǎn)生了深遠(yuǎn)的影響。文章第二部分具體分析了文化身份在新表現(xiàn)主義藝術(shù)中的體現(xiàn)，包括采_J具象語(yǔ)言，關(guān)注德國(guó)歷史、文化和現(xiàn)實(shí)政治問(wèn)題，取材于德國(guó)歷史和神話等等。最后對(duì)德國(guó)新表現(xiàn)主義所體現(xiàn)的文化身份問(wèn)題的復(fù)雜性進(jìn)行了簡(jiǎn)要的總結(jié)。關(guān)鍵詞文化身份德國(guó)新表現(xiàn)主義抽象表現(xiàn)主義冷戰(zhàn)

簡(jiǎn)介：分類號(hào)J20單位代碼10028V869275密級(jí)無(wú)學(xué)號(hào)2031202010首都師范大學(xué)碩士學(xué)位論文論文題目元代宮廷繪畫機(jī)構(gòu)研究研究生指導(dǎo)教師學(xué)科專業(yè)學(xué)科方向牛繼飛李福順教授美術(shù)學(xué)美術(shù)史論2006年5月壟垡皇墾叁墮墊墊墮窒ABSTRACTTHEIMPERIALCOURTPAINTINGORGANIZATIONOFYUANDYNASTY，DESCENDEDFROMTANGANDSONGDYNASTIESANDPRECEDINGMINGANDQINGDYNASTIES，OCCUPIESASPECIALPOSITIONINTHECOURSEOFFINEARTSDEVELOPMENTOFYUANDYNASTYANDPLAYSANIMPORTANTROLEINTHEIMPERIALCOURTPAINTINGTHROUGHOUTTHISPERIODTHEIMPERIALCOURTPAINTINGACTIVITYTOSOMEEXTENT，HASAGREATIMPACTONTHEARTDEVELOPMENTOFTHEWHOLETIMEASTHEORGANIZERSOFTHECREATIONSOFTHEIMPERIALCOURTART，THEIMPERIALCOURTPAINTINGORGANIZATIONISOFGREATIMPORTANCE，ANDITSFRAMEWORKASWELLASTHERELATEDARTACTIVITIESDIRECTLYREFLECTTHEDEVELOPMENTOFIMPERIALCOURTPAINTINGATTHATTIMEASAVERYIMPORTANTPARTOFCENTRALINSTITUTIONOFYUANDYNASTYTHEIMPERIALCOURTPAINTINGORGANIZATIONEMBODIESTHEFEATUREOF”FORTHEUSEOFEMPEROR’’；THESPECIALHISTORICALANDCULTURALBACKGROUNDOFYUANDYNASTYMAKESITSORGANIZATIONNUMEROUSANDJUMBLEDITISJUSTTHECOMPLICATEDFRAMEWORKTHATPROVIDESARELATIVELYFREEARTDEVELOPMENTSPACEFORTHEIMPERIALARTISTSBASEDONTHESPECIALBACKGROUND，THECREATION，APPRECIATIONANDCOLLECTIONOFIMPERIALPAINTINGFLOURISHTOARELATIVEEXTENLWHICHCONTRIBUTESALOTTOTHEFUTUREPAINTINGDEVELOPMENTTHEREFORE，THEPAINTINGORGANIZATIONOFYUANDYNASTYISQUITEINFLUENTIALANDSHOWSITSPROFOUNDSIGNIFICANCE。THISTHESISISMADEUPOFFOURPARTSPARTITOINTERPRETTHEESTABLISHMENTANDBASICFRAMEWORKOFTHEIMPERIALCOURTORGANIZATIONOFYUANDYNASTYUNVEILTHEPOLITICALANDCULTURALBACKGROUNDFORITSESTABLISHMENTANDARRANGETHEBASICFRAMEWORKPARTIITOANALYZETHESTATUSOFTHEIMPERIALCOURTPAINTINGORGANIZATIONOFYUANDYNASTYINTHECENTRALINSTITUTIONANDFOCUSONTHEINTERPERSONALRELATIONSHIPWHICHHASANEFFEAOILTHEIMPERIALCOURTARTISTSPARTIIHTOFIGUREOUTTHEPAINTINGCHARACTERISTICSOFTHEIMPERIALCOURTORGANIZATIONOFYUANDYNASTYASWELLASTHERELATEDAPPRECIATINGANDCOLLECTINGACTIVITIESONCALLIGRAPHYANDPAINTINGPARTIVTHEINFLUENCEOFTHEIMPERIALCOURTPAINTINGORGANIZATIONONTHEOUTSIDEWORLDANDTHEFUTUREGENERATIONS，ASWELLASTHEHISTORICALSIGNIFICANCEKEYWORDSTHEIMPERIALCOURTPAINTINGORGANIZATIONOFYUANDYNASTYFRAMEWORK，INTERPERSONALRELATIONSHIP，CREATIONCHARACTERISTICS，APPRECIATIONANDCOLLECTION，INFLUENCE

簡(jiǎn)介：分類號(hào)UDC論文題目密級(jí)編號(hào)波洛克與吳冠中繪畫比較研究THEPALNTING0FCOMPARATIVESTUDIESBETWEENPOLLOCKANDGUANZHONGWU波洛克與吳冠中繪畫比較研究摘要面對(duì)20世紀(jì)的藝術(shù)，我們能夠看到一個(gè)百花齊放、異彩紛呈的世界。抽象藝術(shù)是20世紀(jì)人類繪畫領(lǐng)域的一項(xiàng)偉大成就，自1910年康定斯基完成第一幅抽象畫以來(lái)，抽象藝術(shù)經(jīng)歷了百年的演化和不斷地突破，繁衍出眾多支流，綿延至今，方興未艾，成為20世紀(jì)現(xiàn)代藝術(shù)的主流。抽象表現(xiàn)藝術(shù)便是這眾多支流中十分洶涌澎湃的一支。波洛克與吳冠中雖然所屬不同民族，生長(zhǎng)在不同的地域，處于不同的文化背景之下，藝術(shù)生命本身更是一短一長(zhǎng)，卻都在各自繪畫生涯的后期步入抽象表現(xiàn)的領(lǐng)域。他們盡管一生波折坎坷，但對(duì)繪畫的探索卻貫穿生命的始終，視繪畫為生命的綿延和精神的寄托。他們?cè)谔剿骼L畫的過(guò)程中多元而不乏選擇，善于吸取前輩大師作品中的精華加以融合并為己所用，善于在大自然中體驗(yàn)美的因素并從中抽象出最樸素的點(diǎn)線面。他們的繪畫可以說(shuō)分別是20世紀(jì)美國(guó)和中國(guó)極具影響力和代表性的作品。以他們?yōu)樽鴺?biāo)，能夠分析出20世紀(jì)中美繪畫的基本情況。本文是采用比較研究的方法，希望通過(guò)對(duì)兩位繪畫大師人生和藝術(shù)的比較，剖析二者繪畫的相似與不同，小中見大，洞見中西方繪畫的差異性和相通性，來(lái)闡釋中西繪畫殊途同歸，高峰相會(huì)的觀點(diǎn)。關(guān)鍵詞波洛克，吳冠中，有意味的形式，抽象，表現(xiàn)

簡(jiǎn)介：學(xué)位論文使用授權(quán)書根據(jù)中央民族大學(xué)關(guān)于研究生學(xué)位論文收藏和利用管理辦法，我校的博士、碩士學(xué)位獲得者均須向中央民族大學(xué)提交本人的學(xué)位論文紙質(zhì)本及相應(yīng)電子版。本人完全了解中央民族大學(xué)有關(guān)研究生學(xué)位論文收藏和利用的管理規(guī)定。中央民族大學(xué)擁有在著作權(quán)法規(guī)定范圍內(nèi)的學(xué)位論文使用權(quán)，即1學(xué)位獲得者必須按規(guī)定提交學(xué)位論文包括紙質(zhì)印刷本及電子版；2為教學(xué)和科研目的，學(xué)?？梢詫⒐_的學(xué)位論文作為資料在圖書館等場(chǎng)所提供校內(nèi)師生閱讀等服務(wù)；3根據(jù)教育部有關(guān)規(guī)定，中央民族大學(xué)向教育部指定單位提交公開的學(xué)位論文；4學(xué)位論文作者授權(quán)學(xué)校向中國(guó)科技信息研究所及其萬(wàn)方數(shù)據(jù)電子出版社和中國(guó)學(xué)術(shù)期刊光盤電子出版社提交規(guī)定范圍的學(xué)位論文及其電子版并收入相應(yīng)學(xué)位論文數(shù)據(jù)庫(kù)，通過(guò)其相關(guān)網(wǎng)站對(duì)外進(jìn)行信息服務(wù)。同時(shí)本人保留在其他媒體發(fā)表論文的權(quán)利。本人承諾本人的學(xué)位論文是在中央民族大學(xué)學(xué)習(xí)期間創(chuàng)作完成的作品，并已通過(guò)論文答辯；提交的學(xué)位論文電子版與紙質(zhì)本論文的內(nèi)容一致，如因不同造成不良后果由本人自負(fù)。本人同意遵守上述規(guī)定。保密的學(xué)位論文在解密后適用本授權(quán)書，本論文口不保密，口保密期限至年月IE作者暨授權(quán)人簽字學(xué)位論文原創(chuàng)性聲明20侈年歲月／7日本人鄭重聲明所呈交的學(xué)位論文，是本人在導(dǎo)師指導(dǎo)下進(jìn)行研究工作所取得的研究成果。除文中已經(jīng)注明引用的內(nèi)容外，本學(xué)位論文的研究成果不包含任何他人創(chuàng)作的、已公開發(fā)表或者沒(méi)有公開發(fā)表的作品的內(nèi)容。對(duì)本論文所涉及的研究工作做出貢獻(xiàn)的其他個(gè)人和集體，均已在文中以明確方式標(biāo)明。本學(xué)位論文原創(chuàng)性聲明的法律責(zé)任由本人承擔(dān)。學(xué)位論文作者簽字／毪阻許201多年夕月L、7日ABSTRACTMYMINDFINALLYLANDONTHEGROUNDAFTERTHREEYEARSOFTHINKING，ALSOCHANGEDWAYSTOAPPRECIATEARTSTOOMUCHETHEREALANXIETYHAPPENEDWHENWATCHINGTHEPASTWORKSITISTIMETOCLEANUPMYMINDASWELLASTHEPICTUREEFFECTSTHISARTICLE‘‘CONCERNSABOUTATTITUDEANDUNDERSTANDOFARTSSELFANALYSISOFCREATION’’CONTAINSWHATIVELEANTANDTHOUGHT，HOWCONCEPTUALCHANGEHAPPENEDDURINGCREATIONOFARTANDDIFFERENTFEELINGSINDIFFERENTSTAGETHETHESISISALSOAREVIEWANDSUMMARYFORTHETREEYEARSOFPOSTGRADUATESTUDYREFERRINGTOUNDERSTANDINGOFART，IFIRSTLYTHINKITISEXPRESSIONOFFEELING，THENITCAMETOSEARCHINGNEWTECHNIQUESOFEXPRESSION，MATERIALINVOLVESTAGEANDFINALLYFINDANDFIRMLYFOLLOWMYOWNWAYOFARTAFTERSTUDYINGWORKOFCONTEMPORARYARTMASTERS，THATIS，F(xiàn)INDINGATTITUDEANDUNDERSTANDINGSOFART，WHICHISSOIMPORTANTTOBEREALIZEDITISSOURCEOFALLCREATIONSOFARTISTANDITSEXISTENCEANDGROWTHISINDISPENSABLEDURINGTHEDEVELOPMENTOFARTIALSOUNDERSTANDPAINTINGISNOTONLYEXPRESSIONOFFEELINGSICANNOLONGERSEEPAINTINGASMYREALTIMEEMOTIONDIARYTOUCHINGPAINTINGSONLYCOMEOUTOFENTHUSIASMANDTASTEOFLIFETHISARTICLEELABORATESWHATILEARNANDFEELITISALSOACHANCETODETAILEDANALYZEDANDSUMMARIZEMYOWNPAINTINGTRACKDONOTPAINTWITHOUTATTITUDEISAVERYGOODPRECIPITATIONANDREFLECTIONFORMETHISPAPERHELPEDMEFINDMYARTDIRECTIONINTHEFUTUREKEYWORDSCREATION；ATTITUDE；POSITIONIII

簡(jiǎn)介：IIIIIIIIIIIIIIIIIIILY3416862分類號(hào)UDCO密級(jí)編號(hào)中國(guó)美術(shù)掌院碩士學(xué)位論文馬遠(yuǎn)繪畫諸問(wèn)題蠡探THESUBTLESTUDYOFMAYUAN’SPAINTINGS張幸指導(dǎo)教師姓名職務(wù)、，職稱縣敦教授≥．蘭申請(qǐng)學(xué)位級(jí)別藝本堂亟±堂位專業(yè)名稱藝本堂理論．．論文提交日期．2Q晝壘論文答辯日期2Q．旦墨壘學(xué)位授予單位和日期蟲國(guó)差本堂院2Q18笙魚目答辯委員會(huì)主席評(píng)閱人年月日中國(guó)美術(shù)學(xué)院一一藝術(shù)人文學(xué)院一一張幸馬遠(yuǎn)繪畫諸問(wèn)題蠡探目錄摘要．????．．．???．?．?．??．?．．．．．．．．．．．???．?．?．．2ABSTARCT．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．；引言．．．．．?．．．．．．．．．?．．．．???．．．．．．．．．?．．．．?．．．．????．?．．4第一章馬遠(yuǎn)繪畫品匯．?．．．??．．?．?．．．．?．?．．．．．．．．????．．．．．．7第一節(jié)馬遠(yuǎn)的全景山水?????．???．．???．????．．．7第二節(jié)馬遠(yuǎn)松法???．????????．?．??．．??．?．15第三節(jié)馬遠(yuǎn)的人物畫面貌與被忽視的蘭葉描???????????．26第四節(jié)馬遠(yuǎn)畫梅????????．?????????．．?．40第二章華燈侍宴圖匯考????????????????．?．5L第三章馬遠(yuǎn)繪畫品評(píng)的歷史演變??????????????????．．59結(jié)語(yǔ)．．．．．?．．．．．．．?．?．??．?．??．?．?．．．?．??．??．?．64參考文獻(xiàn)?．???????．?????????．??．?．?．65致謝．．??．．．．．．．．．．?．?．??．．．?．．．．?．．．．．．．．．．．．．．．．?．?．．?69附錄馬遠(yuǎn)作品著錄．．．．．?．?．．?．．．．?．．．．?．?．．．．．?．??．．．．．．．．．．70