簡介：上海師范大學碩士學位論文論油性媒介材料對西方繪畫的重要影響姓名楊艷申請學位級別碩士專業(yè)美術(shù)學指導教師姚爾暢20100310THESISTIUETHEIMPORTANTINNUENCEOFOILMEDIAMATERIALSONWESTEMPAINTILLGSABSTRACTPAINTILLGMEDIAMATERIALSDETEMLINEMEFEATURESOF。DLLJFERENTP抽如，ANDAREALSOME洫PON2MTINDICATORT0DISTINGUISHDIFFERENTPAINTINGS．SINCEME15Ⅱ1CENTURY，TLLESIGNIFICANTFEATURESOFOILMEDIAMAT耐ALSMETTLLEREQUNMENTSOFPAI而NGTECLLILIQUESATMATTIMEANDMADET11EPOSSIBILITYONNLEVISUALREPRESENTATIONOFTHETNJEAESTH甜C恥SUITTO恤EUTMOST．THUS，ITINFIUENCEDONNLCDEVELOPMENTAILDDIRECTIONPROCESSOFWESTPAILLTILLGTOTALLY．BECAUSEOFTLLEOILMEDIAMATERIALS，TLLEEXPRESSIVELANGUAGEOFWESTEMPAIMINGBEC鋤ERICHERALLDDIVERTER．OILMEDIAMATERIALSISALSOONEOF也EIN巾ONA址INDICATI嘟OFW齜P幽MNGMATE】IALSY姍WLLICHDI腩RENTF如MORIENTALPAILLTINGS．TODAY，OILMEDIAMATERIALSSTILLKEEPMEDOMINANTPOSITIONIILMEARTSOFWESTEMPAINTING．FARⅡ1ERMORE，ITACCEPTEDBYTLLEEASTAND恤RESTOFMEWORLDFORALONGTIMEANDPLAYSAJLIINPORTANTROLEIILTHEMODEMPAINTINGMATERIALSSVSTEM．KEYWORDSOILMEDIA；MATERIALLAILGUAGE；WBSTEMPAINTHLG；N

簡介：分類號J2密級無學校代碼10414學號2014200034專業(yè)學位碩士研究生學位論文專業(yè)學位碩士研究生學位論文懷斯繪畫作品中的精神性之我見懷斯繪畫作品中的精神性之我見ASTUDYSTUDYONONTHETHESPIRITSPIRITOFOFREWREWWYETHWYETH’SPAINTINGPAINTING廖成廖成院所美術(shù)學院導師姓名蔡鳴學位類別專業(yè)碩士專業(yè)領(lǐng)域藝術(shù)碩士二○一七年六月懷斯繪畫作品中的精神性之我見江西師范大學獨創(chuàng)性聲明本人聲明所呈交的學位論文是本人在導師指導下進行的研究工作及取得的研究成果。據(jù)我所知，除了文中特別加以標注和致謝的地方外，論文中不包含其他人已經(jīng)發(fā)表或撰寫過的研究成果，也不包含為獲得或其他教育機構(gòu)的學位或證書而使用過的材料。與我一同工作的同志對本研究所做的任何貢獻均已在論文中作了明確的說明并表示謝意。學位論文作者簽名簽字日期年月日學位論文版權(quán)使用授權(quán)書學位論文版權(quán)使用授權(quán)書本學位論文作者完全了解江西師范大學研究生院有關(guān)保留、使用學位論文的規(guī)定，有權(quán)保留并向國家有關(guān)部門或機構(gòu)送交論文的復印件和磁盤，允許論文被查閱和借閱。本人授權(quán)江西師范大學研究生院可以將學位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫進行檢索，可以采用影印、縮印或掃描等復制手段保存、匯編學位論文。（保密的學位論文在解密后適用本授權(quán)書）學位論文作者簽名導師簽名簽字日期年月日簽字日期年月

簡介：南京藝術(shù)學院碩士學位論文“窺視”生活論德加繪畫的思想和技法研究生姓名苤壬薟導師姓名隧壁塑副魏援申請學饋級別。J蔓學；專業(yè)名稱差查堂論文捉空IT朝』塑衛(wèi)豇且墊旦鹼文答辯口期』盟盥且旦學位授予單位』A塞芏準芏照一學位授予日J∞上塑宴月旦答辯霎旨會1‘席J妻主生塑L評問人鹽盤【_韭監(jiān)一監(jiān)生童盟目A盟2U174【月0I韭酬F||J蜊乳㈣二Ⅲ魁二Y帥ABSTRACTEDGERDEGAS18341717ONEOFTHEIMPRESSIONISTARTIST，SINCE1874JOINEDFIRSTIMPRESSIONISTEXHIBITION，EXHIBITEVERYEXHIBITIONACCEPTEDTHESEVENTHONEAFTERHISDEATHSEVENTYNINEYEARSLATERENGLANDLONDONNATIONALARTGALLERYANDCHIEANOARTASSOCIATIONEXHIBITIN1996“PEGUSBEYONDIMPRESSIONISTEXHIBITION”WORKSHOWISTHEWORKTHATDEGASCREATEDAFTERHISFIFTY，SHOWEDANDPROVEDHISLATERSTAGE’SWORKISMUCHMATUREASTHEIMPRESSIONIST，DEGUSSTILLMAINTAINSASCLASSICALSTYLEINISWORKBECAUSEHEHASASTRONGDRAWINGBACKGROUNDHEISCAPABLETOCACHEMODERN1IFEASHISSUBJECTMATTERDEGASNOTJUSTCONTENDCLASSICALSTYLEINARTHEALSOQUOTEANDINNOVATETHEIMPRESSIONIST’STHEORY“CACHINGTHENATURALNESS’SNATURALISTIC”，WITHTHETREATMENTOFHISSUBJECT，HEWILLCAREFULLYOBSERVETHENATUREFIGURE，OVERANDOVER’SPRACTICEDRAWINGANDSKETCH。MANYPRELIMINARYFOUNDINHISSTUDIOINDEGASCREATIVE1IFETIMEHEKEEPSONSEARCHINGNEWCONCEPTINPAINTING，MOSTIMPORTANTFAITHFORHIMINPAINTINGIS1INESHEUSESMULTILAYEREDAPPROACHTODRAWING，WHICHATTIMESRESEMBLESTHEPREPARATION，UNDERPAINTINGANDGLAZINGOFATRADITIONALOIL一PAINTINGKEYWORDSEDGERDEGASIMPRESSIONISTNATURALISTICFIGURELINESSKETCHLI

簡介：上海師范大學碩士學位論文從人物表情看新中國當代繪畫的演變姓名顧凌琤申請學位級別碩士專業(yè)美術(shù)學指導教師周培德張晨初20100310ABSTRACTTHISARTICLEISTALKINGABOUTCONTEMPO例呵ANSINCEL949，CHINAHASEMERGEDASEESSUCHAS”REVOLUTION鋤YART”DER主VEDFROMTHESOVIETREVOLUTIONA幫COMBINATIONOF陀ALISMANDROMANTICISMOFTHECREATIVEPRINCIPLE，TLLE”CULTURALREVOLUTIONAIT，”’’SCARAN”ANDI10CALREALISM”，”RATIONALPAINTING，””CYNICALREALISM”，”NEWGENERATION”AFLDOTHERPAINTINGSTRENDTHEIREMERGENCEREFLECTSTHEVAOUSASPECTSOFTHEPASTHALFCENTURYTLEREALI僻OFCHINESESOCIETYPAINTINGANDTHERELATIONSHIPBETWEENTHESOCIALREALITYOFCONTEMPORARYCHINESEANISTSARESTILLAMAJOFCONCEM，ONEOFHERPORTMITS，INWHICHTHELARGESTNUMBER，THEGREATESTIMPACT，THISPAPERDMWINGONTHECHARACTERSFACIALEXPRESSIONSRELATINGTOT11EEVOLUTIONOFTRYINGTODOSOMESORT，WILLBEDI丘ERENTPAINTINGTRENDSINTHECH孤ACTERISTICSOFDIF凳RENTEXPRESSIONSOFTHECHAMCTERST0DOCOMPARATIVESTUDIESHAVEDINBRENTEXPRESSIONSONTHEPSYCHOLOGICALCHARACTERISTICSOFTHEAMSTTOMAKESHALLOWMONEMEXAMINATIONKEM的FDSEXPRESSION；CONTEMPORA巧AN；DEVELOPMENTII

簡介：南京師范大學博士學位論文何香凝繪畫藝術(shù)研究姓名陳姍申請學位級別博士專業(yè)美術(shù)學指導教師陳傳席20090518ABSTRACTBEINGRECOGNIZEDASONEOFTHEEXTRAORDINARILYOUTSTANDINGFEMALEOFTHE20“1CENTURYINCHINAHOHSIANGMINGISREMARKEDBYHERDEMOCRATICIDEASANDREVOLUTIONARYACTIVITIESSUCHFAMEPREVENTEDHERBEINGKNOWN舔AGOODPAINTERTHISTHESISEXPLORESFIOMTHREEASPECTS，NAMELYTRAVELLINGEASTANDWEST，GATHERINGREFMEDWORKSANDORGANIZINGSOCIETIES，ANDREPOSINGFEELINGSANDINDICATINGAMBITIONSTHROUGHPAINTINGINTOTHEGREATSIGNIFICANCEOFHOSARTISTICOOURSOANDACHIEVEMENTTHISTHESISTRIESTOINTERPRETHOSPAINTINGSINTHECONTEXTOFHERTIME，PROBEINTOTHEPOLITICAL，ECONOMICALANDCULTURALELEMENTSBEYONDTHEM，ANDREAPPRAISEHERARTISTICACTIVITIESHAVINGPRACTICEDINTHECOBRSEOFARTFORMORETHAN70YEARS，HOHADGIVENBIRTHTOALARGEAMOUNTOFARTWORKSRANGINGFROMLANDSCAPESANDFLOWERPIECESTOPAINTINGSOFANIMALSHERPAINTINGSOFEARLYAGESHADSOMEDECORATIVECOLORTHATCAMEFROMTHEINFLUENCEOFJAPANESEPAINTINGDURINGHERSTUDYTHEREINHERMIDDLEAGES，HERPAINTINGSTYLESWENTTOATURNINGPOINTSHERETURNEDHERSELFTOTHETRADITIONALLITERATISTYLESOFOREATION，ANDHERPAINTINGSUNDERTHESUBJECTMANOFHONORSUGGESTEDASTRONGFLAVOROFCALLIGRAPHYWHICHWASALSOTHOUGHTASTHEINEVITABLEPRODUCTSOFTHEINFLUENCEOFTHEWHOLECULTURALBACKGROUNDHOHSIANGMINGHADA900DINTERACTIONWIMTHETHREESCHOOLSOFPAINTERSINTHEEARLY20MCENTURYINHERCOLLECTIONOFREFMEDWORKS，THEREARELARGEAMOUNTSOFCOOPERATIVEPAINTINGS、析吐LPAINTERSFROMTHESCHOOLSOFHAISHANGANDJINGIINHOSCONNECTIONWIMGAOJIANFUGAOQISHENGANDCHENSHUREN，THETHREEFOUNDERSOFLINGNANSCHOOL，ISAGOODSUBJECTTHATISINVESTIGATEDINTENSIVELYINTHISTHESISFURTHERMORE，THEPOSTSCRIPTSAFTERHERWORKSAREALSOMATERIALSOFGREATSTUDYVALUE，AMONGWHICHTHEREPRESENTATIVEONESARETHOSEWRITTENBYLIUYAZI，JINGHENGYIANDYUYOURENBASEDONTHEKNOWLEDGEABOUTTHETURNSOFHOHSIANGMINGSPAINTINGSTYLES，THEAUTHORCONFIDENTLYDIVIDESHOSARTISTICCOURSEINTOTHREEPERIODSTHEEARLYPERIODTHEMIDDLEPERIOD。ANDTHELATEPERIODⅥ，LLILEAPPRECIATINGHERPAINTINGSPEOPLESTRONGLYAGREEDTHATHO’SARTISTICCREATIONWASCLOSELYCONNECTED謝THHERREVOLUTIONARYACTIVITIESAMONGOTHERS，SHEWAS，F(xiàn)IRSTOFALL，AREVOLUTIONISTTHENAPAINTERBUTONLYUNDERHERNALNECANWEFINDASTATERUNARTGALLERYSHEISDEFINITELYAPAINTEROFDISTINCTIONFORWEKNOWTHATSHECONTRIBUTEDALOTWHILECONDUCTINGACTIVITIESLIKEDEMOCRATICREVOLUTION，WOMENSLIBERATION，ARTOFPAINTINGANDTHEUNITINGOFOVERSEASCHINESETHEREFORE，F(xiàn)ROMTHISWHOLLYNEWPOINTOFVIEWTHISTHESISAIMSATOPENINGOUTTHEPANORAMAOFHOHSIANGMING，ANAMAZINGCOMBINATIONOFAREVOLUTIONIST，ANACTIVISTANDANARTISTKEYWORDSHOHSIANGMING；FEMALEPAINTING；COOPERATIVEPAINTINGS4

簡介：分類號J2J2密級公開公開論文編號論文編號S13007S13007學號20131100072013110007碩士學位論文碩士學位論文當代新工筆花鳥女畫家的當代新工筆花鳥女畫家的繪畫語言和精神情感繪畫語言和精神情感以高茜、雷苗、秦艾為例研究生石文婷石文婷指導教師師梅忠智梅忠智教授教授一級學科科美術(shù)學美術(shù)學學科、?？啤I(yè)業(yè)中國畫中國畫研究方向向中國工筆花鳥畫中國工筆花鳥畫論文完成時間論文完成時間20162016年5月3131日論文答辯日期論文答辯日期20162016年6月6日學位論文原創(chuàng)性聲明學位論文原創(chuàng)性聲明本人聲明所呈交的學位論文當代新工筆花鳥女畫家的繪畫語言和精神情感以高茜、雷苗、秦艾為例是本人在導師指導下進行的研究工作及取得的研究成果。據(jù)我所知，除了文中特別加以標注和致謝的地方外，論文中不包含其他人已經(jīng)發(fā)表或撰寫過的研究成果，也不包含為獲得四川美術(shù)學院四川美術(shù)學院或其他教育機構(gòu)的學位或證書而使用過的成果。與我一同工作的同志對本研究所做的任何貢獻均已在論文中作了明確的說明并表示謝意。學位論文作者簽名簽字日期年月日學位論文版權(quán)使用授權(quán)書學位論文版權(quán)使用授權(quán)書本學位論文當代新工筆花鳥女畫家的繪畫語言和精神情感以高茜、雷苗、秦艾為例作者完全了解四川美術(shù)學院四川美術(shù)學院有關(guān)保留、使用學位論文的規(guī)定，有權(quán)保留并向國家有關(guān)部門或機構(gòu)送交論文的復印件和磁盤，允許論文被查閱和借閱。本人授權(quán)四川美術(shù)學院四川美術(shù)學院可以將學位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫進行檢索，可以采用影印、縮印或掃描等復制手段保存、匯編學位論文。學位論文作者簽名簽字日期年月日導師簽名簽字日期年月日

簡介：首都師范大學碩士學位論文郎世寧中西合璧繪畫與中國傳統(tǒng)工筆畫之比較姓名程敏申請學位級別碩士專業(yè)美術(shù)學指導教師李愛國20070520ABSTRACTTHECONTEMPORARYTRADITIONALCHINESEPAINTINGISCHARACTERIZEDBYTHECOMBININGOFESSTWESTSTYLEINTHEPROCESSOFEXPLORATIONTHEREHAVEBEENACHIEVEMENTSANDPROBLEMSHOWTOABSORBFOREIGNCULTUREHOWTOPERCEIVETRADITIONALCHINESECULTURETHECONFLICTSBECOMETHEMOSTDIFFICULTPARTWHENCOMBININGTHETWOCULTURESTHISTHESISAIMSTOFINDWAYSTHATTRADITIONALCHINESEREALISTICPAINTINGUSESTOABSORBFOREIGNCULTUREBYCOMPARINGALLSUBJECTSOFTRADITIONALCHINESEREALISTICPAINTINGSTYLE謝THTHATOFPAINTINGSOFLANGSHININGAPREACHERINEARLYQMGDYNASTYWHOUSEDAMINGLINGOFESSTWESTSTYLETHEFIRSTPARTOFTHISTHESISIN血ODUCESLANGSHINING’SFIFEANDACHIEVEMENTSTHESECONDPARTOFTHISTHESISISACOMPARISONOFLANGSHININGSPAINTINGSTYLEWITHTHATOFALLSUBJECTSOFTRADITIONALCHINESEREALISDCPAINTING1ACOMPARISONINFIGUREDRAWING2ACOMPARISONINNOWERBIRDWORKS3ACOMPARISONINLANDSCAPEWITHHORSES4ACOMPARISONINLANDSCAPE5ACOMPARISONINDOEMNENTARYPAINTING6PEOPLE’SCOMMENTSONLANGSHINING’SMINGLINGOFEASTWESTSTYLETHETHIRDPARTEXPLAINSTHEREALISTICVALUEOFLANGSHININGSPAINTINGTOTHECOMBININGOFEASTWESTSTYLEOFCONTEMPORARYTRADITIONALCHINESEREALISTICPAINTINGKEYWORDSCOMBININGOFEASTWESTSTYLETRADITIONALCHINESEREALISTICPAINTINGLANGSHININGMINGLINGOFEASTWESTSTYLECOURTOFQINGDYNASTYCOMPARISONWESTERNREALISTICSKILLSFIGUREDRAWINGFLOWERBIRDWORKSLANDSCAPEWITHHORSESLANDSCAPEDOCURAENTARYPAINTINGREALISTICVALUE4

簡介：河北師范大學碩士學位論文論光在西方繪畫中的運用姓名魏璇申請學位級別碩士專業(yè)美術(shù)學指導教師侯志江20100406IIABSTRACTLIGHTUSEDINTHEDEVELOPMENTOFWESTERNPAINTINGPLAYEDANIMPTANTROLEWESTERNUNDERSTINGOFANCIENTPAINTERSUSEOFLIGHTTHESIMULTANEOUSDEVELOPMENTOFWESTERNPAINTINGPAINTINGSOFDIFFERENTPERIODSOFLIGHTREFLECTTHEVALUESVARYBYSTUDYINGTHEUSEOFWESTERNPAINTERSOFLIGHTSCREENLIGHTSHOWEFFECTSNOTONLYFTHEUNDERSTINGINTERPRETATIONOFTHEDIFFERENTACTERISTICSOFDIFFERENTSCHOOLSOFPAINTINGPROVIDESAFRAMEOFREFERENCESUMMEDUPTHELIGHTFROMTHELAWONOURPAINTINGCREATIONTHEREAREPOSITIVESIGNIFICANCETHROUGHTHEUSEOFTHREETERMSMINGGUANGIMPTANCEINPAINTINGTRYINGTOLIGHTTHEHISTYOFWESTERNPAINTINGFROMTHEUSEOFTHEDEVELOPMENTRISETOJUSTDEALWITHANIMPTANTTOOLPICTURESTOCONVEYTHEVISUALEXPERIENCEALONECARRIERFIRSTFROMAHISTICALPERSPECTIVETOEXPLAINTHEIMPTANCEOFLIGHTINTHEPAINTINGSENSESTARTCOMBINGTHEWHOLEOFLIGHTINTHEEVOLUTIONOFTHEDEVELOPMENTOFWESTERNPAINTINGTHENFOCUSEDONTHELIGHTINTHERENAISSANCE1718CENTURYIMPRESSIONISTPERIODTHREEHISTICALSTAGESOFTHEAPPLICATIONVALUEREFLECTSSECONDLYTHELANGUAGEFROMTHEPERSPECTIVEOFPAINTINGTOILLUSTRATETHEIMPTANCEOFLIGHTINTHESCREENROLEANALYSISOFIMAGESOFLIGHTOTHERFACTSSHAPETHEFMOFLIGHTTOLIGHTDARKJUSTTHEPREMISEOFCOLLIGHTPERFMANCEOFCOLLIGHTADJUSTTHEPICTURESTRUCTURETHEROLEOFLIGHTHIGHLIGHTINGTHETHEMEOFPAINTINGASANEXAMPLEOFTHEPOTENTIALALONEDOMINATETHESCREENISANIMPTANTMEANSOFDEALINGWITHPICTURESFINALLYAPAINTINGDESCRIBEDASASTARTINGPOINTTHEIMPTANCEOFLIGHTINPAINTINGWESTERNCONTEMPARYARTISTSFROMTHEANALYSISOFTHETWOMETHODSUSEDTOLIGHTTHEDIFFERENTEXPERIENCETOTHEIRUSEOFLIGHTSEPARATELYFROMTHEVISUALCOMMUNICATIONOFFEELINGSEMOTIONSFOCUSEDONTHETWODIFFERENTANGLESREFLECTINGTHEIRINHERENTNATUREOFTHEVISUALUNDERSTINGOFTHEWLDKEYWDSWESTERNPAINTINGLIGHTUSETRUTH

簡介：河北大學碩士學位論文安格爾繪畫風格研究姓名劉虎申請學位級別碩士專業(yè)藝術(shù)學指導教師梅寶樹20070601ABSTRACTABSTRACTINGRESISAREPRESENTATIVECHARACTEROFFRRNCHNEOCLASSICISMIN19THCENTURY，HISWORKSHAVEANEATPICTURE，STABLECOMPOSITION，VARIOUSCHANGINGCOLORANDTHELINEISFULLOFTENSILEFORCEANDFLEXIBILITYWHICHBRINGABEAUTIFULANDSPOTLESSBASSRELIEFEFFECTALTHOUGHINGRES’PAINTINGSTYLEWASLISTEDASNEOCLASSICISM，BUTHISWORKSOFDIFFERENTSUBJECTSBASEDONTHECLASSICSTYLEREVEALREALISTICMOODORROMANTICPASSIONATTIMESTHEESSAYSTARTSWITLLTHECAUSESOFINGRES’PAINTINGSTYLEFROMTWOASPECTSTHATAREEXTEMALCAUSESANDINTERNALCAUSESTHEIMPERSONALCONDITIONSARETHELEADINGIDEAOFPOLITICSANDTHEINFLUENCEOFMAINSTREAMARTTHOUGHTSTHECONGENITALGIFTANDHISEDUCATIONASWELLASHISTEMPERAMENTANDTASTINGPERSONALITYWHICHBROUGHTBYHISUNIQUEEXPERIENCEARETHESUBJECTIVEFACTORSTHATFORMEDHISPAINTINGSTYLEINGRES’CREATIONIDEAANDPAINTINGWORKSENLIGHTENEDTHEMODEMART；THESEEXQUISFFEWORKSBROUGHTPOSITIVEINFLUENCETOTHEPSYCHOLOGICALCONSTRUCTIONOFAUDIENCEBYANALYZINGINGRES’WORKSANDCAUSESOFPAINTINGSTYLE，THEAUTHORHASAPURPOSETECOGNIZINGINGRESFROMDIFFERENTANGLESANDVARIOLLSORIENTATIONSKEYWORDSINGRES；NEOCLASSICISM；STYLEOFPAIMING；CREATIONIDEAH

簡介：西安美術(shù)學院碩士學位論文中國傳統(tǒng)繪畫空間美的構(gòu)造姓名宋云華申請學位級別碩士專業(yè)美術(shù)學指導教師姜怡翔20090301SUBJECTCHINESETRADITIONALPAINTINGSPACESTRUCTUREOFCHARMSPECIALTYDEPARTMENTOFCHINESEPAINTINGBIRDPROFESSIONALNAMESONGYUNHUAINSTRUCTORMR．JIANGYIXIANGABSTRACTCHINESETRADITIONALPAINTINGSPACESTRUCTUREOFCHINESECHARMTOTHEIROWNNATIONALARTFORMSHOWNTOTHEAUDIENCE．TRADITIONALCHINESEPAINTINGINTHEPURSUITOFSPACETORELYONTHEPHILOSOPHYOFLAOZIANDZHUANGZI，HIGHLIGHTTHESUBJECTIVE“HEARTTOUR’，ANDMAINLYTHROUGHTHE“OBSERVATIONOFSMALLTOLARGE、OBSERVATIONOFLARGETOSMALL“,“SCATTERPERSPECTIVE“AND“THREEFROMFARACT’THEOBSERVATIONOFSPACETORUNIMAGESOFCHINESETRADITIONALPAINTINGSPACESTRUCTUREISMOLESPIRITUALCONNOTATION,THUSDEMONSTRATINGTHEUNIQUECHINESEPAINTINGCHARM．CHINESETRADITIONALPAINTINGSPACESTRUCTURE，AREINCOMPLETECOPYPAINTEDTHINGS，BUTYETABSTRACTINKPERFORMANCEIMPLIEDBYTHEPHYSICALANDLIFEOFAHIGHLEVELANDCHARACTEROFNATIONALART,ISAKINDOFEMOTIONALEXPRESSIONANDPERSONALITY．THECHARMOFCHINESETRADITIONALPAINTINGSPACEABOUTSTRUCTUREISTOOBJECTSPACE，INKSPACE，HEARTSOFSPACE嬲THETHREEMAJORTYPESOFMUTUALRELEVANCETOCONVEY．SOTHATTHEAESTHETICOBJECT、析廿LEMOTIONALPEOPLEDANCE，SOTHATOBJECTSINSPACE、ⅣIⅡLTHEROMANTICSTYLESUBLIMATION,USII培PENANDINKLANGUAGETOEXPLAINSPACEOFLIFE，THESPREADHEARTLIKESPACESOFESSENCE，ABOUTCHINESETRADITIONALPAINTINGSPACESTIMELESSCHARM．TOANATURALOBJECTBASED，F(xiàn)ROMADIFFERENTPO硫OFVIEWOFDIFFERENTMETHODSTOCREATEAMULTISPACEEXCHANGEANDDIALOGUE，ANDTHISISTHEAWARENESSOFCHINESETRADITIONALPAINTINGSPACEABOUTSTRUCTURETHEMOSTCONCRETEEXPRESSIONOFTHEMOSTVIVID．THECHARMOFTHISSPACEISBOUNDTODRAW、麗TLLCHINASUNIQUESPIRITOFALONGSTREAMOFINKONTHEOUTSIDEWORLD．KEYWORDSSPACESTRUCTURE、IMAGESOFSPACE、INKSPACE、HEARTLIKESPACETHESISTHEORETICALSTUDYⅡ

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簡介：東北師范大學碩士學位論文原始繪畫藝術(shù)與現(xiàn)代繪畫藝術(shù)的比較研究姓名趙燕申請學位級別碩士專業(yè)美術(shù)學指導教師楊家安20090501ABSTRACTINTHEMODEMARTDEVELOPMENTDIVERSIFICATION’STIME，THEMODEMSCIENCE’SANDTECHNOLOGY’SCOMPLEXITYANDTEDIOUSTHEDEPRESSIONWHICHANDTHESENSEOFDISTANCETHESPIRITUALLIFEBRINGSFORTHEHUMANITYTHEANXIOUSTENSEARTISTICCONDITIONLETSTHEMODEMPAINTINGMISTSNATURALLYINTHISKINDOFARTISTICTHOUGHTCHANGESINPUREPLAINPRIMITIVEDRAWINGENERGETICDIMENSIONINMODEMPAINTINGARTPONCDOUTTHATTHESOCALLEDPEOPLEPLAINCIVILIZEDANDTHEPLAINSIMPLELIFESTYLERECALLTOTHEPRIMITIVETIME，YEARNEDFORANDVIGOROUSLYDISPLAYSWITHTHEPERCEPTIONARTISTICLANGUAGE，THISISALSOTHEARTISTICWAYWHICHINTHEMODEMARTSPIRITPURSUEMOSTYEARNEDMODEMANPRINCIPLEMASTERMATISSETHOUGHTTHATARTHASTWOPERFORMANCEMETHODS，ONEKINDISACCORDINGTOTHEORIGINALDESIGNFACSIMILE，ONEKINDISTHEARTISTICPERFORMANCEHEADVOCATESTHELATTERHESAID“IPURSUE，MOSTIMPORTANTISTHEPERFORMANCEIANLUNABLETODISTINGUISHMETHESENTIMENTWHICHHASTOTHELIFEANDIDISPLAYSENTIMENTALTHEMETHOD‘THEMATISSELIFEEXPLORINGARTTHOUGHTPERFORMANCEWAYPURSUESONEKINDOFPUREPRIMITIVENAIVETEANDTHENATURALPERFORMANCEWAYINTHECOLORANDTHEMODELLINGHEFROMORIGINALPURSUEPERSONORHOUSEHOLDWHEFUSESTOMOVEANDBARGAINSFORUNREASONABLYHIGLLCOMPENSATIONWHENTHELANDISREQUISITIONEDFORACONSTRUCTIONPROJECT，PERFORMANCEINTENSE，UNRESTRAINEDVIEWPOINT，DEVELOPSGRADUALLYPURSUESONEKINDBALANCED，CHASTEANDTHETRANQUILFEELING，THESTYLETENDSTOTHESIMPLEPLAININITIALSTATE，SIMULTANEOUSLYTHEEASTERNART’SPLANEDRAWING’SINTRINSICSPIRITEVENMORECAUSEDHIMTOFINDTHEOWNCREATIONENERGETICSOUL，THEPICTUREHASBEENRICHINTHEDECORATIONFEELINGHEAFTERWARDAPPRAISEDHISWORKSAYINGMYWORK”O(jiān)NEKINDCOMFORTSPROBABLYLOOKSLIKEONEKINDOFSTABILIZERORLOOKSLIKEANAPPROPRIATEEASYCHAIRMAYELIMINATEHISWEARINESS，‘MATISSETHOUGHTTHATREGARDLESSOFBEINGTHEHARMONIOUSCOLORORNOTTHEHARMONIOUSCOLOR’CANPRODUCETHEMOVINGRESULTS，HEALSOBELIEVEDTHATTHECOLORCHOICESHOULDTAKEOBSERVE，THEFEELINGANDEACHKINDOFEXPERIENCEASABASIS，‘THECOLORGOAL，EXPRESSESPAINTER’SNEED，BUTISNOTLOOKSATTHETHINGTHENEED”MATISSE’SVIEWPOINTHIGHLIGHTEDTHEPRIMITIVENATURALISMCHARMTOBE，ANDWASAFFECTINGTHEMODERNISMDEVELOPMENTKEYWORDPRIMITIVE，SIMPLEANDARTLESS，PURE，PERCEPTIONU

簡介：分類號密級單位代碼Q2Z學號20032282西北大學碩士學位論文指導教師厘熊專業(yè)技術(shù)職務塾墊撞指導教師堡塞盔專業(yè)技術(shù)職務墊蕉學科專業(yè)差查堂答辯日期QQI生I旦學位授予日期二OO六年六月THECOMPARISONOFSHTLU’SCALLIGRAPHYANDPNLNNGINTHETECHNIQUESSHAOZHIYUANCHINESEPAINTINGANDCALLIGRAPHYDIRECTEDBYPROFESSORQUJIANABSTRACTSHILUONEOFTHE霉【CAT瞞TARTISTSINTHE20THCENTURY，ISREGARDEDASTHEORIENTALVONGOUGHHEHASCAUSEDWONDERANDCONC囂FFLFROMMILLIONSOFPEOPLEWITHHISOUTSTANDINGTALENTSANDUPSANDDOWNSOFHISC甜EET，BUTNOTMUCHWORKONHISARTISTICACHIEVEMENTISFOTMDTHERESEARCHMADESOFARISMOSTLYHOLISTICANDGENERAL，ORMAINLYONHISPAINTINGSTYLE，BUTTHOROUGHSTUDIESOFACERTAINASPECTOFHISARTISTICVALUESAREFEWTHECOMPARISONOFSHILU’SCALLIGRAPHYANDPAINTINGINTHETECHNIQUESISARELATIVELYNEWTOPICTHOUGHAFEWOFSUCHSTUDIES，MOSTLYINCOMPLETE，ARESEENNOWANDTHENSUCH髂WANGCHUAN’SON冊F血，ZHOUSHAOHUA’SHIGHWINDSONTHEWORLD，ZHUANGTIUNMINGANDZHAOQIBIN’SLMMORMLSHILUTHISTHEWSISDIVIDEDINTOFIVEPARTSTHEFIRSTPARTMAKESABRIEFSTUDYOFTHESIMILARITIESBETWEENHISCALLIGRAPHYANDPAINTJNGTHESECONDPARTDEALSWITHTHECOMMONFEATURE，IETHELINE，WHICHBEINGTHESHAREDCARRIERASTHEMASTERLIKERANSMTED，ISUSEDUNIVERSALLYINTHECALTIGRAPHYANDPAINTINGSTHCNEXTTWOPARTSINCLUDETHEORIGINALITYOFTHISTHESIS11LCTHIRDPARTMAKESANANALYSISOFSHILU’SIDEASABOUTPAINTINGSKILLSTHROUGHWHICHALLUNDERSTANDINGOFSHI’SORIGINALITYISACHIEVED，THEFOURTHPARTMAKESACAREFULSTUDYOFTHECALLIGRAPHYANDTHEPAINTINGSTYLESINTHREEPERIODSOFSHILU’SCAREORTHEFIRSTPERIOD19491959THESECONDPERIOD19591964ANDTHETHIRDPERIOD19711979BEFORE1949，SHILUDIDNOTDEVOTEHIMSELFTOCALLIGRAPHYANDTHEPAINTINGSOTHEFIRSTPERIODISNOTCOVEREDHEREITWASONLYAFTERLIBERATIONTHATHESTARTEDWORKINGONCHINESEPAMTINGWITHTHROUGHALLTHEFIGHTINGINNORTHERNSHAANXIPAINTEDIN1959ASA刪雎POINTAFTERTHAT，SHILUREACHEDMATURITYINTHEARTOFCALLIGRAPHYANDPAINTINGTHROUGHHISPAINFULEXPERIENCEDURINGTHECULTURALREVOLUTION，HISPAINTINGSTYLEGOTADRAMATICCHANGEAFTERTHE1970S，F(xiàn)ROMBEING∞ALISTICTOEXPRESSIVETHELASTPARTMAKESACONCLUSIONOFTHEPAPERTHISTHESISINTENDSTOFURTHERPEOPLE’SUNDERSTANDINGOFSHILUBYDISTINGUISHINGTHEVARIATIONSOFSTYLEINDIFFERENTPERIODSSOTHATCREATIONOFPAINTINGWORKWILTBEPROMOTEDKEYWORDSCALLIGRAPHYPAINTINGCOMMONORIGMOFCALLIGRAPHYANDPAINTINGCOMPARATIVESTUDYFLAVORI血CS

簡介：山東大學博士學位論文20世紀中國繪畫美學姓名孔新苗申請學位級別博士專業(yè)文藝學指導教師周來祥20050101山東大學博士學位論文中文摘要20世紀中國美術(shù)變革，是中困社會走出千年封建社會制度、封建文化，步入新社會、新文化建設進程的重要組成部分。20世紀中國繪畫，最集中地代表了中國新美術(shù)發(fā)展的核心目標與實踐主題。本文的創(chuàng)新點，是運用辯證思維的科學觀，將歷史的方法與邏輯的方法結(jié)合起來，通過對20世紀美術(shù)現(xiàn)象、思潮、重要畫家及作品的美學品格和藝術(shù)創(chuàng)作特征的分析，將20世紀中國美術(shù)從占典形態(tài)向現(xiàn)代形態(tài)的轉(zhuǎn)變過程，描述為崇高審美理想對古典和諧審美理想的歷史性超越。揭示出20世紀中國繪畫美學發(fā)生、發(fā)展、嬗變的歷史規(guī)律。中西美術(shù)的沖撞與融合，是20世紀中困美術(shù)變革中最突出的特點。本文將中國繪畫在20世紀發(fā)生的巨大變革，看作是自晚明以降中國封建社會內(nèi)部濫觴的與封建文化相齟齲的審美現(xiàn)象，逐步積累演化，在19世紀未與西方文明相碰撞而匯合到中國社會整體大變革的歷史潮流之中。因此，本研究與以往那些單純從美術(shù)領(lǐng)域內(nèi)部觀察，將20世紀中國繪畫的變革，解釋為一‘個完整而白恰的繪畫語K系統(tǒng)在特定時期對西方繪畫觀念、手法的被動接受；或是在異己文化力量作用下一次無奈的對自身藝術(shù)文化品格的背離與扭曲，取的是不同的研究思路與方法。我力求從與中國社會歷史生活密切相關(guān)的時代審美理想的發(fā)展變化，切入對20世紀中國美術(shù)變革的觀察與研究，建構(gòu)一個宏觀的審美理想嬗變與具體的中西繪畫語言沖突、融合相互動的理論闡釋構(gòu)架，從而將宏觀把握與微觀分析進行有機的結(jié)合。力求使對中國繪畫美學從古典形態(tài)向現(xiàn)代形態(tài)轉(zhuǎn)變的理論描述，能夠更加科學地展示歷史變化中諸多復雜因素之間的關(guān)系交織、線索演變及其內(nèi)在的美學邏輯銜接。論文共兩編七章，可分為三個部分上編共兩章為第一部分。描述中國古典繪畫的審美特征、語言特點和古典后期繪畫品評標準的和諧美品格產(chǎn)生、成熟的歷史根據(jù)與線索。明清時期，出現(xiàn)了與古典和諧美相異的一些新藝術(shù)個性追求和繪畫審美中的“怪趣”現(xiàn)象，這一在古典審美文化內(nèi)部形成的裂痕，與19世紀末西方美術(shù)在上海等沿海地區(qū)的傳播影響相匯合，在現(xiàn)實生活情境中醞釀出R以“俗”為特點的與封建文化價值觀相頡頏的美術(shù)現(xiàn)象，使古典和諧美的裂隙進一步擴大。進入20世紀，在中國社會批判封建文化、抵御外敵入侵，建設科學、民主新社會的時代大潮中；在中西文明沖突、交融的現(xiàn)實生活情境中，人們于無處不在的巨大社會動蕩里切身體驗了與過去所不同的真與善、主體與客體、理想與現(xiàn)實、情感與理智、時代與傳統(tǒng)、個人與社會等各種因素的矛盾、對立關(guān)系。由此，藝術(shù)審美中古典和諧的超凡意境美必然讓位于傾向于對立的現(xiàn)實崇高美體驗。領(lǐng)時代審美理想之先的新文化變革的

簡介：2006屆研究生碩士學位論文Y8IJI6256學校代碼10269學‘號YS03045003攀袋蹲赫麓擎西方現(xiàn)代繪畫的非理性之維院系莖苤堂院差盔堂丕專業(yè)差苤堂研究方向酉友差苤史指導教師處殛撾數(shù)援碩士研究生萱丞應2006年5月里翌望竺竺坐堅里鑒些坐絲一一ABSTRACTBASEDONTHEIDEA0FIⅡATIONALISMINPHILOSOPHY，THISPAPERREVIEWTHEHORIZONTALRCLATIONSHIDBETWEENWORKSANDANISTSINTHEMODEMWESTINBROADEMCULTURAL∞NTEXT，ANDTHENTOEXPLOFCTHEMODEMWESTEMPAINTING，丘0MTHE”IRRATIONAL”DIMENSIONHASBCCNIGILORCDBYTHETRADITIONALANHISLORYCHAPTEFI，MALEDEARTHERCLEV孤TCONCCPTIONSOFRATIONALAILDIⅡATIONAL，AⅡDPUTASIDETHEBONDAGEOFCONCEPTSOFVARIOUSGENRESINWCSTEMARTHISTORY，SEIZETHECLEW”IMTIONAL”，TOAILALYZETHEMODEMWESTEMPAINTINGFCBELMTIONALCHAPTERII，BRCAKTHROUGHTHELIMITATIONS0FTRADITIONALANTHEORY0NMODEMWESTEMPAILLTIⅡGPURELYFOCUSONTECHNIQUES，HI曲LIGILTTHERELATIONSHIPBET、RECNDISSIMILATION，CLEAVAGEINSUBCONSDOUSMINDOFARTIST鋤D”DIST硎ON”INPAINTINGSCHAPTERIIL，F(xiàn)BCILSINGONTLLEREVELATIONOFMODEMWESTEMPAINTINGHOWTOEXPRCSSTILE”FALLTASTIC”O(jiān)FTHEEXISTENCEOFPEOPLE卸DWORLD，INWHICHHAVEANEWCOGILIZEONTHEANALYSIS0FDRE釉INWORKSCHAPTERIVFOCUSEDONTHEEXPLORATIONOFI皿ERIRR砒IONALCAUSEOFTHERCPRESENTATIONOF”EVILTINMODEMWESTEMPAINTIN島THUSDETEDINGIMPLIEDPROFOUNDS饑SEOFTHERCVERSIONOFHUMAILITYINITKEYWORDI玎ATIONALISMDISTORTIONFANTASTICEVILREVERSION