簡介：湖南師范大學碩士學位論文試論繪畫的樸素姓名高淑君申請學位級別碩士專業(yè)美術學指導教師任家蓁20060301內(nèi)在的性靈美，從而強調(diào)藝術之本原“返樸歸真”，主張繪畫藝術應該回歸樸素、保持樸素、發(fā)揚樸素。關鍵宇繪畫，樸素，返樸歸真，內(nèi)在美Ⅱ

簡介：東北師范大學碩士學位論文中西方人物繪畫線性造型研究姓名賈飛申請學位級別碩士專業(yè)美術學指導教師戴成有20050501筏BSLRAETTHROUGHDEVELOPINGENJOYMENTOF仃ACINGBACKTOANDCONTEMPORARYOUTSTANDING州S石CCREATIONOFTHEORBTTOCHINA。STRADITIONAL日GUREPAINTING，D】AWTHEMODEMCHINESEFLGUREPAINTINGTOCREATEANDEXPLORE，8JJEXCHANGEDANDCOLLIDECOMPLEMEN謝JYANDJAUNCHAROUNDNLEC伽TACTOFCHINA童姚觚ONAIPENANDINKSP№ANDWESTEMMODEMMODELMEANSBASICALLYLNNEWEM’”ANISTICSPIRIT”THATSHOULDNSISTUNDERTHENEWANISTICIDEAENVIRONMENTW訓BEESSEN“ALINCHINESEPAINTINGISCREATEDINTHEFUTURETOUSTHISTEXTBASEDONCHINDSTRADNIONALCUNURESPIRN，MIDWESTSQUAREPERSONAGEMLEARALLKNDSOFSHAPEOFMODELOFPAJNTINGGOONEXHAUSTIVEANALYSISCOMPARETOTFADITIONALA玎DMODEMVISION，ANDTHENDESCR_BETHELINEARMODELCHARACTERISTICINTHECONTEMPORARYCHINAANDSPAIN’SSQUAREPERSOLLAGE’SPAINTINGWORKS，SETOUTACTUALLYFROMCHINESE晶GUREPAINTJNG，SPEAKOFNEWHOWPERIODADOPTACORRECTANITUDETOWARDSRESOURCESOFCUNUREBETWEENEASTANDWESTUNDERT11EANISTJCENVIROMENT，SETUPWE”O(jiān)NE’SOWN”AESTHETICSTANDARD，INSISTCOFRECTVIEWTLLATIS”A11DBUTDIFFEREM”，ADVOCATEWNHTHEFOLKANTHALREASONA11DPRACTCEREPRESENTLHEDIS廿NCTCHINESECHARACTERISTICS，MAKEITSTHEORYTUMINT0OURPRACTICALOPERATIONFEASIBLEMEANSKEYWORDSLIⅡEAS；LINEAR；WRITE；THEIMAGEBEHAVES；II

簡介：魯迅美術學院碩士學位論文陳師曾繪畫歷史觀研究姓名鐘國勝申請學位級別碩士專業(yè)指導教師楊振國20070529ABSTRACTSTUDIESOFCHINAMODERNARTHISTORYPROBEINTOTHETHEORETICALANDPRACTICALMEANINGSTHATRESULTFROMTHETRANSFORMATIONOFTRADITIONALARTTOMODERNARTINCHINAANANALYSISOFARTMOVEMENTS,THOUGHTSANDIDEASINTHATPERIODMAYPROVIDETODAY’SARTCONSTRUCTIONWITHEXPERIENCEANDINSPIRATIONSWITHEXPLORINGTHEGREATVALUETHOROUGHLYTOPROMOTETHETRANSFORMATIONFROMTRADITIONALARTTOTHEMODERNINASPECTSOFTHEORETICALANDPRACTICALIFONEWOULDLIKETOUNSCRAMBLEANDELUCIDATECHINA’SMODERNARTHISTORYANDITSDEVELOPMENTS,HEMUSTSTUDYTHOSEHISTORICALCHARACTERSANDTHEIRINFLUENCESTHISARTICLEREVIEWSTHETHEORIESANDARTPRACTICESOFCHENSHIZENG–THECHIEFARTISTOFBEIJINGARTFIELDINTHEEARLYDAYSOFTHE20THCENTURY–ANDREVEALSTHEINTERACTIONSANDCONSEQUENCESBETWEENHISWORKSANDTHECULTURALCONTEXTTHETHESISEMPLOYSHISTORICALANALYSIS,PHILOLOGYANDSTYLISTICSTOWORKOVERCHEN’STHEORIESANDPAINTINGSANDEXPATIATESHISPAINTINGPHILOSOPHYANDSTREAMOFTHOUGHTSCHEN’STHEORIESANDARTPRACTICESPLAYANIMPORTANTROLEINTHETRANSFORMATIONANDCARRYAPROFOUNDINFLUENCEUPONMODERNARTTHEARTICLEDISCUSSESCHEN’SPAINTINGPHILOSOPHYANDCULTURALCONTEXTOFPOSTCOLONIALISMANDHISACADEMICADVANCESANDINSPIRATIONSUPONCHINA’SCULTURECONSTRUCTIONTODAYBYMEANSOFSTUDIESANDDISCUSSIONSUPONCHEN’STHEORIESANDPAINTINGS,THEMAINACHIEVEMENTLIESINANEWACADEMICPOINTOFVIEWTOREVIEWHISTORYANDOPENFUTURETHETHESISPLACESITSMAINPOINTSUPONCHEN’SPAINTINGPHILOSOPHYANDMAKESAHOLISTICSTUDYONITITREFLECTSONHISCULTURALMEANINGSINCONTEMPORARYCHINAANDOPENSANEWAREAFORDOINGSTUDIESKEYWORDSCHENSHIZENG,HISTORICALVIEWOFPAINTING,MODERNTRANSFORMATION,PROGRESS,REALITY

簡介：顴失摩碩士學位論文返璞歸真，繼往開來意大利文藝復興早期繪畫及其對于現(xiàn)當代繪畫的實際意義學科專業(yè)美術學學位類型口科學學位口專業(yè)學位研究生姓名方維導師姓名、職稱曲湘建教授論文編號湖南師范大學學位評定委員會辦公室二零零九年五月摘要文藝復興時期是歐洲繼古希臘羅馬之后的第二個文化藝術發(fā)展的高峰時期。文藝復興運動發(fā)源于意大利，意大利的繪畫藝術也最早擺脫中世紀的影響而走向人文主義和科學主義的道路。本文首先闡述了意大利文藝復興運動發(fā)生的歷史背景和人文環(huán)境，以此說明意大利文藝復興的繪畫思想的來源。意大利文藝復興繪畫最為人稱道的是盛期時的畫家和作品，人們對于語言和材料上不成熟的意大利文藝復興早期繪畫卻較少提及。本文第一章著重列舉并分析了意大利文藝復興早期最具代表性的畫家及其作品，這里面有些畫家甚至在被重新發(fā)現(xiàn)之前己被人們遺忘了幾百年。意大利文藝復興早期繪畫有區(qū)別于其盛期、晚期繪畫的樸實、率真、古拙之美也比北歐文藝復興早期繪畫更不拘小節(jié)、更能體現(xiàn)人文主義和科學主義的精神此外，意大利文藝復興早期的一些繪畫重視線條的表現(xiàn)卻暗合于古代中國畫的基本造型語言以上這些意大利文藝復興早期繪畫的特點也是本文第一章所要論證的內(nèi)容。本文第二章則主要討論意大利文藝復興早期繪畫對于現(xiàn)當代繪畫的實際意義，通過對現(xiàn)當代畫家的個案研究來說明其對現(xiàn)當代繪畫的影響。文章最后得出結論意大利文藝復興早期繪畫以其思想上的執(zhí)著、真誠和語言上的本質(zhì)、樸實等特點而成為一種“古淡天真”式高尚畫品的繪畫，這樣的繪畫正是現(xiàn)當代繪畫所應當借鑒和傳承的。關鍵詞意大利文藝復興早期繪畫，語言，具象繪畫

簡介：東北師范大學碩士學位論文十九世紀歐洲東方題材繪畫研究姓名高菲菲申請學位級別碩士專業(yè)美術學指導教師潘宏艷20070501ABSTRACTSINCE20CENTURYHALEINTHEMIDDLE，ABOUTORIENTTHEMEPAINTINGBEGINLOCATEARTDISCUSSOFEDGEORIENTTHEMEPAINTINGNOTONLYENCOURAGE19CENTURYEUROPEPAINTINGBURALSOWESTMODERNISMPAINTINGIMPACTEXERTFULLIMPORTANTOFFUNCTIONAGESEARCHMORELAYPARTICULARSTRESSONSINEPAINTER，AFATLOTRESEARCHORIENTTHEMEPAINTINGSTYLEANDCHARACTERISTICEMBEDDEDDISCUSSTEXTWOULDFROMSEVERALASPECTOPENOUTDISCUSSFIRSTRESEARCHORIENTTHEMEPAINTINGGROWBOUNDANDCOLONYGERENTMUMALORIENTCIVILIZEDOFATTITUDE，ANALYZECAUSEEUROPE19CENTURYORIENTTHEMEPAINTINGUPSURGEOUTSIDEREASONANDIMMANENCEREASONSECONDLYSUMMARIZEORIENTTHEMEPAINTINGSTYLEANDCHARACTERISTICFINALLYORIENTTHEMEPAINTINGOFCONSIDER，GETACROSS20CENTURYEUROPESTARTARISENJNPANISMANDORIGINALITYDEPICTANYLYSEORIENTTHEMEPAINTINGREPLY20CENTURYWESTMODERNTIMESPAINTINGSTYLEANDPAINTEROFAFFECTKEYWORDORIENTTHERNECULTURECHOICECHARACTERISTIC、AFFECTN

簡介：流動的痕跡以孫遜作品為例淺析繪畫與動畫的結合THEFLOWINGTRACEANALYZETHECOMBINEOFPAINT崦ANDANIMATIONASSUNXUN’SWORKSFOREXAMPLE㈣9哪7㈣Z帆0MM7叭3㈣2眥Y目錄中文摘要一?一一??一～一一～一?一一??一?一1英文摘要一～～一?一一?一一～一??一?一一～一2弓I言一一～一一～??一一?一一?一一～一??一一3第一章導論?????一～?一～一?一一?～?～一41．1本課題研究目的與背景一一一??一～一一．一一一～41．2本課題研究內(nèi)容與方法?一?一一一～一一?一～4第二章動畫與當代繪畫結合的現(xiàn)狀一????一?一?一一?一52．1繪畫作品的概述～一??一?一一?一一～一?一～62．1．1繪畫藝術的特點一???一??一一?一一一～62．1．2繪畫作品表現(xiàn)手法的局限性?～一一～?一__．一～72．2動畫的特性??一?一一?一一?一一～一一一一一一72．2．1動畫倉0作手法的夸張性一?一一?一一～一一一72．2．2動畫表現(xiàn)形式的多樣化一?～一?一一～一一一一82．2．3動畫卡目對于繪畫存在的弊端一?一一～一一～一一82．3動畫與繪畫結合的現(xiàn)狀分析?一?～一一～一一～一一82．4動畫與繪畫布日互借鑒的表達方式～一?～??一一?～82．4．1藝術語言～一一～????一一一?～一一一一82．4．2表現(xiàn)形式～一一～一?～一?一一?一一一一92．4．3色彩應用～一?一??一一～一一～一一92．4．4技術應用～?一～一一～一?一一??一一102．5動畫與繪畫之間的依賴與影響一?～一??一?一一一10第三章一場革命中還未來得及定義的行為引發(fā)的思考?一～一一一LL3．1以版畫的層面分析剝、遜作品?～一?一一?一一～一113．1．1繪畫形式一一一一一～一一一．一～?一?一一一123．1．2色彩的精妙?__?一?一一～一一～一?一一L23．1．3以刀千℃筆的表達方式??一??一?一一～一133．1．4獨特的印痕機理一～一?～一??一??一一133．2從動畫的角度解讀利、遜作品?～一～一一～一一～一133．2．1藝術語言??一～一一～一一一一?一一一133．2．2表現(xiàn)形式?一???一～一?一??一一一133．2．3技術應用～一一?一一～一?～一?一一一143．3不同專業(yè)背景對作品的影響與區(qū)別一?一??一?一一一143．3．1不同鏡頭語言的表達所產(chǎn)生的對比?一?一一?一143．3．2選題內(nèi)容的差異帶來的不同追求一～?一～一?一15第四章繪畫與動畫結合所帶來的影響與啟示4。1繪畫以一種非靜態(tài)的表現(xiàn)形式出現(xiàn)對動畫的影響一～一___一174．1．1JE靜態(tài)的手段～??～一～一一?一一?一174．1．2倉4作過程的表現(xiàn)一～一?～一?～???一一184．1．3動畫與繪畫卡目結合的優(yōu)勢與影響一?一?～??一一18

簡介：首都師范大學碩士學位論文繪畫中哀傷情感的表現(xiàn)比較分析凡高、蒙克、莫迪里阿尼的代表作中哀傷情感的表現(xiàn)姓名張宇申請學位級別碩士專業(yè)美術學指導教師劉孔喜20080519ABSTRACTSINTHELATE19THCENTURYEARLY20THCENTURY，WESTERNPAINTINGISINASEARCHFORANEWSTANDARDANDEXPERIMENTALARTTRANSFORMATIONPERIOD．THISPENODOFTHREEARTISTSTHATVINCENTVANGOGH，EDVARDMUNCH，MODILIANIDIVERSITYOFARTINTHISPARTICULARENVIRONMENTOPENEDUPTHEIROWNUNIQUEARTISTICPATH．ATHOMEANDABROAD，ONTHEIRBIOGRAPHIESANDPICTURESOFMANYPUBLISHED，BUTITWASNOTTHEWORKOFTHREEARTISTSTOCONTROLANALYSISANDCOMPARISON．INTHISPAPER，THREEARTISTSFROMTHEUNIQUECHARACTERANDEXPERIENCEASTHESTARTINGPOINT，ANALYSISANDRESEARCHSCREENEMOTIONALEXPRESSIONOFGRIEFLINEARFACTORSANDCOLOR，THENMOREPROFOUNDUNDERSTANDINGANDAPPRECIATIONOFTHEARTIST’SWORKS．SCREENDYNAMICFACTORSOFPERSONALITYANDTHEINGENIOUSAPPLICATIONOFCOLORARETHREEPAINTERSEMOTIONALEXPRESSIONOFGRIEFONCEAGAININIT．INPARTICULAR，THEREPRESENTATIVESOFTHETHREEHASASIMILARMAGICALEFFECT．INMODIGLIANI’SWORKS，THEELEGANTCURVESTOUZHEGENTLESADNESS；INMUNCH’SPAINTING，SUFFERINGTHECURVESUCHASBENDINGANDTORSIONQIANRUOLIFEINHELLGROANING；VANGOGH’SPAINTINGSINTHEUNIQUESTYLEOFTHECAMPAIGNREVEALEDASTRONGLONELINESSANDANXIETY．1WILLLEARNFROMTHEPERSPECTIVEOFCOLOR，ACCORDINGTOTHREEARTISTSUNIQUECOLORSCREENSYSTEMTODEFINETHEEMOTION．SUCHASVANGOGH’SINTENTIONTOIMPROVETHECOLORBNGHTNESSANDCONTRASTSCREENATTHESAMETIMEUSEAVISUALUNREST；MUNCHPREFERENCEFORNONCONFORMINGPURPLE，YELLOW，REDANDGREENANDTHEUSEOFSOPHISTICATEDCOLORORCOLORSATURATIONISHIGHINTHEGLOOMYPICTUREOFTHESUDDENWAYTOCREATEACLIMATEOFANXIETY；MODIGLIANITOREDANDGREENTOTHESCREENINTHEULTIMATEINHARMONY，HEBRUSHESUNDERTHEREDFEMALEBODYASASCULPTUREOFUNPARALLELEDBEAUTYANDHARMONYOFCOLORINTHELIGHTTHROUGHTHEGRIEF．KEYWORDSCLIMATEPERSONALITYTRAITCURVEOFSADNESSATTHESAMETIMECOMPANSON2

簡介：河北師范大學碩士學位論文從韓熙載夜宴圖談傳統(tǒng)繪畫中色彩的意象性姓名范艷芬申請學位級別碩士專業(yè)美術學指導教師朱興華20090401河北師范人學美術學碩十學位論文ABSTRACTWITHAUNIQUESTYLEANDSTRONGNATIONALCHARACTERISTICS，TRADITIONALCHINESEPAINTINGHASALONGHISTORYANDAUNIQUEAWARENESSANDUSEOFCOLOR，WHICHFORMTHETRADITIONALCONCEPTOFCOLORFROMTHEORIGINAL”FIVECOLORS”CONCEPTTOA”WITHFUCAICLASS”O(jiān)F”LIUFA”ANDTHE”FIVECOLORINK”，ALLOFTHEMCONVEYTHECHINESEPAINTING’SATTENTIONANDEXPLORATIONOF”COLOR”ANDFORMASERIESOFBASICRULESTOADAPTTOTHEREQUIREMENTS，’’WITHFUCAICLASS”，WHICHINDICATESTHEINHERENTCOLOLSETSASIDETHECOLOROFLIGHTSOURCEANDTHECOLOROFENVIRONMENT，ASWELLASOTHEROBJECTIVEFACTORSBOTHOF”WITHFUCAICLASS”ANDTHE”SUBFIVECOLORINK”PROPOSEDLATERREFLECTTHECOLORIMAGEFIRSTOFALL，THISPAPERSTUDIESTHETRADITIONALCHINESECONCEPTOFCOLORPOINTSOUTTHATTHETRADITIONALCONCEPTOFCOLORCHASESTHECONCEPTOF‘‘IMAGE’ANDPROPOSESTHECONCEPTOF‘‘COLORIMAGERY’，EXPLAINSTHATITISASUBJECTIVECOLORSYSTEMCREATEDBYARTISTS，ANDEXPLORESTHEBASEOFPHILOSOPHYWITHTHESPECIFICCONDITIONSOFPAINTINGOFDIFFERENTTIMES，THEPAPERALSOSETSFORTHTHETRADITIONALCONCEPTOFCOLORFROMAMONOCHROMECOLORTOGLORIOUSCOLORWHILEAFTERSONGYUAN，THETRADITIONALCOLORTENDSTOBESIMPLEANDTHEPAPERDISCUSSESTHECONCRETEMANIFESTATIONOFTRADITIONALCOLORDURINGITSDEVELOPMENTONTHEWHOLE，INTHECONTEXTOFTRADITIONALCHINESECULTURE，BOTHGLORIOUSANDSIMPLECOLORINPAINTINGUSETHECOLORIMAGE，EMPHASESONPEOPLE’SINITIATIONINPAINTINGSECONDLYFROMHANBANQUETMAPOFFIVEDYNASTIESANDGUHONGZHONGTHEPAPERANALYZESTHEHISTORICALANDCULTURALBACKGROUNDOFHANBANQUETMAP，POINTSOUTTHECONCRETEMANIFESTATIONOFCOLORIMAGEINHANBANQUETMAPEXPLAINSTHEINGENIOUSCOMBINATIONOF‘MEANING’’AND‘‘IMAGE’’，ASWELLFITSTHESPIRITOFIMAGEINWORKSFINALLYWITHTHEDEVELOPMENTOFCHINESECONTEMPORARYPAINTINGPEOPLE’STHOUGHT，AESTHETICASWELLILLSINTERESTARECONSTANTLYCHANGINGTHEINTRODUCTIONOFWESTERNCOLORLEADSTHETRANSFORMATIONOFTRADITIONALPAINTINGTOMODEMPAINTINGSINCE1990S，MODERNHEAVYPAINTINGSHOWSUPANOPENMINDOFCULTURE，BREAKSTHEFIXEDTHOUGHTPATTERNINPAINTINGLANGUAGE，ANDEXPLORESNEWWAYSINCREATIONWITHTHEINTERVENTIONOFNEWMATERIALSUCHASROCKANDNEWMEDIATHECREATIONOFHEAVYCOLORPAINTINGTENDSTOBEDIVERSITYANDII

簡介：上海大學碩士學位論文張大千繪畫作品市場特征探究姓名李何申請學位級別碩士專業(yè)美術學指導教師胡光華20090301張大干繪畫作品市場特征探究ABSTRACTASTHEMODEMCHINESEMASTEROFPAINTINGCHANGDAICHIENMARKETISONEOFTHEIMPORTANTFORCESINTHEARTMARKETCHANGDAICHIENMARKETNOTONLYHAVETHESOMEMARKETCHARACTER勰OTHERTRADESBUTALSOHAVEITSOWNPARTICULARITIESSINCEITENTEREDTHEAUCTIONMARKET，HAVENINGBEENSHOWASTEADYANDHEALTHYSITUATION，NOMATTERTRADINGVOLUME，CLOSINGCOSTORTRANSACTIONRATEALLKEEPRISINGTREND，LANDSCAPEPAINTINGTAKEUPTHEMAINPLACEOFHIGHERPRICEHISFIGUREPAINTINGMARKETSCOMPARABLYKEEPSTEADILYRISINGTRENDHISFLOWERANDBIRDPAINTINGHAVETHEPOTENTIALOFRISINGAGAINTHEPERSQUAREFOOTOFFINALPRICE，AIMPORTANTFACTORTHATUSEDTOMEASUREAPAINTER’SVALUEOFWORK，ISALSOSHOWAHIGHERTREND，ITISNOTLIKETHEFAMOUSOFSHANGHAIFACTIONPAINTERSDEVELOPMENTTRENDSSUCHASLUYANSHAOWUHUFAN，THEIRPERSQUAREFOOTOFFINALPRICEINALLAUCTIONPERIODSHOWOSCILLATIONSANDNEGATIVEGROWTH，SOTHEIRWORKSVALUENEEDFURTHEREXCAVATEANDCULTIVATINGINLARTMARKETTHEEMERGENCEOFCHANGDAICHINE’SPARTICULARPAINTINGMARKETSITUATIONNOTBYACCIDENT，WRITERTRIEDTOINTERPRETHISPAINTINGSABOUTTHEREALREASONSFORTHESPECIALMARKETMERCHANDISEFROMTHEASPECTSOFTHEVALUEOFARTITSELFARTMARKETANDCOLLECTORSMARKETBEHAVIORTHEINTRINSICFACTORTODETERMINEITSMARKETISTHEVALUEOFARTMERCHANDISE，OFWHICHTHEARTISTICVALUEANDCULTURALVALUESARETHECORE，ACADEMICVALUEANDMARKETVALUEAREESSENTIALTOEXTENDCHANGHAVEAKEENAWARENESSOFTHEMARKETINHISLIFETIME，CARLBEBETTERTOCHANGEHISSTYLEBASEDONMARKETAESTHETICTRENDS，ANDBEGOODATCOOPERATEWITHANINTERMEDIARIESANDTHEMEDIA，THROUGHTHEDISSEMINATIONOFARTEXHIBITIONSEFFECTTOSETTLEHISOWNPAINTINGSOFHISTORYVALUEAFTER90S，THEAUCTIONHOUSEINTERVENTIONINCHINESECALLIGRAPHYANDPAINTINGSMARKET，ACHIEVEAMAXIMIZATIONOFTHEVALUEOFCHANGDAICHIENPAINTINGVIEWHISRELATEDACADEMICRESEARCH，PUBLICITYBYTHEUSEOFMODEMMEANSSUCH勰THEMEDIANOWTELEVISIONSTATIONS，NEWSPAPERS，MAKINGUSEOFTHEIRWORKSSCHEDULINGRULESOFTHEMARKETORDERTOCREATEACLIMAXAUCTIONTOATTRACTTHEATTENTION

簡介：東北師范大學碩士學位論文丙烯與我的繪畫語言視覺觀姓名龐磊申請學位級別碩士專業(yè)美術學指導教師宋學智20090501ABSTRACTTHETRADITIONALPAINTINGWITHTHEARTIST’STHOUGHTHASRHYTHM，PROPYLENEMATERIALSANDPROPYLENEMEDIAUSEDISTHEARTIST’SBOLDATTEMPT，NEWMEDIA，THEUSEOFNEWMATERIALSBROKETRADITIONALPAINTINGMATERIALSWITHITSEXCELLENTPROPYLENEMATERIALCHARACTERISTICSOFCONVENIENT，HASMADEITMOREANDMOREWIDELYUSEDANDNUMEROUSARTISTSPROPYLENEMEDIAAGENTANDPROPYLENEPAINTINGMATERIALSFORPAINTINGLANGUAGECHANGESANDDEVELOPMENT，CREATEAN‘UNPRECEDENTEDDEVELOPMENTSPACEARTISTSUSINGARTSYMBOLS，INHERITEDEXISTINGCODE，ONTHEOTHERHAND，THEMODEOFEXISTINGCONSCIOUSLYBREAKTHROUGH，ITALSOMAKESACREATIVEARTISTSINTHEWIDERPLATFORMTHEARTISTISTOUSEASASYMBOLOFINDUSTRIALPRODUCTS，DUEONTHEREADYMADEINDUSTRIALPRODUCTSCLOSELYLINKEDWITHTHELIFEOFPEOPLE，OBJECTS，USEASHUMANLIFE，THROUGHMEMORYPERCEPTIONSYMBOLSOFARTTOHIGHLIGHTINNERLIFEENERGYCONVERSION，THISISUSEDINTHEWORKCANBEVERYINTUITIVEIDEA，ANDPAINTERSTABLEVIEWEREASILYTHEACCUMULATIONOFHUMANCIVILIZATIONANDHISTORYANDRICHCULTURALMEANINGINANAGEOFSCIENCE，WHICHISTHEPERCEPTIONISNOTOUTOFTHEEXPERIMENTALANALYSISOFTHEMATERIALISHUMANPERCEPTION，THESIGNIFICANCEOFHUMANITYWITHPEOPLEOFCONSCIOUSNESSANDDEEPENING，PETROPHYSICALPROPERTY，HADTHETIMEANDREPRODUCTIVITYTODAY，THEARTISTICCREATIONOFTHESEXUALMEANINGISBASEDONTHEIRSPIRITUALDEMANDARTISTSFORSPIRITUALMESSAGEOFTHISCREATION，ALSOHASTHEVALUEOFCONTEMPORARYCONTEXTKEYWORDSPROPYLENE；MATERIAL；SYMBOLS；MATERIALSⅡ

簡介：南京師范大學碩士學位論文淺論中西傳統(tǒng)繪畫節(jié)奏姓名馮韜申請學位級別碩士專業(yè)藝術學；美術學指導教師吳維佳20090518ABSTRACTIIABSTRACTRHYTHMISAFAIRLYCOMMONPHENOMENONINNATUREFROMTHEBIRTHOFTHEUNIVERSETODESTROYTHEFUNCTIONINGOFWLDENERGYCONVERSIONTHEREPLACEMENTOFSEASONSTHROUGHOUTTHEYEARTHEPENDULUMSWINGINGSURGINGWAVESASWELLASRESPIRATYRHYTHMCHANGEEXISTSITCANBESAIDTHATALLTHINGSAREALWAYSCHANGINGOBVIOUSLYSECRETLYDISPLAYINGTHEIRENERGYOFLIFERHYTHMINPAINTINGARTRHYTHMARTISTAREMANYMODELINGELEMENTSINTHEPERFMANCECONDUCTEDINANDERLYMANNERTHEREISCHANGEINTHESTRENGTHOFONEOFTHEMEANSTODEALWITHITTHEUSEOFPAINTINGASPECIAL“LANGUAGE“REFLECTSTHESTRENGTHOFTHINGSINSPTSSPEEDCHANGETHESEVERITYOFAVARIETYOFRELATIONSTOSHOWTHEUNIQUEBEAUTYOFITSPAINTINGSPERFMANCEARTHASAVITALROLETHISESSAYPUTSFWARDTHEPRODUCTIONFUNCTIONOFRHYTHMANALYZESTHEDIFFERENTCOGNITIVEABOUTITBETWEENCHINESEWESTERNTRADITIONALPAINTINGINWHICHMAINLYANALYZESTHEDIFFERENTCOGNITIVEABOUTRHYTHMOFMODELINGELEMENTSBASEDONHISTYIMAGESBECAUSEOFTHEDIFFERENCESOFCULTURALTHINKINGMODELSPAINTINGTOOLSTHEREAREDIFFERENTDISPLAYOFAPPLICATIONEMPHASISOFTHERHYTHMOFMODELINGELEMENTSBASEDONLIKENESSCHINESETRADITIONALPAINTINGMAINLYAPPLIESTHERHYTHMWITHOBVIOUSSUBJECTIVITYEXPRESSESITSFEELINGSTHROUGHHOGARTH’SLINECHIAROSCUROWHILEWESTERNTRADITIONALPAINTINGPAYSMEATTENTIONTOEXPRESSINGFEELINGSTHROUGHCOLCHIAROSCUROWITHOBJECTIVITYBASEDONAPPEARANCERESEMBLANCEFINALLYTHEESSAYPUTSFWARDTHESIGNIFICANCEOFTHERESEARCHONPAINTINGRHYTHMFROMTHEPERSPECTIVEOFPAINTINGRHYTHMITSELFGLOBALARTENVIRONMENTWHICHISTOFINDOUTTHENEWWAYCRESPONDINGRHYTHMINTHENEWCULTURALLANGUAGESURROUNDINGSKEYWDSPAINTINGRHYTHM，SHAPE，LIGHTSHADE，COL，TEXTURE

簡介：勝物而不傷論視知空間與繪畫空間的對應關系美術學油畫董文通一韓寶生教授一摘要本文以中國哲學莊子中“勝物而不傷”的哲學觀點和西方現(xiàn)象學哲學作為理論依據(jù)，對繪畫的空間秩序建構予以分析研究。由繪畫的空間建構主體“身體空間”入手，圍繞“真正偉大的繪畫作品“如何建構為目標，通過對繪畫空間秩序建構與現(xiàn)實空間秩序的對應關系出發(fā)展開論述。文章的前一部分闡述了“勝物而不傷”的理論淵源及概念解釋。通過論述“勝物而不傷”實現(xiàn)的現(xiàn)實前提，簡要論述它對于繪畫，或者說真正偉大的藝術作品的指導意義。文章第二部分重點探討了身體空間的諸多屬性，及其與現(xiàn)實空間的關系。之后詳盡論述了“勝物而不傷“對繪畫者視知空間體驗的要求，指出在認識事物、感知事物存在真實的體驗中，“清虛”是前提，“自守’’是原則。最后闡述了“勝物而不傷”這一認知事物的體察原則，只有建立在主體身體屬性的基礎上才能實現(xiàn)。文章第三部分論述了建構繪畫空間秩序的要素，以及身體空間屬性在實現(xiàn)繪畫空間秩序建構中的現(xiàn)實意義及其決定因素。同時闡明了“勝物而不傷”對繪畫空間秩序建構的要求，并且進一步揭示了在繪畫實踐中，主體自身平衡意識的建構與錯覺的參與同樣是深化、詮釋“勝物而不傷”意義的行為需要。文章最后一部分通過對典型畫家的代表性作品的分析，從實際可操作的角度出發(fā)，進一步論證了“勝物而不傷”觀點的現(xiàn)實意義。“勝物而不傷”是感知事物存在真實的有效途徑，是感知自身真實意識的絕佳方式。在繪畫建構過程中，通過對空間秩序的理解，實現(xiàn)了呈現(xiàn)事物真實存在與主體真實情感意識的完美平衡。既實現(xiàn)了事物本身的價值，又彰顯了知覺主體存在的意義，同時把繪畫的單純表現(xiàn)的屬性還給了繪畫，使繪畫回歸自身。關鍵詞勝物而不傷、身體空間、繪畫空間、空間秩序、存在真實研究類型其它TLLEPRACTICALPOIILTOFVIEWANDFURTHERDEMONSTRATEDTHATPRACTICALSIGNIFIC觚CEP0INTO。VJEWCONTROLTHINGSWITHOUTINJURY”。。CON仃OLTHINGSWMUTINJ叫’ISALLEFFECTIVEWAYTOPERCEIVEDTHEE【IS‘ENCEOFTHLNGS1SA燈EATWAYT0PERCEIVEDSELFCONSCIOUSNESSINTHEPAINTINGPROCESSBYUNDERS協(xié)DLNGSPATLALORD甌TOACHIEVEMEPE疵CTBALANCEBETWEENSHOWTHEREALTHINGANDPERSON’STMEFEELINGSNOTONLLI『REALIZESTHEVALUEOFTHETHINGITSELFALSOHIGHLIGHTSTHESIGNIFICANCEOFTHEEXLSTENCEOFMEMAINPERCEPTION，ATTHESAMETIMETHEPERFORMANCEOFTHEPROPERTIESOFPUREPAINTLNGBACLTO1吐LEDRAWING，SOTHATPAINTINGHASITSOWNSIGNIFICANCEKEYWORDSC。N仃OL蚰NGSWIM。UTINJURYB。DYSPACE，PAINTINGSPACE，SPATIALORDER，REALBEINGTHESISOTHERIII

簡介：南京師范大學碩士學位論文論宋代貨郎圖中物件造型在現(xiàn)代兒童題材繪畫中的應用姓名王小娟申請學位級別碩士專業(yè)美術學指導教師劉赦20100525ABSTRACTABSTRACTCHILDREN’STHEMESOFTRADITIONALCHINESEPAINTINGCHINESEPAINTINGASAIAINTEGRALPARTOFCHINESEFIGUREPAINTINGASSOCIATEDWITHTHEPRODUCTIONDEVELOPMENT，ANDHASUNDERGONETHOUSANDSOFYEARSOFACCUMULATIONANDTHEEVOLUTIONOFCULTURE，UNIQUEARTSANDCULTURALCHARACTERANDAESTHETICFORM．THISARTICLEFIRSTCHILDBEFORETHESONGDYNASTYSUBJECTSABRIEFOVERVIEWOFTHEDEVELOPMENTOFCHINESEPAINTING，SONGIMAGEONTHESCREENBEFORETHECHILDISAFOILOFMULTIPLEROLES，SEPARATETHETHEMEOFPAINTINGS，OFACHILDLESS．THESONGDYNASTY,CHILDREN’SDRAWINGDEVELOPMENTASASEPARATESUBJECTCATEGORIES，THISARTICLEBYSUHANCHENANDLISONG’STWO”STREETVENDORMAP”O(jiān)FRESEARCH，ANALYSISOFTHETWOIMAGESOFVARIOUSOBJECTSSHAPECHARACTERISTICSANDPAINTINGTECHNIQUES，“STREETVENDOR,”ALARGENUMBEROFTHEUSEOFOBJECTMODELINGFORTHESCREENTOCREATEAMORERELAXEDANDHAPPYATMOSPHERE，GOODBACKGROUNDOFTHEMAINCHARACTERSOFTHELATERPAINTINGSHAVEAPROFOUNDIMPACT．ICOMBINECREATIVEINTHEIRFEELINGSANDEXPERIENCESTHATTHESONGPAINTING”STREETVENDOR,”APORTRAYALOFTHEOBJECTMODELINGTECHNIQUEFORTHEPERFORMANCEOFCHILDREN,SUBJECTSOFCHINESEPAINTINGISWORTHLEARNING，HELPINGCHILDRENINNOCENTANDLIVELYPERFORMANCECHARACTERISTICSOFTHESCREENTOCREATEAMORERELAXEDANDHAPPYATMOSPHERE．REPLACETHEIRPAINTINGTECHNIQUESLITTLECHANGED，THESCREENWILLHAVESOMEMODEM．FULLTEXTCONSISTSOFTHREEPARTSCHILDRENBEFORETHEFIRSTCHAPTEROFTHESONGDYNASTYTHEMEOVERVIEWOFTHEDEVELOPMENTOFCHINESEPAINTING．CHAPTERIIMAINLYINTHESONGDYNASTY,”STREETVENDORMAP”O(jiān)FRESEARCHANDANALYSIS，ANDBRIEFLYDESCRIBETHEIRMETHODOFOBJECTMODELINGTHEIMPACTONFUTUREGENERATIONS．CHAPTERIIIDESCRIBESHIMSELFINTHESONGDYNASTY,”STREETVENDOR,’’ACHARACTERIZATIONMETHODOFMODELINGOBJECTSABSORBANDLEARNFROM，ANDFROMTHECOMPOSITION，SHAPE，COLORSIDESCRIBEDTHREESUBJECTSOFCHINESEPAINTINGFORCHILDREN’SCREATIVEEXPERIENCESOFEXPERIENCE．KEYWORDSSTREETVENDORMAP；OBJECTMODELING；CHILDTHEMEDTRADITIONALCHINESEPAONTING；CREATIONⅡ

簡介：東北師范大學碩士學位論文丹青妙筆著文章論凌叔華作品中的繪畫美姓名王會娜申請學位級別碩士專業(yè)中國現(xiàn)當代文學指導教師孫中田20050501ABSTRACTASONEOFTHEFIRSTWOMANHOVELWRITERSOFMODERNCHINESELITERATURE．LINGSHUHUA1900?1990，ALTHOUGHSHEHASNOANEARTHQUAKEONLITERARYCIRCLES．SHEMASTERSTHECULTUREOFEASTCOUNTRYANDWESTCOUNTRY，LEARNINGTOKEEPDEEPLY．SHEPURSUESINTHEARTUPAWAREOFSELFHIGHLY,SUPERTAKEOFFTHEESTHETICSENSEOFTHEUTILITYANDTHESMOKEDPOTTERYOFTHETRADITIONARTACCOMPLISHMENTS，ADDEDTHECREATIONATTITUDE，MAKINGHERWORKBECOMETHESPECIALARTSTYLE，ITMAYBESAID“PAINTINGTHEARTANDLITERATUREBREEZE，AVEINACCEPTSMUTUALLY”，DIDTOCONTRIBUTEFORTHEQUESTANDDEVELOPMENTSOFTHECHINESECONTEMPORARYLITERATURE．SHESINCEASCENDEDTHELITERARYCIRCLESBEFULLYFOCUSATTENTION．ASTOIT．LUXUN、ZHUGUANGQIAN．SHENCONGWENALLHAVETHECOMMENT．THISTEXTCREATESFROMANEWANGLEOFTHECONTACTOFTHELITERATUREANDTHEPAINTINGART，INQUIRINGINTOSOMEAPPRECIATEBEAUTYANDTHECHARACTERISTICOFLINGSHUHUA’SWORKS，TRYINGTOEXPANDTHENEWRESEARCHSPACE．THEFIRSTPARTOFTHISARTICLEEXPLORETHEREASONWHYLINGSHUHUA’SWORKSHAVETHEPAINTINGBEAUTY，THEREARETWOREASONSONEISTHATTWOKINDSOFARTSOFLITERATUREANDPAINTINGORIGINALLYHAVEMUTUALLYTHEPLACE，ANDTWOISTHECONDUCTANDACTIONSOFPAINTER’SACCOMPLISHMENTOFLINGSHUHUA．THECHARACTERQUALITIESAFFECTSHERLITERATURETOCREATE．BEINTHELIGHTOFTOPURPOSEOFTHEBEAUTIFULOVERALLTREATISEOFLINGSHUHUA’SWORKSINTHEPAINTINGRESEARCH，THISSTATIONERYBODYANALYZEDLINGSHUHUATOLEARNTHECREATIONSTOMELTTONOTETHEPAINTINGINCHINAESPECIALLYTHECREATIONSSPIRITOF“SCHOLARPAINTING”ANDTHEPORTRAITPAINTING．THISMAINBODYNOWFOLLOWINGFEWASPECTSONEISTODEPENDON“BLANK”IN“SCHOLARPAINTING”THEORY,WRITE“PICTUREALBUM”STRUCTUREWORKS；SETOUTFROMTHENATURALSCENERY，SUCHASTHEESTHETICSENSEOFTHEPAINTING，WRITE’‘SETOFPAINTING’’STRUCTUREWORKS；TWOISTHECOMPOSITIONLAYOUT．THERAYRESULTANDSTATICSTATESTHATTHESCENERYINTEXTDESCRIBESTOPURSUETHEPAINTINGSORTTOPRESENT；THREEISTOSUCCESSFULUSAGEOFTHECOLOR；FOURISASKILLMETHODTHATABSORBSTHEPORTRAITPAINTING，TRYHARDFORTHEFORMABSOLUTEBEINGANDHAVEWHILEMOLDINGTHEPERSON，THEFLAVORISVIVID．COMPAREDWITHTHEWOMANWRITERWHOCAUSESTHELONGPOPULARITY．SUCHASZHANGAILINGANDXIAOHONG，LINGSHUHUAMAYFEELLONELYSOMETIMES，BUTSHESTILLISIMPORTANT．SHEJUST1IKEAPICTURE，NEEDYOUTASTEITSOFTLY．AFTERTASTING，YOUWILLFILLTHATSHEHASTHEMAGICPOWERTHATLEADYOUTODREAMITLONGTIME．KEYWORDSLINGSHUHUA；BEAUTYOFDRAWING；‘’PICTUREALBUM”STRUCTURE；“SETOFDRAWING’’STRUCTURE；SCENERYDESCRIPTION；FIGUREPAINTING

簡介：上海師范大學碩士學位論文李鱓及其繪畫藝術探析姓名范鈞申請學位級別碩士專業(yè)美術學指導教師張淳20100301ABSTRACTLISHANISTHEREPRESENTATIONOFPAINTERSINEIGHTECCENTRICSOFYANGZHOUATTHEMIDQINGDYNASTYHELEARNEDMOREENERGYANDACHIEVEMENTSMUCHINPOETRYPAINTINGANDCALLIGRAPHYHISPOETRYEXPRESSONE’SMINDDIRECTLYHUMORMEANINGFULHISCALLIGRAPHYPOSTEDCHASINGBROKENMONUMENT，MAJESTICHISPAINTINGISWIDELYAPPEALING，ANDDASH，HASMANYINTERESTINGDAYS，MADEFARREACHINGTOTHELATERSHANGHAISCHOOLANDOIBAISHILISHAHISGOODATPAINTINGFLOWERS，BIRDSANDINSECTS，JUNIORDIVISIONJIANGTINGXI，PAINTINGWORKINDUCEDTHEN，HELEMEDTOGAOQIPEI，HISPAINTINGTENDTOROUGHFREEHANDPENINTHESANETINE，HELEARNEDTOLINLIANG，XUWEIANDZHUDASTYLEPOWERFUL，RICHINWATERGETRIDOFTHERULESANDHASMOMENTUMHEUSEDOFINKORCOMBINATIONOFCOLORANDINK，HISPAINTINGNOTONLYADDEDCOUNTLESSGLORYFORTHEKANGXIANDQIANLONG，BUTALSOLEFTASUFFICIENTLEGACYFORREFERENCEFORTHEWORD，INTHISPAPERLISHANISASACASESTUDYINDETAILOFHISLIFEEXPERIENCES，ILLUSTRATINGTHEEVOLUTIONANDONTHEANALYSISOFTHECHARACTERISTICSOFHISART，HIGHLIGHTSHISLITERARYFLOWERTHEME，CONCEPTION，THEWORKS，DRAWINGSANDMANYOTHERASPECTSOFTODEVELOPANDCHANGEFINALLYTHEARTICLESUMMARIZESSOMEOFTHEARTOFLISHANSTRATEGIES，THESESTRATEGIESMADEREFERENCETOTHECONTEMPORARYSIGNIFICANCEOFCREATIVEFLOWERKEYWORDSLISHANFLOWERSTYLEEVOLUTIONARTSFEATURESARTSSTRATEGYH