簡(jiǎn)介：Y108829L校代嗎L0475號(hào)104753040613；．I南大學(xué)研究生碩士學(xué)位論文傳統(tǒng)中西繪畫(huà)空間意識(shí)比較ACOMPARISONONSPACECONSCIOUSNESSBETWEENTRADITIONALPAINTINGSINEASTANDWEST專業(yè)名稱美術(shù)學(xué)專業(yè)代研究方碼向塑墨塾堂魚(yú)嬰塞年級(jí)二OO四級(jí)研究生姓名墮墊導(dǎo)師姓名、職稱李明偉副教授完成日期三QQ主生里旦一論文主題詞傳統(tǒng)／中國(guó)繪畫(huà)／西方繪畫(huà)／空間意識(shí)ABSTRACTFROMTHETRADITIONALOPERAWIDELYKNOWNINBOTHEASTERNANDWESTERNCOUNTRIES，THISTHESISATTEMPTSTOPROBEINTOTHESPACECONSEIOUSNESSOFTRADITIONALPAINTINGSINEASTANDWEST．THEROLEORIENTATIONANDACTINGPROCEDURE0R1，F(xiàn)IETRADITIONALCHINESEOPERABEARALOTOFSIMILARITYTOTHOSEOFTHETRADITLENACHINESEPAINTING，THESPACECORSEIOUSNESSINPARTIEULAR．SOISTHERELATIONBETWEENTRADITIONALWESTERNOPERAANDPAJNTING．HENCE，JTISQUITEOBVIOUSTHATTHECUTURALCONCEPTOFANATIONEXERTSATREMENDOUSINFUENCEONTHECULTURALARTSINIT．THEREFORE，TOKNOWONEARTFORMWELL，WEMAYSTARTFROMITSSISTERARTFORMS．INORDERTOMAKEADEEPANDTHOROUGHCOMPARISONONSPACECONSCIOUSNESSOFTRADITIONALPAINTIRIGSBETWEENEASTANDWEST，THISTHESISADOPTSTHEINDUCTIONREEL。HOD，THATIS，F(xiàn)ROMSPECIFICTOGENERALANDFROMPARTTOWHOLE．FROMTHEANGLESOFHISTORYOFLDEVELOPMENT，IDEOLOGICALANDCULTURALCONCEPTS，PHILOSOPHYANDSCIENCE，THETHESISCONDUCTSANALYSESOFTHECOTRESPONDINGBRANCHESOFINTRADITIONALEASTERNANDWESTERNPAINTJNGS，NAMELY，F(xiàn)IGUREPAINTING，LANDSCAPEPAINTING，F(xiàn)LOWERANDBIRDPAINTINGANDSTILLLIFEPAINTING．1TMAKESADETAILEDINVESTIGATIONOFTHEPAINTJNGSINRESPECTSLIKESTENOGRAPHY，CHAROSCURO，POETRYANTICALLIGRAPHY．THROUGHCONTRASLANDCOMPARISON，THETHESISPRESENTSTHESLRIKINGDIFFERENCESINSPACECONSCIOUSNESSANDEXPRESSIONTECHNIQUESINEASTERNANDWESTERNPAINTINGS．PAINTINSISAVISUAART．ASTHEPAINTINSITSEFBESTILLUSTYARESTHEDIFFERENCEINSPACECONSCIOUSNESS，THISTHESISHASCHOSENSEVERATYPICALPAINTINGSINEASTANDWESTASEXAMPLES．INTHEPROCESSOFTASTINGAND

簡(jiǎn)介：同濟(jì)大學(xué)人文學(xué)院碩士學(xué)位論文梅洛龐蒂視見(jiàn)繪畫(huà)理論研究姓名李冰申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美學(xué)指導(dǎo)教師陳家琪20070601同濟(jì)大學(xué)學(xué)位論文原創(chuàng)性聲明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(kāi)發(fā)表或者沒(méi)有公開(kāi)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)位論文作者簽名M產(chǎn)干月，廠EL

簡(jiǎn)介：遼寧師范大學(xué)碩士學(xué)位論文試論繪畫(huà)的構(gòu)圖張力姓名王文申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師孫靜茹20070528ABSTRACTPICTURECOMPOSITIONTENSIONCOMILLGTHEMAINBODYOFABOOKTOBEDISCUSSEDBEINGTRYINGSPREADINGOUTAROUNDDRAWING．THATATPRESENT，DISCUSSIONABOUTDRAWINGPICTURECOMPOSITIONDOESNOTCAREISINTHEHOMELANDBESTILLABROAD，ISINAPRETTYCOMPLETELEARNINGLEVEL．BUTDISCUSSIONTOTENSIONTHENBEACCOUNTSDIFFERANDOPINIONSVARY．BYNOW,THERESEARCHTOOPTESTHESIATENSIONREMAINSMOSTLYINTIEROFFACETHATTHEFORMANALYSES，SYSTEMRESEARCHSEEINGTHEOVERALLONTOLOGYNOTYET．ATHOMEANDABROAD，SYNTHESISABOUTPICTURECOMPOSITIONTENSIONCOMMENTSTHATRELATIVELYCOMPARATIVELYFEW,ANDNOTENOUGHCOMPLETE．BEMEMBEROFTHEAESTHETICTHEORYBOUNDARYCURRENTLY,STABLEBOUNDARYEXPOUNDINGTOTENSIONISQUITEMANY,THEMAINBODYOFABOOKADOPTUSAPSYCHOLOGY，AESTHETICSPROFESSOR，RUDOLFARNHAIMEXPOUNDINGTHATAMHAIMDEFINESTOTENSION．11LETHEORYBEINGTHEMAINBODYOFABOOKWITHAMHAIM’SEXPLANATIONABOUTTENSIONISPROPPEDUP．THISISTATTOOEDWITHFIVETOGETHERMARKOFPARTSPARTI，THESIGNIFICANCETALKINGABOUTPICTURECOMPOSITIONTENSION．EMPHASIZEPICTURECOMPOSITIONPOSITIONANDSIGNIFICANCEBEINGGOINGINGENERALNESSOFDRAWINGCHINESEPAINTING”．ANDPASSTHESIGNIFICANCEEXPLAININGTHATPICTURECOMPOSITIONANDTENSIONTALKABOUTTENSIONCOMINGEXTREMELYCLOSERELATION．THEDRAWINGTENSIONISTOEMBODYCOMINGLEECHINGONTOPICTURECOMPOSITION，PICTURECOMPOSITIONISPREMISECONDITIONFORTHEREEXISTINGINTENSION．COMETENSIONINDRAWINGTOCOMETRUESOMETIMESBYPICTURECOMPOSITIONTHISONELINK．ONLYHAVECOMPOSINGAPICTUREUNCERTAINEXISTENCETENSION．THETENSIONDEGREEISALSOCONDITIONACCORDINGTOCONCRETEPICTURECOMPOSITIONBUTORSTRONGORWEAK，ORHAVENO．DRAWINGHAVINGTENSIONBEINGABLETOSTRENGTHENTHETABLEAUDYNAMICFEELING，THEOPTESTHESIASTRENGTHENINGATABLEAUPOUNDSTHEFORCE，OPTESTHESIAAPPEAL．ANDBYAFFIRMINGTHEFINEARTSFORMMIDDLECOMINGCONCRETEEXAMPLEINDEEDEXISTENCETENSION．ANDBRINGFORWARDAQUESTIONWHATPICTURECOMPOSITIONHASTENSION，WHATPICTURECOMPOSITIONHASNOTENSION．PARTII，PASSESTHETENSIONCOMINGTOSTUDYTHEPICTURECOMPOSITIONANALYSINGTHEGEOMETRYLINE，SHAPESEXATHOMEANDABROADCONCRETEDRAWINGWORKEXAMPLE．JOINTHEWORKBORROWINGTHECONCRETEGEOMETRYLINE，SHAPENATUREPICTURECOMPOSITIONCHECKINGTENSION’SHAVING，THEFORMORNOT，DEGREEBEINPROGRESSANALYSISEXPOUNDSONEBYONE．ANDLISTTHEINHERENTEMOTIONHINTBEINGUNLIKETHELINE，THEGEOMETRICFIGUREONEBYONE．PART111，THEPICTURECOMPOSITIONTENSIONTALKINGABOUTANIMAGO．EXPLAINTHATTRADITIONTRADITIONALCHINESEPAINTINGIMAGOTHOUGHTCAUSEISTHEREASONWHYTRADITIONALCHINESEPAINTINGISCALLEDTRADITIONALCHINESEPAINTING，DEPENDSONPROPERARTOFTHECHINESENATIONWATCHES，BUTTHISARTCONCEPTFORMATIONANDPERFECT，TAOISTTHEORYBEINGPRODUCEDOBSERVESANDZENICPUSHINGHELPSLOCATIONTOBEBASIC．ANDGIVEANEXAMPLEANALYSINGIMAGOPICTURECOMPOSITIONTENSIONCONDITION．PARTIV，THETALKCUTOUTDYADICPICTURECOMPOSITIONTENSION．SETFORTHTHECHARACTERISTICCUTTINGOUTDYADICPICTURECOMPOSITIONCONCEPT，CUTTINGOUTDYADICPICTURECOMPOSITIONPRODUCINGOPTESTHESIATENSION．COMEANDTOANALYSETHEPROTRUDING

簡(jiǎn)介：武漢理工大學(xué)碩士學(xué)位論文圖畫(huà)見(jiàn)聞志繪畫(huà)美學(xué)研究姓名閆麗麗申請(qǐng)學(xué)位級(jí)別碩士專業(yè)設(shè)計(jì)藝術(shù)學(xué)指導(dǎo)教師鄒其昌20100401ABSTRACTTUHUAJIANWENZHIISALLACADEMICWORKOFPAINTINGHISTORYWRITTENBYGUUOXUINNORTHERNSONGDYNASTY，SECONDONLYTOTHELIDAIMINGHUAJIINTHEHISTORYOFPAINTINGINCHINAITINCLUDSAWEALTHOFARTHISTORICALSUBJECTS，SUCHASARTISTBIOGRAPHIES，CRITICALBIOGRAPHIES，PIECESOFSTORIES，ETC，WHICHEMBODIEDBYMANYAESTHETICPOINTS，PAINTINGVIEWSOFGUO，ISTHECRUCIALDOCUMENTTOEXPLORETHEPAINTINGHISTORYBETWEENTANGDYNASTYANDNORTHERNSONGDYNASTYITHASBEENATTRACTINGBYMOSTANCIENTANDMODERNSCHOLARSINCLUDINGALOTOFFOREIGNRESEARCHERSANDCREATINGINCREASINGLYPROFOUNDANDLASTINGIMPACTWITHITSEMERGENCESONGDYNASTYLITERATUREANDPAINTINGSTUDIESSUPPORTEDLITERARYACTIVITIESPROMOTEDANDREACHEDANUNPRECEDENTEDDEVELOPMENTBASEDONCONFUCIANISMSONGDYNASTYEXTENDEDTANGDYNASTY’SACHIEVEMENTONACADEMICINNOVATIONTOTHEPROSPEROUSSITUATIONSONGDYNASTYCLASSICALART，ASBEANIMPORTANTPARTOFTHESONGDYNASTYCULTURE，WASCOMPOSEDOFTHEIMPORTANTASPECTSOFSONGDYNASTYCULTURE，ANDCAMEINTOBEANUNIQUEEXISTENCEOFTHEDEVELOPMENTINTHEHISTORYOFTRADITIONALPAINTINGSTUDYGUOWASBORNINARISTOCRATICFAMILYWITHLARGEAMOUNTSOFCOLLECTEDBOOKSHEWROTESOMEBOOKS，BUTBECAUSEOFAFFECTEDBYTHEBOOMINGOFPAINTINGDOMAINAFTERZHANGYANYUAN’SLIDAIMINGHUAJIEXPIREDINEPOCHOFHUICHANG841，THEMOSTAREINTHEDISORDERGUODECIDEDTOWRITEABIOGRAPHYFORTUHUAJIANWENZHITHATTHETIMESPANISMORETHAN200YEARSBETWEENTHEFIRSTYEAROFHUICHANGTOTHESEVENTHYEAROFXINING1074THEFIRSTVOLUMEMADEATHEORETICALSTUDYIMITATINGFROMZHANGYANYUAN’SSTYLE，INVOLVINGCOLLECTIONSKILL，THEORYCRITICISMANDSOON，WHICHEXPRESSEDTHEZHANG’SAESTHETICPOINTMAINLYTHEIITOIVDISPLAYEDTHEARTISTS’BIOGRAPHYANDESSAYS，ABOUTMORETHAN280ARTISTSTHEVANDVISHOWEDMANYPIECEDSTORIESABOUTARTSTHEFUTURITIESPARALLELEDTHISBOOKTOTHELIDAIMINGHUAJILIKETHE”HAN”TOTHE”HISTORICALRECORDS”HISTODANMADANLINSAIDTHETUHUAJIANWENZHIWAS”THEDIRECTORYOFREADINGOFPAINTING”COMMENTSACROSSTOTHEGUO’STUHUAJIANWENZHIANDTHESTUDYOFTHEAGE，STRUCTUREⅡ

簡(jiǎn)介：JIJILUFLLILLIIIFLIFJY3416691分類號(hào)LUDCO密級(jí)編號(hào)中國(guó)美術(shù)學(xué)院碩士學(xué)位論文兩漢以后神鬼繪畫(huà)的異化一一以淮南子思想影響為例THEALIENATIONOFGHOSTPAINTINGAFTERTHEHANDYNASTYTAKINGTHEINFLUENCEOFHUAINANZIPHILOSOPHYASANEXAMPLE許漢梟指導(dǎo)教師姓名職務(wù)、職稱捻左副教授2疊?？p副教援2申請(qǐng)學(xué)位級(jí)別藝塞殛童業(yè)堂位專業(yè)名稱差本論文提交日期2QL墨年5月論文答辯日期2QL基年5月學(xué)位授予單位和日期生國(guó)墓苤堂院答辯委員會(huì)主席評(píng)閱人細(xì)J呂繹6司2018年5月30日中國(guó)美術(shù)學(xué)院一版畫(huà)系一許漢梟兩漢以后神鬼繪畫(huà)的異化以淮南子思想影響為例目錄目錄1摘要2ABSTRACT；引言5第一章“巫”與神鬼文化一61楚地初民生命意識(shí)的覺(jué)醒62感應(yīng)認(rèn)識(shí)到神鬼文化721藝術(shù)思維的萌發(fā)722先秦繪畫(huà)中的“彼岸世界”9第二章淮南子中的思想轉(zhuǎn)折121逍遙游一一“巫化”的藝術(shù)思維122“游”和“雅”的分野133淮南子中的儒道糾葛15第三章兩漢以后神鬼繪畫(huà)的異化171“玄妙”的洛神賦圖172三教合流對(duì)神鬼繪畫(huà)的影響183“世俗化”的轉(zhuǎn)向20結(jié)語(yǔ)24參考文獻(xiàn)25一、學(xué)術(shù)專著25二、期刊論文25專業(yè)能力展示27致謝30

簡(jiǎn)介：中國(guó)美術(shù)學(xué)院碩士學(xué)位論文論繪畫(huà)中的地平線THEHORIZONINPAINTING劉志成密級(jí)編號(hào)指導(dǎo)教師姓名職務(wù)、職稱井士劍教授余旭鴻教授申請(qǐng)學(xué)位級(jí)別蘭型頊硪。專業(yè)名稱羞苤裳論文提交日期2Q璺笙5目論文答辯日期至Q壘生三目學(xué)位授予單位和日期蟲(chóng)國(guó)羞苤雯陵2Q墾生墨目答辯委員會(huì)主席評(píng)閱人2018年5月12日中國(guó)美術(shù)學(xué)院繪畫(huà)藝術(shù)學(xué)院由畫(huà)系2015級(jí)劉志成論繪畫(huà)中的地平線目錄摘要”P4引言P51地平線的源起P52透視法畫(huà)面中的地平線P5二流變的繪畫(huà)中的地平線1地平線與眼見(jiàn)為實(shí)P72。再現(xiàn)的覆滅與地平線的轉(zhuǎn)變P93地平線的消失與再現(xiàn)PIO三界限之外的界限1觀看之外的觀看一P122界限與場(chǎng)P14結(jié)語(yǔ)P14參考文獻(xiàn)P15參考圖片P15致謝P183

簡(jiǎn)介：學(xué)位論文題目獨(dú)創(chuàng)性聲明本人提交的學(xué)位論文是在導(dǎo)師指導(dǎo)下進(jìn)行的研究工作及取得的研究成果。論文中引用他人已經(jīng)發(fā)表或出版過(guò)的研究成果，文中已加了特別標(biāo)注。對(duì)本研究及學(xué)位論文撰寫(xiě)曾做出貢獻(xiàn)的老師、朋友、同仁在文中作了明確說(shuō)明并表示衷心感謝。學(xué)讎文儲(chǔ)砑馬螂簽字吼2Ⅲ年4舢目學(xué)位論文版權(quán)使用授權(quán)書(shū)本學(xué)位論文作者完全了解西南大學(xué)有關(guān)保留、使用學(xué)位論文的規(guī)定，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。本人授權(quán)西南大學(xué)研究生院可以將學(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。保密的學(xué)位論文在解密后適用本授權(quán)書(shū)，本論文口不保密，口保密期限至年月止。學(xué)位論文作者簽名訝秀日飛鋤鮐爐人鼉西南大學(xué)碩士學(xué)位論文二、傳統(tǒng)山水題材佛畫(huà)的“以線造型”和“形神寫(xiě)照”23第二節(jié)當(dāng)代中西兼容并蓄形態(tài)一25一、佛像繪畫(huà)技法的“中西合揉”26二、佛像“現(xiàn)代人文主義”精神的表現(xiàn)30三、佛像“時(shí)空關(guān)系”的轉(zhuǎn)換32第三節(jié)當(dāng)代抽象表現(xiàn)形態(tài)35一、佛像的“具象性抽象”一35二、“非具象性抽象”37第四節(jié)當(dāng)代消解主義形態(tài)一40一、“扭曲”的藝術(shù)形象一40第四章當(dāng)代都市佛教題材繪畫(huà)藝術(shù)呈現(xiàn)多元形態(tài)的原因及未來(lái)發(fā)展向度43第一節(jié)呈現(xiàn)多元化藝術(shù)形態(tài)趨勢(shì)的原因43一、消費(fèi)對(duì)審美主體的精神性遮蔽43二、審美的泛化45第二節(jié)佛教題材藝術(shù)的發(fā)展向度47一、大眾審美文化下，堅(jiān)持佛教繪畫(huà)藝術(shù)審美的“多元化”發(fā)展47二、消費(fèi)主義時(shí)代，佛教繪畫(huà)藝術(shù)創(chuàng)作的本土、本真、本善、本美的統(tǒng)一ZI；結(jié)語(yǔ)51參考文獻(xiàn)53致謝57作者在攻讀碩士學(xué)位期間獲得的成果59

簡(jiǎn)介：碩士學(xué)位論文碩士學(xué)位論文題目遼寧現(xiàn)代工業(yè)題材繪畫(huà)的形成與發(fā)展論文編號(hào)專業(yè)名稱美術(shù)學(xué)（油畫(huà)）培養(yǎng)單位美術(shù)與設(shè)計(jì)學(xué)院沈陽(yáng)師范大學(xué)研究生處制類別教育碩士同等學(xué)力遼寧現(xiàn)代工業(yè)題材繪畫(huà)的形成與發(fā)展學(xué)位論文獨(dú)創(chuàng)性聲明本人所呈交的學(xué)位論文是在導(dǎo)師的指導(dǎo)下取得的研究成果。據(jù)我所知，除文中已經(jīng)注明引用的內(nèi)容外，本論文不包含其他個(gè)人已經(jīng)發(fā)表或撰寫(xiě)過(guò)的研究成果。對(duì)本文的研究做出重要貢獻(xiàn)的個(gè)人和集體，均已在文中作了明確說(shuō)明并表示了謝意。作者簽名日期學(xué)位論文使用授權(quán)聲明本人授權(quán)沈陽(yáng)師范大學(xué)研究生處，將本人碩士學(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；有權(quán)保留學(xué)位論文并向國(guó)家主管部門或其指定機(jī)構(gòu)送交論文的電子版和紙質(zhì)版，允許論文被查閱和借閱；有權(quán)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。保密的學(xué)位論文在解密后適用本規(guī)定。作者簽名日期

簡(jiǎn)介：鄭州大學(xué)碩士學(xué)位論文中國(guó)當(dāng)代意象油畫(huà)中傳統(tǒng)繪畫(huà)語(yǔ)言的意蘊(yùn)姓名付璐璐申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師王國(guó)建201205ABSTRACTABSTRACTCHINESETRADITIONALCULTUREISAL【INDOFINTELLECTUALANDELEGANT，GRACEFULANDRESTRAINEDTOASTATEOFPOETICCULTURETHEINNATEPOETICCULTUREMAKESCHINESETRADITIONALPAINTING，SUCH船F(xiàn)REEHANDBRUSHWORKPAINTING，CALLIGRAPHY，SCULPTURE，F(xiàn)OLKART，ETEAREPRESENTEDUNIQUE，HAVEDIFFERENTREGIONALSTYLECULTURECHARACTERISTICTHETRADITIONALCHINESEAESTHETICSSYSTEMIS”IMAGE”，”FREEHANDBRUSHWORKINTRADITIONALCHINESEPAINTING”ASTHECORE，AND”IMAGE“THEORYISTHETRADITIONALAESTHETICSOFOURCOUNTRYMAINCATEGORY，CHINAISTHETRADITIONALCULTUREOFTHETYPICALAESTHETICPROPOSITIONSOILPAINTINGFROMFOREIGNCOUNTRIESINCHINAWIDELYUSEDTHELANDTHATMOMENTOFBEGANTOABSORBTHENUTRITIONISTHETRADITIONALCULTUREOFCHINACHINESEARTISTSBOTHINTHEORYANDINTHEPRACTICEOFOILPAINTINGINTHEEXPLORATIONOFTHEDIFFERENTLEVEL，ANDHASALSOMADEVERYGRATIFYINGACHIEVEMENTSOFCOURSE，THEIMAGEISALSOCHINASOILPAINTINGARTISTSEXPLORERESULTSTHEDEVELOPMENTOFTHECHINESEOILPAINTINGINAFTERTHEREFORMANDOPENINGINTOTHERAPIDDEVELOPMENTPERIOD，THEREAREMANYARTISTSFROMCHINA’STRADITIONALCULTUREBEGANTOEXTRACTNUTRITIONMAINLYFROMTHETRADITIONALCHINESEPAINTING，SUCH嬲TRADITIONALCHINESEPAINTINGFREEHANDBRUSHWORKINTRADITIONALCHINESEPAINTINGFROMTHECABLE晰MTHEPENREFERENCE，COLORING，COMPOSITIONANDAESTHETICREQUIREMENTS；CANALSOFOLKARTFROMUSINGFOLKALLKINDSOFMATERIALS，THECOLOUROFBRIGHTLANGUAGELANGUAGEANDEXAGGERATEDTHEMODELLINGOFDISTORTIONANDSOONTOTHELANGUAGEOFTHEFRESHOILPAINTERSCREATEINSPIRATION，TOTHETRADITIONALCHINESEPAINTING，AESTHETICTHOUGHTTHISPAPERTAKESTHECHINESETRADITIONALPAINTINGLANGUAGETOTHEINFLUENCEOFTHECONTEMPORARYIMAGEOILPAINTING嬲THERESEARCHOBJECT，THEIMAGEOFTHEOILPAINTINGCULTURALPHENOMENA，DEVELOPMENTINTHEVIEWOFCOMPREHENSIVEINVESTIGATION，THROUGHTHISTHEORY，COMBINEDWITHTHECAPTIONMETHOD，AMORETHOROUGHUNDERSTANDINGOFTHEIMAGEOFTHELOCALIZATIONOFOILPAINTINGKEYWORDSCHINESETRADITIONALPAINTINGLANGUAGE；IMAGE；IMAGEOILPAINTINGII

簡(jiǎn)介：20世紀(jì)6070年代，西方藝術(shù)界被追求極致簡(jiǎn)約的極簡(jiǎn)主義和去物質(zhì)化的觀念藝術(shù)所引領(lǐng)，繪畫(huà)被認(rèn)為是一種陳舊的傳統(tǒng)藝術(shù)媒介且不合時(shí)宜。20世紀(jì)70年代末，“反藝術(shù)”潮流逐漸平息，繪畫(huà)被重新重視并登上世界藝術(shù)的舞臺(tái)。這種回到繪畫(huà)的“復(fù)舊”造就了80年代的“新意”，那些被形容成為“猛烈的”、“粗狂的”等風(fēng)格的繪畫(huà)開(kāi)始成為藝術(shù)市場(chǎng)的主流和博物館青睞的對(duì)象，這股繪畫(huà)“復(fù)蘇”的潮流從歐洲大陸興起，席卷北美并走向世界?！靶卤憩F(xiàn)主義”是這次繪畫(huà)“回歸”運(yùn)動(dòng)的總稱，它以薩特的存在主義哲學(xué)為依托，倡導(dǎo)思想自由、“以人為本”的藝術(shù)理念，真實(shí)反映出了當(dāng)代人的生活狀態(tài)和精神訴求。眼鏡蛇畫(huà)派的繪畫(huà)藝術(shù)吸取了原始主義、民間文化和稚拙藝術(shù)等風(fēng)格，向我們展現(xiàn)了一幅幅飽含激情、充滿活力的繪畫(huà)作品。德國(guó)新表現(xiàn)主義，以極具個(gè)性的藝術(shù)作品來(lái)表達(dá)對(duì)歷史和社會(huì)的關(guān)懷，并由此形成了一種具有新歷史主義傾向的文化景觀，畫(huà)家們通過(guò)藝術(shù)作品，挑戰(zhàn)、反抗歷史文本，試圖改變教條、僵澀的知識(shí)體系，強(qiáng)調(diào)個(gè)人與歷史和社會(huì)之間的關(guān)系。筆者在研究生學(xué)習(xí)期間，較為深入的研究了新表現(xiàn)主義繪畫(huà)的繪畫(huà)理念和藝術(shù)風(fēng)格，旨在通過(guò)論述新表現(xiàn)主義繪畫(huà)的發(fā)展歷程和藝術(shù)價(jià)值，以及其對(duì)筆者畢業(yè)作品的影響，來(lái)表達(dá)對(duì)繪畫(huà)藝術(shù)的認(rèn)知。

簡(jiǎn)介：LIIILLLIILLLLLLLLLLILY3282240分類號(hào)密級(jí)編號(hào)中國(guó)美術(shù)學(xué)院學(xué)位論文“處厚不薄，有實(shí)若虛“一一徐渭繪畫(huà)的現(xiàn)代性意蘊(yùn)研究張科奇指導(dǎo)教師姓名職務(wù)、職稱匿焰副麴援王握王熬拯21黃迭副教援2申請(qǐng)學(xué)位級(jí)別莖本亟童些堂焦專業(yè)名稱差丕論文提交日期星QZ生墨月Q旦論文答辯日期星QZ生墨旦Z旦學(xué)位授予單位和日期壺習(xí)基速盥盟絲』2笪答辯委員會(huì)主席蘭童盥丑一評(píng)閱人』型紅塹絲廣掣2017年05月09日中國(guó)美術(shù)學(xué)院一繪畫(huà)藝術(shù)學(xué)院油畫(huà)系一張科奇一“處厚不薄，有實(shí)若虛”一徐渭繪畫(huà)的現(xiàn)代性意蘊(yùn)研究目次摘要1ABSTRACT第一章引言3第二章徐渭美學(xué)思想產(chǎn)生的淵源一41徐渭的生平概述42明朝中后期的社會(huì)現(xiàn)狀43王陽(yáng)明心學(xué)對(duì)徐渭的影響5第三章徐渭美學(xué)思想概論一71“本色”思想72徐渭的“狂者”氣象83“輕形重韻”之主張94徐渭的藝術(shù)成就10第四章徐渭繪畫(huà)的現(xiàn)代性意蘊(yùn)121美學(xué)的現(xiàn)代性進(jìn)展122在美學(xué)現(xiàn)代性背景下對(duì)徐渭繪畫(huà)的審視123媒介在畫(huà)面中的運(yùn)用134通過(guò)徐渭繪畫(huà)現(xiàn)代性意蘊(yùn)的研究對(duì)個(gè)人創(chuàng)作的啟示13結(jié)侖15參考文獻(xiàn)17致謝18

簡(jiǎn)介：IIIIIIIIIIII1111111LY3416629分類號(hào)UDC密級(jí)編號(hào)中國(guó)美術(shù)學(xué)院碩士學(xué)位論文直接表現(xiàn)論梵高與弗洛伊德繪畫(huà)作品中的普通人形象DIRECTEXPRESSIONANALYSISOFTHEIMAGEOFORDINARYPEOPLEINTHEPAINTINGSOFVANGOGHANDFREUD王憶梅指導(dǎo)教師姓名職務(wù)、職稱筮叢鰉塾堡2二趙至副麴援2申請(qǐng)學(xué)位級(jí)別莖壟亟童些堂焦專業(yè)名稱差丕論文提交日期星Q墨生墨旦墨目論文答辯日期星Q壘生墨旦2墨旦學(xué)位授予單位和日期史國(guó)菱盔堂醫(yī)答辯委員會(huì)主席評(píng)閱人2018年05月18日中國(guó)美術(shù)學(xué)院造型藝術(shù)學(xué)院油畫(huà)系王憶梅直接表現(xiàn)論梵高與弗洛伊德繪畫(huà)作品中的普通人形象目錄中文摘要1英文摘要2一、梵高與弗洛伊德普通人形象的直接表現(xiàn)311何為直接表現(xiàn)312不同時(shí)代下的共同選擇3二、梵高與弗洛伊德的看421擺脫偏見(jiàn)直面對(duì)象422摒除表象刻畫(huà)真實(shí)4221梵高與弗洛伊德眼中的真實(shí)4222審丑與審美9三、梵高與弗洛伊德的繪畫(huà)語(yǔ)言931梵高與弗洛伊德繪畫(huà)的造型特點(diǎn)9311／J、人物的美與丑9312赤裸裸的肉體的身份11313動(dòng)態(tài)扭曲展現(xiàn)張力1132梵高與弗洛伊德繪畫(huà)的重量感12四、梵高與弗洛伊德的描繪普通人形象的創(chuàng)作方法對(duì)當(dāng)今人物創(chuàng)作的啟示1441與審美的關(guān)系1442永恒的繪畫(huà)性15結(jié)語(yǔ)16參考文獻(xiàn)17專業(yè)能力展示18致謂十33

簡(jiǎn)介：西南師范大學(xué)碩士學(xué)位論文繪畫(huà)的節(jié)奏姓名李旭申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師馬一丹200351THERHYTHMOFPAINTINGSMAJORFINEARTSPECIALTYOILPAINTINGSTUTORPROFMAYIDANAUTHORLIXU2000188ABSTRACTTHERHYTHMISAVERYUNIVERSALPHENOMENONITISOBSERVEDNOTONLYINOURLIFEANDENVIRONMENT，BUTALSOINALLFORMSOFARTINDIFFERENTARTFORMS，THERHYTHMHAVEMANYDIFFERENTEXPRESSIONSTHEDIFFERENCEBETWEENRHYTHMANDTHEMUSICALRHYTHMISTHATTHERHYTHMOFPAINTINGRHYTHMISAVISUALANDABSTRACTRHYTHMFORMMOSTOFPEOPLEAREN’T。FAMILIAR、試也THEWAYSOFTHEOBSERVATIONANDAPPRECIATIONOFTHEPAINTINGRHYTHMHOWEVER，THECAPABILITYOFUNDERSTANDINGRHYTHMISVERYIMPORTANTTOTHEPEOPLEWHOSTUDINGVISUAL黼THEARTICLEWILLSTATEINDETAILTHEOBSERVATIONEXPRESSIONANDANALYSISORAPPRECIATIONOFPAINTINGRHYTHMACCORDINGTOSOMERELATEDTHEORIESOFMUSIC。THISESSAYMAYBEHASDEVELOPMENTHASEONTHEPRECEDENETRSEARCHABOUTPANGINGRHYTHM。KEYWORDSTHERHYTHMOFPAINTINGFORMALESSENCEORDERESSENTIALSTRUCTURALPARTTHEWAYOFDEVELOPMENT2

簡(jiǎn)介：分類號(hào)密級(jí)論八大山人繪畫(huà)中題款布白的特點(diǎn)及藝術(shù)價(jià)值CHARACTERISTICSANDARTISTICVAIUEOFINSCRIPTIONANDBLANKIEAVINGINBADASHANRENPAINTINGS指導(dǎo)教師姓名、職稱塑埡垂塾撞湖南師范大學(xué)學(xué)位評(píng)定委員會(huì)辦公室二。一六年五月山人題款布白簡(jiǎn)約深邃、樸素自然的特點(diǎn)及藝術(shù)價(jià)值。關(guān)鍵詞八大山人，朱耷，題款，布白Ⅱ

簡(jiǎn)介：編號(hào)碩士學(xué)位論文碩士學(xué)位論文題目當(dāng)代工筆人物畫(huà)當(dāng)代工筆人物畫(huà)繪畫(huà)語(yǔ)言的表現(xiàn)探究繪畫(huà)語(yǔ)言的表現(xiàn)探究培養(yǎng)單位美術(shù)與設(shè)計(jì)學(xué)院專業(yè)名稱美術(shù)學(xué)指導(dǎo)教師許勇研究生張瑾完成時(shí)間2012229沈陽(yáng)師范大學(xué)研究生處制類別全日制研究生√教育碩士同等學(xué)力RESEARCHONTHEREPRESENTATIONOFMODERNMETICULOUSPTRAITPAINTINGABSTRACTSMETICULOUSPAINTINGPLAYSANINDISPENSABLEROLETHROUGHTHEWHOLECHINESEARTHISTYONROCKSILKPAPERMETICULOUSPAINTINGREPRESENTSTHETRADITIONOFANCIENTCHINAALSOITSUNIQUEETHICSTHISPAPERMAINLYARGUESABOUTTHEREPRESENTATIONOFMODERNMETICULOUSPTRAITPAINTINGWHICHHASINHERITEDTHETRADITIONALCHINESEPAINTINGIDEASSKILLSBUTALSOCLOSELYRELATEDTOCURRENTCULTUREBACKGROUNDTHEBASICACTERISTICOFCHINESEPAINTINGISTOREPRESENTSHAPEWITHLINEITWASFIRSTLYCONCERNEDINCONFUCIUSSSTATEMENTOF“HUISHIHOUSU”WHICHMEANSFIRSTLAYTHECOLOURTHENSKETCHTHELINEDURINGTHESOUTHDYNASTYBEFETANGXIEHESTATEDATHEYOF“GUFAYONGBI”WHICHMEANSBONESTYLEDRAWINGTHISTHEYSUMMARIZESTHEFUNCTIONTRADITIONOFCHINESEMOLDINGLINEBECOMESTHEKEYTHOUGHTMAINREPRESENTFMOFCHINESEPAINTINGTHETHEYOF“GRINDPEN“WASPUTFWARDFIRSTSUMMARIZESTHEFUNCTIONTRADITIONOF“MOLDING“INCHINESEPAINTINGWASESTABLISHEDWITHANEXPLICITTHEYFMASTOTHERESEARCHONOTHERTHEY“GRINDPEN“ISTHELIFEBLOODTHEMAINMEANSOFEXPRESSIONTHEDIRECTCARRIEROFCHINESEPAINTINGGUKAIZHIPUTFWARDARTISTICVIEWSOF“TOWRITEIMAGETOTEMPERAMENT““TOMOVETOTHINKWONDERFUL“INTHETHEIESOFCHINESEPAINTINGINTHECOMPARISONOFLANGUAGEMBETWEENCHINESEWESTERNLINESWEOBTAINEDTHATTHE“LINEARREPRESENTATIONS”ISTHEFMATIONOFAPAINTER’SCOMPLEXOWNAESTHETICSTYLEWHICHRESULTEDFROMTHEINHERITANCEEVOLUTIONOFTRADITIONALSPIRITTHEEMOTIONALEXPRESSIONOFLINEOFISNOTONLYHOWTODEALWITHTHECONTOUROFTHEEXTERNALSHAPEBUTWHAT’SMEIMPTANTISTHEEXPRESSIONOFMOODCHINESEMETICULOURSPAINTINGWASDIVIDEDINTO“MINERALCOL”“LIGHTCOL““DESALINATIONOFTHELINE”O(jiān)THERSEVERALMAINFMSINTHEEXPRESSIONOFCOLWITHTHEADVANCEOFTIMETHEVARIETYOFPAINTINGMATERIALSTOOLSWKSBECAMEMEACTERISTICINTHECONTEMPARYCHINESEMETICULOUSFIGUREPAINTINGSTHEATTEMPTONMIXEDMEDIAMULTIPLETECHNIQUESENRICHEDTHEFMOFWKSFEXAMPLETHEINTERVENTIONOFTHELIGHTMEDIATECHNOLOGYNEWFMSOFARTDESIGNTHEFMOFFOLKARTSOONAREALLFILLINGWITHVISUALPERFMANCESPACESINCONTEMPARYCHINESEMETICULOUSFIGUREPAINTINGSOTHETRANSFMATIONOFCREATIONIDEAHOWTOENHANCETHECOMPREHENSIVEAPPLICATIONOFMATERIALPERFMANCEINCONTEMPARYCHINESEPAINTINGHASBEENTHEPAINTERS’SDEBATERESEARCHTOPICNOWADAYSCHINESEARTISTSTREATLINESASAREPRESENTFMOFAESTHETICTENSIONTHELINEINPAINTINGSNOTONLYBEHAVEASATREATMENTTOWARDSEXTENISHAPESBUTALSOCONVEYTHEMOODSEXPRESSIONOFARTISTSTHEMSELVESINMODERNMETICULOUSPTRAITAREAARTWKSBECOMEMEME