分流與整合——“馬來(lái)西亞華人中國(guó)繪畫(huà)”概念的梳理和思考（1919-1965）.pdf

1、索取號(hào)：——衛(wèi)蛆』△量墜L密級(jí)：———_二二彀——一南京師勉犬掌博士學(xué)位論文冒迅到分流與警合一馬來(lái)西亞單人中圜繪畫(huà)”概念的梳理和思；g(1919—1965)TheDiffluence＆Conformation一一Theredefiningandfelhmk迅oiltheChinesepaintingofMalaysianChinese(19191965)作者t顫泉發(fā)院系：美術(shù)學(xué)院指導(dǎo)教師：范景中教授學(xué)科專(zhuān)業(yè)：美術(shù)學(xué)ABSTRACTTit

2、leTheDiffiuence&Conformation一一TheredefiningandrethinkingontheChinesePaintingofMalaysianChinese(19191965)ContentsFrom1919tO1966theevolutionandthefom_lationoftheconceptoftheChinesePaintingofMalaysianChinesehavebeentestedin

3、cessantlyAsyet，somescholarsandMalaysianChinesepaintersraisedthequestionregarding“DoesMalaysianChinesehasChineseLandscapePainting”&“ThedebateofthedifferencebetweentheChinesePaintingofMalaysianChineseandtheChinesePaintingi

4、nChina”，thesearethethemesthatcausemuchtensionwhichspringsfromaculture，havinglotsofelementsofcontradictionandalsofromtheproblemofidefitificationinagivenpoliticalbackgroundThisproblemofidentificationiscloselyrelatedtotheid

5、eaoftryingtomakeuseofitshistory＆culturalmeaningTheexistingideagoesmuchbeyondthesignificanceoftheconceptandlocmionGiventheTraditionalChinesePainting，theChinesePainting，‘NanyangColor”’NanyangStyle”，MalayalizetOChinesePaint

6、ingofMalaysianChinesetheprocessoftheevolution&formationplaysaveryimportantroleintheMalayaChinese’SChinesePaintingdescriptionoftheirOWnhistory&fateSincealongtimeTheChinesePaintingofMalaysia’Sconcept&origindefinedhytheexpe