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簡(jiǎn)介：華中師范大學(xué)碩士學(xué)位論文中國(guó)當(dāng)代繪畫創(chuàng)作研究（19901999）姓名蘇玲申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師肖豐201204ABSTRACTDURINGTHENINETYCURRENTDEVELOPMENTOFCHINESECONTEMPOM巧PAINTING，THECHINESEANISTS，ESPECIALLYYO帥GANISTSDRA、VSHEAVILYONCONCEPTS卸DL鋤GUAGEOFMODEMWESTEMARTINTHEMODEMWESTEMANISTICCONCEP惦ANDL鯽G_UAGEBYGRARINGWITHMODIFICATIONSAPPROACHAPPLIEDT0ANISTICCREATIONANDINTEGRATION0FLOCALELEMENTSSYMBOL，WHILETHEUSEOFSUCHPRACTICES，THEFORMATIONOFDIVERSIFICATIONOFSTYLES，THECONCEPTOFLOCALIZATION，THEARTMARKETOFNEWPANEMINMENEWPATTEM，HOWDOWEESTABLISHTHEVALUEOFCHINESECONTEMPORA巧ARTATTHESAMETIMELEAM向DMTHEWBSTSECOND，THECONTEMPOM巧PAINTINGSSPECULATIONONSOCIALPROBLEMS卸DTHEIRO、VNCONCEMS鋤DTEEXAMINEAWIDEMNGEOFCONTEMPOM叫PAINTINGDISCOURSERESOURCESWEAREFACEDWITILAWIDEMNGEOFDISCOURSERESOURCESANDHOWT0CREATEAGOODCHINESE唧LEDISCOU體ESYSTEMALLOFTHESEARCWORTHPONDERING1NADDITION，INTHECONTEXTOFWESTEMMODEMARTCONCEPT肌DTHECHINESELOCALIZATIONOFLANGUAGE粕DCONCE吣AREMIXEDOFAN，THECHINESECONTEMPO刪YPAINTINGINTHEL990SINTHECREATIONOFWESTEMMODEMAITCONCEPTS觚DL鋤G啦喀EPANEMS卸DINTEGRATIONOFTHEELEMENTSOFCHINESELOCALIZATIONCH撒CTERISTICSTHEMODIFICATIONS繃DINTEGRATIONCREATEAVISUALIMAGE卸DHAVEANEW神STHETICVALUE鯽DSIGNIFIC卸CEFINALLYDURINGTHEBACKGROUNDOFECONOMIC鰣OBALIZATION，THEARTMARKET，T0FACETHECHOICEOFTHEMARKET鋤DTHEWEST，THEINTEMATIONALARTSYSTEM，CONTEMPORA叮PAINTINGWILLINEVITABLYBEUTILITARIANTENDENCIESANDDEPENDENCYPHENOMENON，HOWSHOUIDWEF配EANDSOLVE，THISISAQUESTIONWONHCONSIDERING1’HISPAPERISDIVIDEDINT0FOURPARTSTHEFIRSTCHAPTERDEFINESTHENINETIESCHINESEC0NTEMPORA叮PAINTINGCONC印TSOFACADEMICTHESECONDPARTMAKESACOMB卸DANALYSISOFTHEL990SPAINTINGPROCESSTHETHIRDPARTTHROU曲THECREATIONOFTHOUGHTANDMAINSN℃AMS哆LES撲ALYZEDTHECONCEPTOFT聊1SPLANTATION卸DL硼GUAGEICONOFTHENINETIESCONTEMPOM叫PAINTINGPMCTICETHEL硒TPARTISIMPORTANTT0陀FLECTONTHEISSUESPRESENTEDBYCONTEMPORA拶PAINTINGPMCESSINTHEL990SINTHISPAPER’FORTHE行ELDOFCONTEMPO刪哆PAINTINGSBEME饑L990鋤DL999，SOMEIMPON蜀MTANEVENTSINTHEDEVELOPMENTPROCESS肌DSONOUTTHECREATIVETHOUGHT鋤DEMPIRICAL鋤ALYSIS，SUMMEDUPTHE鋤ALYSIS行0MTHEPERSPECTIVEOFTHEARTISTSFIRST，THECONTEMPO仡拶CHINESEPAINTINGINTHEL990SWITHTHECHARACTERISTICSOFTHEDRAWINTHECREATIONOFMODEMWESTEMARTCONCEPTSANDLANGUAGEPATTEMSWHILEINCORPORATINGELEMENTSOFTHECHINESELOCALIZATIONTHEMODIFICATIONSANDINTEG豫TIONCREATEAVISUALIMAGEANDHAVEANEWAESTHETICVALUEANDSIGNIFICANCESECOND，INTHEECONOMICGIOBALCONTEXTFACETHEANMARKET鋤DTHECHOICEOFTHEWESTEMCONTEMPORA巧

簡(jiǎn)介：索取號(hào)皿L』壘；Q密級(jí)一鹽玨一一南京坪勉大掌碩士學(xué)位論文固拐杖和繩索一一關(guān)于繪麗中圖式運(yùn)用的研究作者院系指導(dǎo)教師學(xué)科專業(yè)伏濤美術(shù)學(xué)院盛梅冰副教授美術(shù)學(xué)ABSTRACT‘‘SCHCRNA“THATINCHINESETRADITIONALARTWHATTOPOINTISAREADYMADESHAPEMOLDORIGINALLYTHEMEANINGOF“SCHEMA”THATINWESTERNGLOSSARYISWIDERTHANTHATINCHINESE“THEPAINTINGSCHEMA”ISAFIRSTFOUNDATIONOFTHEPAINTING，ANDAGRAVITATION，AOPENSYSTEMTHE“WALKINGSTICK”O(jiān)R“ROPES’INMYARTICLEISNOT“SCHEMA”SIMPLYITISNOTAWALKING嘶CKORAROPEINDEED，BUTITWILLBECOMETHEWALKINGSTICKORTHEROPENOTONLYTOTHEPAINTERBUTALSOTOCONTEMPORARYPAINTINGBECAUSEOFTHEDIFFERENTUSAGETHEMEANINGANDVALUEOFSCHEMASTILLCARRYOUTTHEKEYATONEPAINTERTHEPAINTINGSCHEMAACCUMULATEDINTHECULTURALHERITAGECANDOAPROMOTIVEFUNCTIONTOTHECREATIONOFTHEPAINTERTODAYBUTSOMETIMESBECOMETHEROPETHATROUNDSTHEIR“NECK”O(jiān)WINGTOTHEMSELVESALTHOUGHTHEARTHISTORYISABUNDANTCONTINUOUSLYATTHEARTFORM，NOTAHISTORYWHENGOODARTREPLACINGWRONGART，MORBIDSENSEOFVISIONMAKEAPERSONCANNOTTAKEALOOKATTHESOUNDPOINTEQUALLYTHEMORBIDSCIENCEVIEWMAKESANARTISTSHORTSIGHTEDTHEREFORE，ITISIMPORTANTANDMEANINGFULFORCONTEMPORARYPAINTINGTOFINDAGOODMETHODCONCERNINGCOGNITIONANDUSEOFTHEBYPASTSCHEMATHEINVESTIGATIONISTHECENTEROFTHISTEXTTHISARTICLESELECTTHETOPICINOFDERTOSTUDYTHEINFLUENCEOFTHEPAINTINGSCHEMAEXISTEDPLAYINGONTHEPAINTERSARTACTIVITYINHISPAINTINGCAREERTHOUGHTHEANALYSISTOSOMEPROBLEMSCONCERNINGPAINTINGANDSCHEMATHENINQUIREHOWTHEPAINTERPARTICULARLYFORTHECONTEMPORARYPAINTERTREATANDMAKEUSEOFTHEFOREPUSSEDSCHEMAFROMTHEANGLEOFTHEDEVELOPMENTOFARTONEPAINTERHASACERTAINSCHEMABACKGROUNDBECAUSEOFTHECHARACTERISTICOFHISAGE，HISCAREERANDPERSONALINTERESTTHENEWPROGRESSIVESCHEMASHOULDBECREATEDTHIMLGHMAKINGUSEOFTHEEXISTINGSCHEMACREATIVELYANDAVAILABLYBYARTISTTHISISTHETRUEMEANINGOFTHEARTANDTHEIMPORTANCEOFTHECULTURALHERITAGEABOUTTHEUSEMETHODSANDSELECTMETHODS，PAINTERSHAVEDIFFERENTCHOICESTOTHEEXISTINGSCHEMATHECHOICEISHISENTRANCETOPAINTING1FAPAINTERASSIMILATETHEBENEFICIALAFFECTIONFROMHISSCHEMABACKGROUNDINHERITANDDEVELOPITCREATIVELYITWOULDBECOMETHE“WALKINGSTICK’THATMAKEFOREXPANDINGHISWAY；WHEREASHANDLEITSKINDEEPLYLOOTGRUFFLYORPUTTOGETHERITSPARTSSUPERFICIALLYTHISMEANSSHOULDBE“THEROPEENWINDINGHISNECK“’ANDMIGHTTERMINATEHISARTFOREGROUNDTHERESEARCHOFTHISTOPICHASCERTAINREALISTICMEANINGTOTHECONTEMPORARYPAINTINGANDTHEPAINTERSTODAYKEYWORDSCLLEMACOPYCREATECONTEMPORARYPAINTINGⅡ

簡(jiǎn)介：930S56索取號(hào)；QIL21L密紐；二』L一南京師勉犬掌碩士學(xué)位論文園黃山圖經(jīng)對(duì)雪莊繪畫的影響作者院系指導(dǎo)教師學(xué)科專業(yè)、蔣J占酵美術(shù)≥I冼|辣傳J竹教授～J。～_J美術(shù)’二，；、，。ABSTRACTITWASNOTUNTILTHE39YEAROFTHEEMPERORWANGLIREIGNOFTHEMINGDYNASTY161】THATBIGGERTEMPLEANDFOURROUGHROADSLEADINGTOTHEDEPTHOFTHEHUANGSHANMOUNTAINBEGANTOAPPEARTHOUGHTHEROADSWEREDESTROYEDANDBUILTREPEATEDLYDURINGTHEEMPERORKANGXI’SREIGNOFTHEQINGDYNASTY16621722，DENGDAO，YUNGU，ANDYUFANGNEARTHEEASTERNGATEWEREDEVELOPEDACTUALLYTRAVELERSHADTODINTHERISKOFBEINGATTACKEDBYTIGERORLEOPARDWHENTHEYTOUREDINTHEMOUNTAINSUNTILTHEKANGXI’SREIGNHUANGSHANMOUNTAINPICTURE，ONEOFTHEEARLIESTPICTURESDEPICTINGTHEMOUNTAIN，WASPRINTEDFOURTIMESRESPECTIVELYINTHESONGDYNASTYANDTHEMINGDYNASTYTHEPRESENTPAPEREXAMINEDTHEFOUREDITIONSANDCONCLUDEDTHATTHEAUTHOROFTHE‘‘PICTURE”，WHICHISLEFTUNTILNOWWASHONGSHUNMIN，ANARTISTATTHEBEGINNINGOFTHEMINGDYNASTYMOREOVERTHEPAPERPOINTSOUTTHATHUANGSHANMOUNTAINPICTUREPATTEMEVOLVEDONHISBASISINAWORD，‘‘TODEPICTTHEREALSCENERYWITHTOUCHESOFTHEYUANDYNASTY’ARTISTS’’ATTHEBEGINNINGOFTHEQINGDYNASTYINFLUENCEDBYTEXTUALISM，THEHUANGSHANMOUNTAINPICTURESDEVELOPEDINTOHUANGSHANMOUNTAINILLUSTRATION“PICTURE’’TURNINTO“ILLUSTRATION”ASAPARTOFTHEHUANGSHANRECORD“CONTINUATIONOFHUANGSHANRECORD”“TENOROFHUANGSHANMOUNTAINTRAVEL’’ALLADOPTEDTHEHUANGSHANMOUNTAINILLUSTRATIONBYAMONKARTISTXUEZHUANGOFHUANGSHANMOUNTAINTHEPAPERATTEMPTSTOEXPLORETHEBIRTHANDDEATHASWELLHISRELATIONSASMUCHASPOSSIBLEASHORTBIOGRAPHYISASFOLLOWSXUEZHUANGWASBORNINCHUZHOUPRESENTHUAIANINTHE9YEAROFTHEEMPERORSHUNZHIREIGNOFTHEQINGDYNASTY1652INTHE18“‘YEAROFTHEEMPERORKANGXIOFTHEQINGDYNASTY，HEBECAMEAMONKTRYINGTOAVOIDAMISFORTUNEINTHE28”’YEAROFEMPERORKANGXI1689，HESTATIONEDINTHEHUANGSHANMOUNTAINANDTHENDIEDABOUTTHETURNOFEMPERORKANGXIANDEMPERORYONGZHENGTHEPAPERALSODESCRIBESXUEZHUANG’SLIFEAFTERHECAMETOTHEHUANGSHANMOUNTAINAFTERTHE28“‘YEAROFEMPERORKANGXIHUIZHOUREGION，INWHICHHUANGSHANMOUNTAINISLOCATED，SHOWSGREATRESPECTFORINTEGRITYXUEZHUANGWASSUMMONEDTOTHECOURTIN1694BUTSOONRETURNEDTOHUANGSHANMOUNTAINWITHONLY“ONESCOOPANDONECAP”HISLOFTINESSWASESTEEMEDBYLOCALOFFICIALSANDWEALTHYPEOPLETHEREFORE，AIDEDBYWANGSHIHONGANDWANGHUIOFTHEWANG’SFAMILYATEMPLEWASBUILTXUE’SLIFEWASIMPROVEDANDHISDRAWINGENTEREDINTOAPRIMETIMEXUEZHUANGLEARNEDANDINHERITEDFROMHUANGSHANMOUNTAINILLUSTRATIONINTWOWAYSEMPHASISONREALITYANDMETHODSOFLOOKINGUPANDLOOKINGDOWNTHEPRESENTPAPERRECOUNTSHOWXUEZHUANGLEARNEDXIEYIPORTRAYINGSKILLSOF‘。FOURGREATARTISTSOFTHEYUANDYNASTY”FROMHISMASTERDAYIAFTERHECAMETOTHEHUANGSHANMOUNTAINANDWASENTRUSTEDWITHTHETASKTODRAWTHEMOUNTAIN，“HEWASPRACTICINGHISSKILLSFOROVERAMONTHSANDMAKINGUPFORHISPRECEDENTSHORTCOMINGS”HEWASFOUNDACHANGEINHISSTYLE，WHICHTURNEDTOBEMOREANDMOREREALISTICTHEHUANGSHANMOUNTAINILLUSTRATIONHASALSOILLUSTRATEDGREATINFLUENCESONOTHERARTISTSATTHEBEGINNINGOFTHEQINGDYNASTYKEYWORDSDEVELOPMENTOFHUANGSHANMOUNTAIN，HUANGSHANMOUNTAINILLUSTRATION，XUEZHUANG，HUANGSHANMOUNTAINPICTURE2

簡(jiǎn)介：南京藝術(shù)學(xué)院碩士學(xué)位論文試論西方具象繪畫中的“夢(mèng)幻”空間姓名程建申請(qǐng)學(xué)位級(jí)別碩士專業(yè)油畫藝術(shù)指導(dǎo)教師沈行工陳世寧20060501ABSTRACTTHEARTICLE，BEGININGFROMTHEVIEWOFTHESPACE，ELABORATESAPAINTINGSPACEOFFORMOFVISI013，ANDMADESANANALYSISTOTHESPACEINTHEFIGURALPAINTINGFROMTHEPERSON’SMENTALASPECT，ANDTHEN，LEADING”I1LUSION”INTHEFIGURALPAINTING．HROUGHCOMPARINGTHEFANTASYSPACEANDTHEREALITYSPACEINTHEFIGURALPAINTINGTOMAKESUREITSSPECIALARTCHARACTERISTICDIGTHEINTENSIONANDTHOUGHTSOURCEOFTHEI11USIONALSPACE．EXPLAINSHTGHUNITYOFSPIRITANDFORMTOASPACE．THEARTIC】EEMPHASIZESTHATTHEILLUSIONALPROGRESSTOTHESITUATIONINTHESPACEFORMINTHEFIGURALPAINTINGSPACEISAKINDOFDEVELOPMENTANDFIGURAIPAINTING，SHOWSADIVERSEKEYWORDSTHEILLUSIONALSPACEFORMAESTHETICFOUNDATIONSPIRITINTENSION

簡(jiǎn)介：南京藝術(shù)學(xué)院博士學(xué)位論文論中國(guó)20世紀(jì)繪畫范式的轉(zhuǎn)變姓名靳衛(wèi)紅申請(qǐng)學(xué)位級(jí)別博士專業(yè)美術(shù)學(xué)（中國(guó)繪畫史）指導(dǎo)教師阮榮春20060530ABSTRACTTHE‘MAY4THMOVEMENT’ANDTHE‘NEWCULTUREMOVEMENT’MOLDEDANEWPARADIGMFORCHINESECULTUREBYUSINGWESTEMCULTURETOSAVECHINESECULTUREMODEMPAINTINGALSODEVELOPEDINCHINATHROUGHTHISPARADIGMTHISPARADIGMWOULDNORMALLY耐NGABOUTPROGRESSINMODEMPAINTINGHOWEVER100YEARSHAVEALREADYPASSEDANDCHINA’SMODEMARTHASSTIRREDUPALOTOFPROBLEMSTHUS，THEPARADIGMMUSTBECONTINUOUSLYQUERIEDINTHEPROCESSOFTHEMODERNIZATIONOFPAINTING，‘REALISM’APPEAREDONTHEARTISTICSTAGEINCHINA，SINCETHEMIDDLEOFTHE20“CENTURY，REALISMHASBEENANOVERWHELMINGTRENDINCHINESEPAINTING，BUTITHASN’TRESOLVEDTHEPROBLEMOFCHINESEPAINTINGONTHECONTRARYCHINESEPAINTINGHASTAKENOFFGMDUALLYBECAUSETHEWAYONELOOKSATTHEWORLDHASCHANGEDWITHTHEDEVELOPMENTOF“GLOBALIZATION’，THEPROBLEMOFNATIONALIDENTITYBEGANTOEMERGEININTERNATIONALCULTURALCOMMUNICATIONISSUESSUCHASWHATSHOULDBEPRESERVEDANDWHATSHOULDBEBLENDEDHAVEBECOMERIGOROUSPROBLEMSINTHEAGEOFGLOBALIZATIONHOWTOTHINKABOUTCULTURALIDENTITYANDTHEVALUEOFNATIONALISMWILLBETHEIMPORTANTTHINGINCULTURETHISPAPERDISCUSSESTHEINFLUENCEOF“MODERNITY’INPAINTINGCIRCLESINTHEMORETHAN100YEARSSINCETHEMAY4THMOVEMENTANDSTANDSONAHISTORICALPLATFORMWITHAKINDOFOUJECFIVEANDHISTORICALATTITUDETHISPAPERWIUBEHELPFULTOWARDSOBJECTIVELYUNDERSTANDINGCHINESEPAINTINGSINCETHE20MCENTURYTHROUGHPAYINGATTENTIONTOTHEHOWTHEPARADIGMCHANGESHASBEENREFLECTEDINPAIMINGANDTHROUGHRESEARCHINGINDEPTHTHEMEANINGSOFWHATLIESBETWEENTRADITIONALANDMODEMPROGRESSIVEANDBACKWARD，ETCKEYWORDPAINTING，PARADIGMSCHANGE，REALISM

簡(jiǎn)介：分類號(hào)學(xué)校代碼密級(jí)學(xué)號(hào)淺談意象繪畫里的設(shè)計(jì)思維ONDESIGNEDTHOUGHTSOFIMAGEPAINTING研究生姓名羅甜甜指導(dǎo)教師姓名、職稱劉湘東副教授學(xué)科專業(yè)研究方向美術(shù)學(xué)水彩湖南師范大學(xué)學(xué)位評(píng)定委員會(huì)辦公室二零一三年五月下，設(shè)計(jì)的思維是意象繪畫的內(nèi)容與形式的直接表達(dá)。當(dāng)設(shè)計(jì)思維融入意象繪畫中，更好的展現(xiàn)了“發(fā)散”的思維模式，讓感性上升為理性，形成第二次飛躍。關(guān)鍵詞意象、設(shè)計(jì)構(gòu)成、裝飾性、藝術(shù)創(chuàng)作

簡(jiǎn)介：中國(guó)美術(shù)學(xué)院學(xué)位論文原刨性聲明本人鄭重聲明所提交的學(xué)位論文是本人在導(dǎo)師的指導(dǎo)下，獨(dú)立進(jìn)行研究工作所取得的研究成果。除文中已經(jīng)加以標(biāo)注引用的內(nèi)容外，本論文不包含其他個(gè)人或集體已經(jīng)發(fā)表或撰寫過(guò)的研究成果，也不含為獲得中國(guó)美術(shù)學(xué)院或其它教育機(jī)構(gòu)的學(xué)位證書而使用過(guò)的材料。對(duì)本文的研究作出重要貢獻(xiàn)的個(gè)人和集體，均已在文中以明確方式標(biāo)明。本人承擔(dān)本聲明的法律責(zé)任。作者豁泖駕、癱隰≯I婢上月易日學(xué)位論文版權(quán)使用授權(quán)書本學(xué)位論文作者完全了解學(xué)校有關(guān)保留、使用學(xué)位論文的規(guī)定，同意學(xué)校保留并向國(guó)家有關(guān)部門或機(jī)構(gòu)送交論文的復(fù)印件和電子版，允許論文被查閱和借閱。本人授權(quán)中國(guó)美術(shù)學(xué)院可以將本學(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)制手段保存和匯編本學(xué)位論文。本學(xué)位論文屬于作者簽名1、保密口，在年解密后適用本授權(quán)書。2、不保密D請(qǐng)?jiān)谝陨舷鄳?yīng)方框內(nèi)打“4”卵考蒲翩擗F5N、A日期矽哆年日期知辨3只駕ETR月才日摘要本文把關(guān)于塞尚繪畫藝術(shù)的討論分為三個(gè)部分，第一部分從塞尚對(duì)自然的熱愛出發(fā)了解塞尚特有的氣質(zhì)和性格，為更深入地分析他未來(lái)的繪畫之路找到一些相關(guān)的依據(jù)；第二部分，通過(guò)對(duì)塞尚成熟期作品的解析，了解塞尚區(qū)別于傳統(tǒng)的繪畫風(fēng)格和手法；第三部分，重點(diǎn)分析塞尚晚期作品，更清析地理解塞尚繪畫藝術(shù)的獨(dú)特魅力。關(guān)鍵詞變化啟示暗示感性印象派ABSTRACTIONDISCUSSIONONTHEARTOFPAULCEZANNEISDIVIDEDINTOTHREEPARTSTHEFIRSTPARTOFSTARTINGTOUNDERSTANDCEZANNEUNIQUETEMPERAMENTANDPERSONALITYFROMCEZANNE’SLOVEOFNATURE，TOFINDSOMEOFTHEBASISFORAMOREINDEPTHANALYSISOFHISPAINTINGSOFTHEROAD；THESECONDPARTTHROUGHPARSINGOFC6ZANNE’SMATUREWORK，TOUNDERSTANDCEZANNEDIFFERENCEWITHTHETRADITIONALPAINTINGSTYLEANDTECHNIQUE；THETHIRDPART，THEFOCUSOFANALYSISCEZANNELATEWORKS，MOREEXPLICITUNDERSTANDTHEUNIQUECHARMOFTHECEZANNEPAINTINGARTKEYWORDSCHANGESREVELATIONIMPLIESSENTIENCYIMPRESSIONIST

簡(jiǎn)介：論文題目淺析“寫生”對(duì)黃君璧繪畫創(chuàng)作的影響學(xué)科專業(yè)藝術(shù)學(xué)學(xué)位申請(qǐng)人江彥嘉指導(dǎo)教師邵琦摘要“寫生“是所有二十世紀(jì)畫家都繞不開的話題，每位畫家對(duì)此都應(yīng)有自己的回答。黃君璧1898一1991，幾乎接近走完了中國(guó)畫史上不同尋常的百年。他既有傳統(tǒng)繪畫修養(yǎng)，又接受過(guò)新式教育，是一個(gè)與時(shí)代難以剝離的特殊個(gè)案。他在其山水畫中所做的嘗試，是對(duì)“寫生”這個(gè)話題的一種回答，更為當(dāng)時(shí)及后世的畫家提供了新的借鑒。本文通過(guò)梳理古代畫論中“寫生”的本義和“對(duì)景作畫”的論述來(lái)厘清中國(guó)古代“寫生”的概念；其次通過(guò)梳理20世紀(jì)山水畫家對(duì)“寫生”的認(rèn)識(shí)來(lái)分析“寫生”這一概念在20世紀(jì)發(fā)生的變化，以及這些變化對(duì)黃君璧“寫生”觀的影響；最后以黃君璧的創(chuàng)作出發(fā)，具體分析寫生對(duì)其作品的影響以及他的寫生觀在其作品中的體現(xiàn)。關(guān)鍵詞黃君璧寫生繪畫目錄刪刪㈣舢刪㈣洲刪Y2285102緒論1一、文獻(xiàn)綜述1二、選題意義6三、研究方法一6四、研究范圍7第一章中國(guó)畫論中關(guān)于“寫生1’’的論述9第一節(jié)古代畫論中的“寫生”9第二節(jié)古代畫論中“對(duì)景作畫”的論述12第二章二十世紀(jì)的“寫生觀”15第一節(jié)二十世紀(jì)各家對(duì)“寫生”的認(rèn)識(shí)與態(tài)度15第二節(jié)黃君壁對(duì)“寫生”的認(rèn)識(shí)與態(tài)度22第三章寫生對(duì)黃君璧繪畫藝術(shù)的影響26第一節(jié)題材的拓展26第二節(jié)構(gòu)圖的變化一34第三節(jié)筆墨形式的創(chuàng)新39縫F語(yǔ)一51致謝53參考文獻(xiàn)54圖注一56攻讀學(xué)位期間取得的研究成果59論文獨(dú)創(chuàng)性聲明60論文使用授權(quán)聲明“O

簡(jiǎn)介：分類號(hào)UDC搿級(jí)公學(xué)位論文題目繪畫過(guò)程的現(xiàn)象學(xué)探索與研究研究生姓名學(xué)科專業(yè)名稱研究方向論文類型申請(qǐng)學(xué)位指導(dǎo)教師姓名指導(dǎo)教師職稱指導(dǎo)教師單位論文提交日期論文答辯日期田沛明設(shè)計(jì)藝術(shù)學(xué)表現(xiàn)技法研究研發(fā)論文文學(xué)碩士趙君超教授沈陽(yáng)航空工業(yè)學(xué)院2009年12月30日2010年01月08日沈陽(yáng)航空工業(yè)學(xué)院2010年01月原創(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)師的指導(dǎo)下獨(dú)立完成的。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)人或集體已經(jīng)發(fā)表或撰寫過(guò)的作品或成果，也不包含本人為獲得其他學(xué)位而使用過(guò)的成果。對(duì)本文研究做出重要貢獻(xiàn)的個(gè)人或集體均已在論文中進(jìn)行了說(shuō)明并表示謝意。本聲明的法律后果由本人承擔(dān)。論文作者簽名、司沖訓(xùn)∞F【，年／月F日

簡(jiǎn)介：謹(jǐn)以此文敬獻(xiàn)給當(dāng)代中國(guó)畫大師黃胄先生深切緬懷先生誕辰八十五周年SUBJECTYANHUANGNEWBORNBABYDESERTSINGERDANMASTERSPAINTINGINHUANGZHOUSPECALTYDESIGNARTSTUDYNAMENIEYANGXUNINSTRUCTORLIUYONGJIEPROFESSORENGLISHABSTRACTTHISPAPERHASDETAILEDPRECISEINFORMATIONONTHEWORKSOFALARGENUMBEROFVIVIDINTERPRETATIONOFTHETYPICALANALYSIS，MRHUANGZHOUDISCUSSESTHEARTOFTWISTSANDTURNSOFLIFEANDOUTSTANDINGACHIEVEMENTSINARTISTICCREATIONHAVETHETIMESFORTHEORDERDEMONSTRATEDHUANGZHOUARTANDSTYLESOFCHINESEPAINTINGANDHISINNOVATIVECONTRIBUTIONS，ASWELLASHISARTISTICIDEASANDINTHECONTEMPORARYARTKEYWORDSLIVINGCREATIVEARTISTICCONTRIBUTIONIMPACTU

簡(jiǎn)介：四川美術(shù)學(xué)院碩士學(xué)位論文被迫的天才徐渭繪畫藝術(shù)研究姓名呂琦申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師20040401ABSTRACTTHISTHESISCONSISTSOFFOURCHAPTERSWHICHRESPECTIVELYDISCUSSESTHERELATIONSBETWEENXUWEI’SPAINTINGHISINDIVIDUALSPIRITTHEINFLUENCEOFHISINDIVIDUALSPIRITPRESENTINHISPAINTINGTHEFIRSTTHESECONDCHAPTERSGIVEANACCOUNTOFTHEIMPTANTEXPERIENCEOFXUWEI’SLIFEAIMINGATTHOUGHLYANALYZINGXUWEI’SCOMPLICATEDPERSONALITYTHEDEVELOPMENTOFHISINDIVIDUALSPIRITTHEFIRSTCHAPTERISCOMPOSEDOFTWOPARTS1THEMISFTUNESOCCURRINGINHISFAMILYSINCEHISBIRTHHISUNUSUALTALENTDISPLAYEDINTHEEARLYPARTOFHISLIFE2HIGHPRAISEGIVENBYPEOPLEFHISTALENTALSOTHEGLOOMYLIFECAUSEDBYHISTALENTTHESECONDCHAPTERTELLSABOUTTHEMAJCONTRADICTIONAPPEARINGINHISLIFEWHENXUWEIFOUNDAPOSITIONINTHEGOVERNGENERALOFFICEINMINGDYNASTYHESETHISSIGHTSHIGHHOPEDTHATHISTALENTCOULDBEGIVENFULLPLAYHOWEVERHISPERSISTENCEINHISPUREMANNERSRESISTANCEAGAINSTTHEREALITYCONTRIBUTEDTOTHEFRUSTRATIONINTHEIMPERIALEXAMINATIONHALLTHETHIRDCHAPTERPROCEEDSTOINTEGRATETHEANALYSISOFXUWEI’SPERSONALITYHISATTITUDETOWARDSLIFEWITHHISCONCRETEPAINTINGSSTUDYINGHISARTISTICCREATIONTHERESULTSARELISTEDASFOLLOWSTHEPAINTINGOFXUWEICOULDBECLASSIFIEDINTOTHREEARTISTICSTYLES1SUDDENEXPLOSIONOFINTERNALEMOTIONSFEATURINGBOLDFLOWINGPAINTINGMODE2AESTHETICSTYLEFEATURINGMATURECLEARMODE3MODERATESTYLEACTERIZEDBYOCCASIONALBOLDFLOWINGMODEBUTNOTTYPICALTHEFOURTHCHAPTERISMAINLYABOUTTHEJUDGECOMMENTSONXUWEI’SPAINTINGTHREECOMPONENTSARECARRIEDON1XUWEITHOUGHTHISPAINTINGRANKING“FOURTH”TOHISCALLIGRAPHYPOEMARTICLE2LATERGENERATIONSGAVEANOPPOSITECOMMENTSTHATHISPAINTINGRANKEDFIRSTTOHISCALLIGRAPHYPOEMARTICLE3ANALYSISISCONDUCTEDONTHEREASONOFTHISCONTRADICTIONTOREVEALDIFFERENTVALUESTARDSBEHINDTHISCONTRADICTIONTHATISTHESTARDOFARTISTTHESTARDFARTISTICSPIRITTHENTOFURTHERPROVETHATIFXUWEIWERENOTSOFRIVOLOUSSTAYEDCALMHECOULDHAVESCEDACHIEVEMENTSOFAGENUINEPAINTERBUTONTHECONTRARYLEFTNOINFLUENCEONSPIRITOFARTINHISTYATTHESAMETIMETHEMICROSCHOLARLYRESEARCHTHIS

簡(jiǎn)介：扉頁(yè)論文題目元代繪畫“逸“的維度研究作者郭亞楠申請(qǐng)學(xué)位類別和級(jí)別碩士學(xué)位學(xué)科專業(yè)美術(shù)學(xué)學(xué)位授予單位浙江師范大學(xué)指導(dǎo)教師張禾教授論文提交日期2010年4月THESISTITLETHEDIMENSIONALINVESTIGATIONOF“YI’’INYUANDYNASTYAUTHORGUOYANANTHETYPEANDLEVELOFGRADUATIONTOAPPLYFORMASTERDEGREEMAJORFINEARTDEGREE’GRANTINGINSTITUTIONZHEJIANGNORMALUNIVERSITYTUTORZHANGHEDATEOFTHESISSUBMITEDAPRIL，2010中文摘要小IJLLIIIFIIFIIIIRFLL㈣Y1804774在中國(guó)傳統(tǒng)美學(xué)中，“逸”是一個(gè)極具特色的美學(xué)范疇，是古代文人的審美趣味和審美理想的集中體現(xiàn)。元朝時(shí)期文人群體性對(duì)社會(huì)的退避將對(duì)“逸”的審美崇尚推到了最高峰，進(jìn)而開啟了中國(guó)畫抒隋寫意的新篇章。元朝社會(huì)發(fā)展的多元性和思想的開放性，又使得逸的審美意識(shí)在此時(shí)得到更深層次的發(fā)展。本文從維度的多視角，多空間概念出發(fā)，力圖較為全面地論證元代繪畫所表現(xiàn)出的“逸“的精神實(shí)質(zhì)，以此尋求中國(guó)畫創(chuàng)作中的思想基礎(chǔ)。在這種思路之下，本課題分成五個(gè)部分在引言部分，闡述了對(duì)“逸”這個(gè)美學(xué)概念研究的目的和意義，分析研究情況。在第一章中，從含義界定、書畫中的意識(shí)流變、及其思想的根基等三個(gè)方面對(duì)“逸”進(jìn)行了具體的分析，解釋“逸”在中國(guó)傳統(tǒng)美學(xué)及中國(guó)畫學(xué)中產(chǎn)生的影響。在第二章中，引用“維度”這一數(shù)學(xué)、物理學(xué)中的概念，對(duì)元朝時(shí)期繪畫風(fēng)格中“逸”這一審美范疇的體現(xiàn)進(jìn)行分析。從元代畫家的生活狀態(tài)、精神境界、審美狀態(tài)三個(gè)不同的視角，即三重維度，進(jìn)行立體式的剖析。在第三章中，對(duì)元朝時(shí)期“逸“這一審美范疇所形成的風(fēng)尚作成因分析。解釋元朝時(shí)期“逸”的境界與理學(xué)的關(guān)系。理清理學(xué)所代表的儒家的“入世”思想與“隱逸”的生活方式所代表的莊子“出世”思想的矛盾。闡釋理學(xué)中對(duì)回歸本“心“的提倡對(duì)“逸“這一審美范疇的影響。結(jié)語(yǔ)部分，在對(duì)前面章節(jié)的總結(jié)中得出結(jié)論，元朝時(shí)期的繪畫中所體現(xiàn)出的“逸“的精神實(shí)質(zhì)，更多的境界是保持心態(tài)的澄瑩，是將自然賦予人性，讓自然與性靈得到高度的和諧、統(tǒng)一。本課題運(yùn)用文獻(xiàn)研究法、比較綜合法及定性分析法等方法，以科學(xué)的、客觀辯證的態(tài)度展開研究。關(guān)鍵詞逸維度生活狀態(tài)精神境界審美范疇理學(xué)

簡(jiǎn)介：獨(dú)創(chuàng)性聲明本人聲明所呈交的論文是我個(gè)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，也不包含為獲得山東理工大學(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)明并表示了謝意。一始絳時(shí)間≯F弓年百月怕關(guān)于論文使用授權(quán)的說(shuō)明本人完全了解山東理工大學(xué)有關(guān)保留、使用學(xué)位論文的規(guī)定，即學(xué)校有權(quán)保留送交論文的復(fù)印件和磁盤，允許論文被查閱和借閱；學(xué)?？梢杂貌煌绞皆诓煌襟w上發(fā)表、傳播學(xué)位論文的全部或部分內(nèi)容，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)位論文在解密后應(yīng)遵守此協(xié)議研究生簽名導(dǎo)師簽名緣租專荔易時(shí)間PL弓年月何日時(shí)間訟侈年∥月FY日

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