簡介：西安美術(shù)學院碩士學位論文賈科梅蒂與具象表現(xiàn)繪畫姓名李秦申請學位級別碩士專業(yè)美術(shù)學指導教師韓寶生20080301論文題目賈科梅蒂與具象表現(xiàn)繪畫專業(yè)美術(shù)學油畫碩士生李秦指導教師韓寶生摘要具象表現(xiàn)繪畫基本方法的理論構(gòu)想最初是在法國孕育、萌芽，它的學術(shù)基礎(chǔ)是在西方現(xiàn)代哲學思潮中占有重要地位的胡塞爾現(xiàn)象學，對于這一理論的系統(tǒng)性研究與實踐是始于中國本土的。賈克梅蒂在具象表現(xiàn)畫家群里有著里程碑一般的意義，他的繪畫是通過對傳統(tǒng)視覺模式的揚棄，嘗試用抹去重畫、反復(fù)描繪的方法，用畫筆來向世人展示他對事物存在的視覺認識。他窮期一生追求視覺真實的勇氣與毅力，對處在今天復(fù)雜、多元藝術(shù)景況中的中國藝術(shù)家以及改革中的中國高等美術(shù)教育都具有深刻啟示意義。關(guān)鍵詞具象表現(xiàn)現(xiàn)象學賈科梅蒂懸置真實研究類型理論研究ABSTRACTTHETHEORETICALCONCEPTOFTHEBASICMETHODSOFEXPRESSIONFIGRATIVEWASBORNANDSEEDEDINFRENCHITSACADEMICBASISISEDMUNDHUSSERLPHENOMENOLOGYWHICHPLAYSANESSENTIALROLEINTHEWESTERNMODEMPHILOSOPHY，WHILETHESYSTEMATICALRESEARCHANDPRACTICEOFTHETHEORYSTARTEDINCHINAAIBERTOGIACOMETTI，THEMILESTONEINHISTORYOFEXPRESSIONFIGRATIVE。THREWAWAYTHETRADITIONALVISIONARYMODELANDTRIEDTOMBTODRAWAGAINANDPAINTEDREPEATEDLYINHISPAINTINGEXPERIENCEUSINGHISPAINTINGBRASH，ALBERTOGIACOMETTISHOWEDPEOPLEHISVISUALUNDERSTANDINGOFTHEEXISTENCEOFEXISTINGOBIECTSHEDEVOTEDALLHISTIMETOTHEREALVISION，ANDHISSPIRITANDCOURAGEISDEEPLYENLIGHTINGTHECHINESEARTISTSWHOAREFACINGTHECOMPLICATEDANDPLURALISTICARTASWELLASTHECHINESEHIGHERARTEDUCATIONWHICHISBEINGREFORMEDNOWKEYWORDSEXPRESSIONFIGRATIVEPHENOMENOLOGYALBERTOGIACOMETTIEOOCHREALVISIONTHESISTHEORYSTUDY

簡介：碩士研究生學位論文勉唐派唐卡繪畫技法初探姓名郭姍姍指導教師格桑才旦院系（部所）藝術(shù)學院專業(yè)藝術(shù)碩士研究方向藏族傳統(tǒng)繪畫技法研究完成日期2014\4\27摘要近年來，隨著藏族傳統(tǒng)繪畫藝術(shù)的不斷發(fā)展壯大和廣為流傳，藏族唐卡繪畫藝術(shù)逐漸廣為人知且深受喜愛。只是由于文化傳播的誤讀和信息傳播過程中的散失，唐卡繪畫技法的真實面目卻越來越模糊。本文主要是先以記述性的文字記錄下唐卡的繪畫技法，再結(jié)合自身在學習唐卡繪制過程中所得的經(jīng)驗和技巧。對勉唐派唐卡繪畫技法經(jīng)行記錄，同時與大家認為相似的國畫工筆的繪畫技法以及印度細密畫做以區(qū)別和比較。第一章簡單的介紹了勉唐派這一畫派的產(chǎn)生和發(fā)展。在第二章的內(nèi)容里主要按繪畫順序記錄了幾種常用唐卡的繪畫過程，以及注意事項，和一些經(jīng)驗技巧。第三章在最后將勉唐派唐卡的繪畫技法與國畫工筆和印度細密畫的繪畫技法做了比較分析。最后在結(jié)語中總結(jié)了勉唐派唐卡的多元化和特別性。關(guān)鍵詞勉唐派，繪畫技法，比較ABSTRACTINRECENTYEARS,ALONGWITHTHETRADITIONALTIBETANPAINTINGARTDEVELOPMENTANDWIDESPREAD,TIBETANTHANGKAPAINTINGARTGRADUALLYKNOWNANDLOVEDJUSTBECAUSEOFMISUNDERSTANDINGANDTHESPREADOFINFORMATIONLOSSINTHEPROCESSOFCULTURALTRANSMISSION，THANGKAPAINTINGREALLYISINCREASINGLYBLURRED

簡介：上海師范大學碩士學位論文視覺造型藝術(shù)的同構(gòu)性兼談西洋繪畫與平面設(shè)計教學中視覺造型法則的融通性姓名薛璐璐申請學位級別碩士專業(yè)美術(shù)學油畫指導教師劉亞平20040501視覺造型藝術(shù)的同構(gòu)性2ABSTRACTTHEWESTMODERNPAINTINGANDTHEGRAPHICDESIGNARETWOKINDSOFTHEVISIONSCULPTARTTHATWITHTHESAMEIMPORTANCEANDTHEEQUALPOSITIONITISNOTDIFFICULTTOSEEASUCHCONCLUSIONACCORDINGRESEARCHABOUTTHERELATIONSHIPOFTHEMTHEWESTMODERNPAINTINGANDTHEGRAPHICDESIGNHAVESOMETHINGTODOWITHMAINTHOUGHTFACTOR,WITHEXPRESSFORMANDPERFORMANCESKILLMETHODS,INCONCLUSION,THEYHAVERELATIONSHIPWITHTHEVISIONSCULPTRULETHEVISIONSCULPTRULEHAVETHESIMILARSTRUCTUREINTHESETWOKINDSOFDIFFERENTARTFORMSWHENACERTAINVISIONSCULPTRULETHATINOCCIDENTPAINTINGANDTHEGRAPHICDESIGNINCLINESTOPLACEPREDOMINANTPOSITION,OTHERRULEWILLBEDISCRIMINATEDAGAINST,BUTTHEYHAVEMUTUALFUNCTIONWITHEACHOTHERCONTINUOUSLYINSTEADOFDISAPPEARCOMPLETELYINTHEVISIONSCULPTART,BECOMINGAKINDOFVISIONSCULPTARTTHATHAVINGTHESIMILARSTRUCTURETHEMEANINGOFTHEVISIONSCULPTRULETHATINWESTMODERNPAINTINGANDTHEGRAPHICDESIGNISAKINDOFHAVINGTHESIMILARSTRUCTUREARTPHILOSOPHYCRITICORIOERPOINTSOUT“THEARTWORKSVISIONSCULPTRULEFIRSTLY,ITISTHOUGHTNOTION,BECAUSEIT’SUNIQUEIDEALISEMBODIMENTOFIDEA,PRINCIPLEANDRULESECONDLY,ITISFORMALISTIC,BECAUSEITEXPRESSESTHISKINDOFIDEAWITHEVERYKINDOFFORMTHIRDLY,ITISSYNTHETICALSKILL,BECAUSEITEXPRESSTHESEFORMSANDSYMBOLSWITHTHEMETHODOFAKINDOFWIDESPREADCOMPREHENSION“ACCORDINGTHEVENATIONOFTHESIMILARSTRUCTUREFROMTHEOCCIDENTPAINTINGANDTHEGRAPHICDESIGN’SVISIONSCULPTRULE,ARTTEACHING’SCONTENTSSHOULDOVERSTEPREGARDINGOFSINGLEPROFESSIONALBASICPOINTTEACHINGINFORMERDAYS,ITSHOULDREGARDTHEORGANICRELATIONSHIPOFTHEWHOLEANDVARIETY,FORMANDWORTHOFTHEORIESBASEDOFVISIONSCULPTARTVALUE,ACCORDINGTOTHEBALANCEINGEXPLOREOFTHESESIMILARWORTHSTRUCTURE,ITCANTRYTOCREATEAHARMONIOUSTEACHINGMETHODOFVISIONSCULPTARTNOWADAYS,THETEACHINGOFARTCOLLEGEINCLINESTOGETAWAYFROMTEACHINGPRINCIPLETHATDOMINANTEDFROMSEPARATEDTOTEACHINGANDSTUDYINGANDSTANDARDMODEINTHEPAST,TURNSTOTHEDIRECTIONOFARTFORMANDTHEORYFOUNDATION’SCOMMUNICATINGDEVELOPMENTTHEREFORE,STUDENTSOFSTUDYINGTHEOCCIDENTPAINTINGANDTHEGRAPHICDESIGNSHOULDHOLDTHETRENDOFTHEARTTEACHINGDEVELOPMENTMAKECONSOLIDATIONOFARTANDDESIGNORSUBSTANCEANDINSPIRITMAKEUSEOFINVESTIGATEDEEPLYHOWTOCONCEIVE,MAKEUSEOFWHATKINDOFARTFORMANDSKILLORMATERIAL,ITISVERYIMPORTANTTHATESSENTIALCOMPREHENSIONOFVISIONSCULPTRULEANDREASONABLEUSAGEOFEXPRESSFORM,ARTIFICEANDMEDIUMINSTUDYPROCESS,STUDENTSSHOULDONBASEOFTHEOCCIDENTPAINTINGANDTHEGRAPHICDESIGNMAKETHEHORIZONMORESPACIOUS,ATTHESAMETIME,EMPHASIZETHATEXPLAINOFVISIONSCULPTART,DESCRIBETHEVASTERSPACEFORTHECOMMONDEVELOPMENTOFTHISTWOPROFESSIONALTEACHING

簡介：點擊查看更多女性繪畫中的花意象.pdf精彩內(nèi)容。

簡介：山西大學2013屆碩士學位論文論弗洛伊德繪畫對中國當代油畫家的影響作者姓名指導教師學科專業(yè)研究方向曹云紅武明明副教授美術(shù)學油畫技法與理論研究培養(yǎng)單位山西大學美術(shù)學院學習年限2010年9月至2013年6月二O一三年六月目錄中文摘要IABSTRACTII第一章引言111研究的目的及意義112國內(nèi)外研究現(xiàn)狀與動態(tài)2第二章弗洛伊德的藝術(shù)生涯與繪畫的貢獻321弗洛伊德的藝術(shù)生涯322弗洛伊德繪畫風格的演變523弗洛伊德繪畫的貢獻10第三章弗洛伊德對中國當代油畫家的影響1231堅持架上繪畫的弗洛伊德1232在繪畫觀念上對中國當代油畫家的影響1233在繪畫技法上對中國當代油畫家的影響14結(jié)吾19參考文獻2L攻讀學位期間取得的研究成果22致謝23個人簡況及聯(lián)系方式24承諾書25學位論文使用授權(quán)聲明26

簡介：學校代碼10270分類號J22學號092200757碩士學位論文論文題目赤壁賦圖繪畫母題的黃金時代學院美術(shù)學院專業(yè)美術(shù)學研究方向山水畫研究生姓名豐旻指導教師周聞完成日期2012年4月ABSTRACT“ODEONREDCLIFF”PAINTINGMOTIFINTHETRADITIONALCHINESEPAINTING“THEMETRADITIONAL“CONSTITUTEANINTEGRALPARTOFTHEPAINTINGTHISPAPERATTEMPTSTOTHROUGHTOTHE“ODEONREDCLIFF”PAINTINGMOTIFOFEXPLORATION,ACTUALLYINSOMEDEGREEOFCHINAISINTRODUCEDANDTHESOUTHSONGDYNASTYRULERSINTHEPERIODOFTHECOMBMOREFROMALEVELCONSIDERED,ANDTHESOUTHSONGDYNASTYRULERSISINBOTHTHEIRPOLITICALENVIRONMENTANDFACTORSCONCERNS,WILLHAPPENTOCOINCIDEINBOTHSIDESOFTHELIFTASUSHISUCHACHARACTER,ANDCARRYONTHEREHABILITATERIGHTED,TOCELEBRATEINTHEASCENTOFSUSHISPOSITIONANDAFTERAMOSTDIRECTEVALUATIONCONSEQUENCEISTHATLEADTOTHISPERIODINTHEARTSOFTHE“ODEONREDCLIFF”PAINTINGMOTIFOFTHEGOLDENAGEOFAPPEARTHE“ODEONREDCLIFF”PAINTINGMOTIFOFTHEGOLDENAGEAPPEARINTHISPERIOD,NOTONLYBECAUSETHEREAPPEARALARGENUMBEROF“ODEONREDCLIFF”PAINTINGS,MOREINALLKINDSOF“ODEONREDCLIFF”PAINTINGWHETHERINPAINTINGTHEFORMANDCONTENTHAVEBEENEXPANDEDANDEXTENDEDTHE“ODEONREDCLIFF”PAINTINGMOTIFINTHESPECIFICRESEARCHMETHOD,THISPAPERONTHEONEHANDWILLHOLDTHEIMAGEITSELF,THEIMAGEISTHESTUDYOFOBSERVATION,ANALYSIS,,RESEARCHTHEIMAGEVISUALINFORMATIONONTHEOTHERHAND,ONLYTOIMAGETHERESEARCHISALSOAONESIDED,CANCAUSEAMBIGUITY,ESPECIALLYINTHESTYLEOFPAINTINGNOTACCURATEGRASPOFTHEPREMISESOBASEDONTHEANALYSISOFTHEIMAGEOFINTHEMEANTIMEALSOWILLNOTICEBETWEENTHEODEONFORMERANDLATTERREDCLIFFIMAGESANDODEITSELFATTHESAMETIME,EACHCARRYOUT“ODEONREDCLIFF”RESEARCH,TOCLEARUPTHEFIRSTTWODYNASTYWILLWITHINTHEIRRESPECTIVECOLLECTIONISREPRESENTATIVEOFTHE“ODEONREDCLIFF”PAINTING,FOLLOWEDBYTWODYNASTYTOTHEBETWEEN“ODEONREDCLIFF”PAINTINGARECOMPAREDITISINTHEIMAGEOFTHECONTINUOUSPROCESSMORE,THEIMAGEITSELFHIDDENTHEPROBLEMSBETWEENTHEIMAGEASTHE

簡介：蘇州大學碩士學位論文關(guān)于“70后”新繪畫藝術(shù)的研究姓名于超申請學位級別碩士專業(yè)美術(shù)學指導教師徐海鷗20080301ADOUTSTUDYOF‘‘AFTER70”NEWPAINTINGARTABSTRACTADOUTSTUDYOF‘‘AFTER70’’NEWPAINTINGARTABSTRACTATTHEENDOF1990S，ALONGWITHTHECOMMERCIALIZATIONANDTHEMARKETABILITYCOMPREHENSIVEARRIVAL，THECHINESESOCIETYHASHADFIERCEREFORMINGATTHESAMETIME，THECONTEMPORARYCHINAPAINTINGPASSESTHROUGHTHE90’SLATESTAGESQUIETLYTHE‘‘AFTER70’’NEWPAINTINGTIDALCURRENTWASPREVAILINGINTHEENDOFTHE90’SITSPARTICIPATIONMAINBODYWAS1960AGESLATERPERIOD，70ASWELLAS80PERIODGENERATIONOFARTISTASREPRESENTATIVEOFPAINTINGNEWTIDETHE“YOUTHBRUTALPAINTING”CAMEONTHESOCIALSTAGE，AFTERTHATTHEREWASTHECARTOONPAINTINGTHEREARESOMEDISTANCEBETWEENTHE“AFTER70’’ARTANDTHETRADITIONPAINTINGINPICTORIAL，THEVISUALINTEREST，THEIMAGESUBJECT，THEPAINTINGSTYLEANDSOON，ITSDISPLAYSIMAGEIDEAYOUTHBRUTAL，CARTOONVISIONSTYLE，CITYANDEXPENSECULTUREIMAGE，ASWELLASINPAINTINGIMAGEFORFOUNDATIONPHOTOGRAPHICPAINTING，THESEALLHAVETHEVERYBIGDIFFERENCE謝MTHEPREVIOUSGENERATIONPAINTINGFROMTHIS，THETRUENEWGENERATIONSIGNIFICANCEOFPAINTINGHASBEENGRADUALLYFORMEDKEYWORDSTHE‘AFTER70’’NEWPAINTINGYOUTHBRUTALPAINTINGCARTOONPAINTINGIIWRITTENBYYUCHAOSUPERVISEDBYXUHAIOU

簡介：西北師范大學碩士學位論文理想的和諧與自然之眼對文藝復(fù)興時期意大利繪畫藝術(shù)與北歐繪畫藝術(shù)差異的再認識姓名管瑞庭申請學位級別碩士專業(yè)美術(shù)學指導教師岳嶸琪200805【ABSTRACT】】INEARLY15THCENTURY,THESPREADOF“INTERNATIONALGOTHICSTYLE“ARTFORMSINEUROPEHAVEBEENCOMPLETELYBROKEN,THEEUROPEANARTBEGANDIVIDINGNORTHANDSOUTHBYTHEALPSFORTHESECTORINTHESOUTHOFITALY,ANEWARTOFRENAISSANCEGRADUALLYGOTTHEUPPERHAND,INORDERTORESTORETHEACHIEVEMENTSOFTHEPAST,ARTISTSLEARNNINGFROMTHEANCIENTWORKSOFARTONTHISBASIS,PERSPECTIVE,ANATOMY,SCIENCEANDSHADINGMETHODWASFOUNDANDAPPLIEDTOTHEPAINTINGTHEIRWORKSAREOFTENSHOWINGASHARPSENSEOFTHESIZE,PRECISELYPERSPECTIVEANDBEAUTIFULLYHUMANSHAPETHEARTISTREMAINSTOTHEGOTHICTRADITION,THEARTFORMOFGOTHICWHICHACCUMULATEDNEARLYTWOCENTURIESINTHENORTHSTILLFLOURISHEDTHEYWILLNOTONLYDRAWTHEALTAR,BUTALSOTRYINGTOFINDAMORE“REAL“PAINTINGTHENORTHERNARTISTSDIFFERENTFROMITALY,THEYDONOTCAREABOUTTHEPERSPECTIVE,ANATOMYANDSCIENTIFICKNOWLEDGE,THEYFINDTHEIROWNWAYWHICHISPREVALENTTHROUGHOUTTHENORTHTOADDCOMPLEXITYOFTHEDETAILSTHEPRACTICEOFTHEARTSHOWINGTHATTHENETHERLANDS,GERMANY,THERENAISSANCEHADACOMPELETLYNEWWAYDURINGTHISSTAGE,THEREISASIGNIFICANTDIFFERENCEBETWEENITALYANDTHENORDICARTSTYLE,INCLUDINGMODELINGANDAESTHETICCONCEPTINTHISPAPER,ITWILLGIVEADEPTHANALYSISONDIFFERENCESBETWEENITALYANDTHENORDICINSUCCEEDINGOFARTTRADITION,DISCOVERINGOFNEWSCIENTIFICKNOWLEDGEANDSKILLSOFTHEINNOVATIONS【KEYWORDS】PERSPECTIVE,ANATOMY,VOLUME,REAPPEARLIVING,EXQUISITESHAPE,SKILLSOFTHEINNOVATIONS

簡介：本文共分為四章第一章通過對學術(shù)背景的介紹提出當代都市人物肖像繪畫的定義和問題都市人物肖像繪畫的創(chuàng)作品質(zhì)日益低下的同時呈現(xiàn)出向大眾文化或利益發(fā)出者靠攏的庸俗化、膚淺化的趨勢第二章試圖通過對這一趨勢進行社會學、經(jīng)濟學和文化理論層面上的梳理分析來把握這種創(chuàng)作思維形態(tài)形成的原因及客觀癥候第三、第四章在第一、二章的基礎(chǔ)上通過對當代批評家建設(shè)性意見的關(guān)注和采納結(jié)合個人的理解提出正確的創(chuàng)作思維標準并通過對在當代都市人物肖像藝術(shù)創(chuàng)作觀念上頗有獨特見解的兩位藝術(shù)家作品的分析和借鑒提倡一種自我和經(jīng)驗的再陌生化的個人真實體驗與自我化技術(shù)語言相結(jié)合的創(chuàng)作方法最終根據(jù)自身的創(chuàng)作心得和理念表達作者對當代都市人文觀念的獨特意念和審美體驗達到回歸創(chuàng)作觀念深度化和繪畫語言品位化的本位從而為緩解當代藝術(shù)商品化時代藝術(shù)家創(chuàng)作理念庸俗化的趨勢做出必要的理論鋪墊

簡介：山東大學碩士學位論文超現(xiàn)實主義繪畫美學思想研究姓名陸英祥申請學位級別碩士專業(yè)文藝學指導教師傅合遠20080508山東大學碩士學位論文中文摘要在藝術(shù)史上，一般將法國畫家保羅塞尚和印象主義后期以后的野獸派、立體主義、未來派、達達主義、表現(xiàn)派、超現(xiàn)實主義等從二十世紀初期活躍起來的畫派稱為西方現(xiàn)代派美術(shù)。西方現(xiàn)代派美術(shù)在形式上表現(xiàn)出了輕視線條、比例，注重新技巧的開發(fā)和應(yīng)用的特點，在內(nèi)容上流露出重視表現(xiàn)、熱衷于探索和表達內(nèi)心世界的傾向；這兩點相對于二十世紀以前的西方古典繪畫來講具有顛覆傳統(tǒng)、另僻奇境的意義。在這個過程中，超現(xiàn)實主義繪畫憑借半個世紀的壽命成為現(xiàn)代派美術(shù)里活動時間最長的一個流派。成果頗豐的超現(xiàn)實主義繪畫不僅被認為是超現(xiàn)實主義這一文藝流派的最典型代表，也被認為是現(xiàn)代派繪畫的一個重要代表。超現(xiàn)實_乇義繪畫的產(chǎn)生是二十世紀初西方復(fù)雜社會歷史條件綜合作用的結(jié)果產(chǎn)業(yè)革命在全球的擴展帶來了生產(chǎn)力的極大提高，生產(chǎn)力的飛速發(fā)展又使資本主義社會生產(chǎn)的社會化和生產(chǎn)資料的私有化這一基本矛盾進一步顯露；哲學和科技方面，理性主義的思潮己逐漸趨向沉寂，新的科學發(fā)現(xiàn)和認識讓人們重新審視理性及科學在人類社會發(fā)展中的作用；一戰(zhàn)的爆發(fā)點燃了蘊藏著各種社會矛盾的大火藥桶，在生與死的旋渦中，人們開始尋求認識世界、把握世界的新方式。打倒一切、推翻一切的達達繪畫應(yīng)時而牛，這為超現(xiàn)實主義的誕生做了較為充分的準備，超現(xiàn)實主義畫家在此基礎(chǔ)上轉(zhuǎn)入了關(guān)注人的內(nèi)心世界的努力。對超現(xiàn)實主義畫家影響最深、最直接的美學思想便是弗洛依德的精神分析學說，對夢境、幻覺、潛意識的表現(xiàn)構(gòu)成了超現(xiàn)實豐義繪畫創(chuàng)作的豐體。為了獲得能夠帶來創(chuàng)作靈感的幻覺，超現(xiàn)實主義大師們各盡所能，達利不惜以忍受饑餓的折磨為代價使自己進入那種難得的幻覺狀態(tài)，米羅努力挖掘童年的感受和記憶，恩斯特不斷嘗試摩擦、粘貼等各種新的繪畫技法。這些重視想象和推崇技法革新的努力不僅僅帶來了一幅幅風格迥異的作品，還產(chǎn)生了遍及世界的強烈影響。在超現(xiàn)實主義之后的波普藝術(shù)、招貼畫等繪畫創(chuàng)作中，我們可以清晰地找到超現(xiàn)實主義繪畫的因子，這是積極的一面；消極的一面也同樣大行其道，超現(xiàn)實豐義畫家在追求想象的同時也陷入了被動幻想的誤區(qū)，直接導致一些作品成為缺少情感

簡介：浙江師范大學碩士學位論文劉海粟繪畫美學思想研究姓名李燕申請學位級別碩士專業(yè)文藝學指導教師劉彥順20090415的人體美學思想。劉海粟從歷史的角度分析了人體美缺失的原因，提出“入體為美中至美”的觀點。他認為人體非但具有形式之美，更具有精神之美，是形式之真與表現(xiàn)之善的統(tǒng)一體。人體映射宇宙生命的流動，體現(xiàn)了“生的法則”。余論部分，簡單梳理了劉海粟的“藝術(shù)救國”美育思想。他始終以美育為己任，無論在藝術(shù)教育中還是藝術(shù)創(chuàng)作中都滲透著他的美育思想。這是解讀劉海粟繪畫美學思想不可忽略的背景。關(guān)鍵詞情感表現(xiàn)；人體美；藝術(shù)真實；藝術(shù)創(chuàng)造

簡介：學位容T／UJ一容外不包用過的材料。對本文的研究做出重要貢獻的個人和集體，均己在文中做了明確表示謝意。作者簽名王偉日期2010年5月30日中文提要論文題目漢代繪畫形態(tài)中的循環(huán)因素研究專業(yè)美術(shù)理論博士生王偉簽名指導教師楊曉陽教授簽名中文提要漢代在中國美術(shù)發(fā)展史上，是一個承FJ『啟后的特殊時期。以往對漢代繪畫藝術(shù)的研究多集中在歷史學、考古學、美學、美術(shù)史等范疇以內(nèi)，以藝術(shù)形式的自律性做為切入’點并觸及視覺心理深層的研究成果數(shù)量少且缺乏系統(tǒng)性。本文首先對存世的漢代墓葬繪‘畫作品的形態(tài)結(jié)構(gòu)特征進行客觀描述與歸類。其次，通過對典型案例進行視覺心理剖析，闡明漢代繪畫形態(tài)中存在著一種知覺式樣，即循環(huán)因素，并進一步證實循環(huán)是漢代人普遍存在的審美心理趨向，具有獨特的民族性。再次，通過文獻史料的考證，從兩漢的思想背景與觀念形態(tài)中挖掘循環(huán)因素產(chǎn)生的根源。最后是循環(huán)因素的源流及其延續(xù)的探究。在整個研究過程中，本文試圖將藝術(shù)史、視覺與觀念三者結(jié)合起來。通過研究，筆者認為循環(huán)因素不僅存在于漢代繪畫的形態(tài)中，而且還不同程度的蘊涵于中國傳統(tǒng)繪畫之中，它具有鮮明的民族特色。這種“循環(huán)“現(xiàn)象跟漢代人對生命的認識是一致的，即整個世界是一個流動、通暢、生生不息的生命整體。而藝術(shù)作品正是他們的世界觀在藝術(shù)造型中的具體呈現(xiàn)。中華民族在很早以前就有了這種體驗與認識，而且在其造型藝術(shù)中已經(jīng)表現(xiàn)出來。在世界經(jīng)濟全球化、文化多元化的今天，對循環(huán)因素的闡釋與研究，不僅有助于保持民族繪畫藝術(shù)的獨立性，而且，有助于促進民族繪畫的創(chuàng)新與發(fā)展。關(guān)鍵詞漢代繪畫；形態(tài)結(jié)構(gòu)；循環(huán)因素；視覺心理；民族性；生命研究類型理論研究‘

簡介：南京師范大學碩士學位論文論中國當代裝飾繪畫中創(chuàng)造性思維的缺失姓名杜菡申請學位級別碩士專業(yè)設(shè)計藝術(shù)學指導教師吳可人20100511ABSTRACTABSTRAOTBEINGASORTOFPAINTING，DECORATIVEPAINTINGEXISTSWITHITSESPECIALARTISTICLANGUAGEITDIFFERSFROMREALISTPAINTINGANDALSODIFFERSFROMAPURELYRATIONALCONSTRUCTIVISTNORASINGLEDESIGNPATTERNSITISASTYLEOFPAINTING，ANDEVENPENETRATESINTOTHESISTERPAINTINGINAMULTISTYLECONCEPT，DECORATIVEPAINTINGWHICHISWIDELYRECOGNIZED，ISFULLINPEOPLE’SLIVESWITHUNIQUEAPPROACH，F(xiàn)ORMS，MATERIALSUSED，ETCITCULTIVATESPEOPLE’SSOULSANDBEAUTIFYPEOPLE’SLIVINGENVIRONMENT、析TLLITSBEAUTIFULDECORATIONANDAUNIQUEARTISTICLANGUAGEINSHORT，DECORATIVEPAINTINGISAVERYFREEEXPRESSION‘KINGDOM”WITHOUTLIMITATIONOFTIMEANDSPACE，WITHOUTRESTRICTIONOFOBJECTIVETHEARTISTCANFREELYUSETHEIRIMAGINATION，F(xiàn)LEXIBILITYCREATEⅡ1EOBJECTAMONGTHEM，THECREATIVETHINKINGISTHESOURCEOFDECORATIVEPAINTINGITCANUSETHEVARIOUSFORMSANDWAYSOFTHINKING，MAKINGTHEEFFECTIVELYCOMPREHENSIVETREATMENT，BASEDONTHENEEDSOFPAINTINGCONTENTANDALLTHEKNOWNINFORMATIONANDEXPERIENCE，INAGOODQUALITYSUPPORTOFTHECREATIVETHINKINGINACCORDANCEWITHTHEFORMSANDTHERULESOFART，WECANCREATETHENOVELTYDIALECTICALANDINTEGRATEDNEWIDEAS，NEWMETHODSANDNEWDESIGNWITHTHEDEVELOPMENTOFTHETIMES，THEPATTERNOFWORLDCULTUREHASFUNDAMENTALLYCHANGEDINTHEFACEOFTHENEWCULTURALTRENDSANDTHEIMPACTOFTHEVARIOUSARTSGENRES，CHINESECONTEMPORARYDECORATIVEPAINTINGHAVEEXPERIENCEDUNPRECEDENTEDCHALLENGES，NOTONLYINMODEOFTHINKINGBUTINTERMSOFORARTFORM，ATTHISPOINT，IFWENEGLECTTHECULTIVATIONOFCREATIVETHINKING，WEWILLSTAYINTHERUTANDCANNOTWIDENOUREYESIGHTANDBROADENOURTHINKINGRODINONCESAID‘THESOCALLEDMASTERS，ISSUCHAPERSON，THEYUSETHEIROWNEYESTOSEEOTHERPEOPLE’STHINGSANDFINDOUTTHEBEAUTYFROMTHESETHINGS，WHICHOTHERPEOPLETHINKSCOMMONLY”HERE，ITAFFIRMEDTHATTHEARTISTSNEEDTHEBOLDANDUNIQUECREATIVETHINKINGHOWEVERONTHEPREMISEOF“GOODPAINTING’，HOWTOEXPANDINGTHEEXPRESSIONOFOUROWNHOWTOTRANSFORMTHEUSAGEOFTHETECHNICALLANGUAGEBYAUNIQUECREATIVEIDEA，WHICHCANMAKETHEFORMOFTECHNICALPERFORMANCECONVEYCOMPLETELYNEWTHISISTHEREASONSFORANDSIGNIFICANCEOFTHISARTICLE，WHICHCHINESECONTEMPORARYDECORATIVEPAINTINGSELECTEDASSEARCHANDTHINKO￡II

簡介：上海大學碩士學位論文情感與普遍性試論康定斯基與蒙德里安對繪畫元素意義的探求之異同點姓名尹敏申請學位級別碩士專業(yè)美術(shù)學架上繪畫指導教師章德明20050501海人學碩I一學位論文ABSTRACTPAINTINGELEMENTSSUCHASCOLORANDPHYSIQUEETCALWAYSASMEANSANDMEDIAOFCONSTRUCTINGUNREALIMAGEONTHETABLEAUAMONGTHEWESTERNTRADITIONALARTHADN’TONESELFINDEPENDENTMEANINGUNTILABSTRACTARTORNONOBJECTIVEPAINTINGCAMEINTOBEING，PAINTINGELEMENTSCHANGEDINTOTHEMAINSTRUCTUREOFTHETABLEAUANDHADONESELFINDEPENDENTVISUALEFFECTANDMEANINGKANDINSKYANDMONDRIANWERETWOGREATABSTRACTARTISTSANDREPRESENTATIVESOFTWOMAJORSCHOOLSOFABSTRACTARTABSTRACTEXPRESSIONISMANDGEOMETRICABSTRACTIONTHISTHESISBYMEANSOFCOMPARINGTHEIRABSTTACTPAINTINGS’DIFFEFENCESONTHEVISUALEFFECTANDTHECREATIONCOURSE，F(xiàn)UNHERANALYZETHEIRTHEORYONABSTRACTPAINTINGTOEXPOUNDTHESIMILARITIESANDDIFFCRENCESINTHEIRSEEKINGTHEINDEPENDENTMEANINGOFPAINTINGELEMENTSKANDINSKYFROMTHEVIEWPOINTOFSUBJECTIVEEMOTION，REGARDEDEMOTIONASTHEMAINCOMPOSITIONPRINCIPLEOFABSTRACTPAINTINGANDGAVEINTRINSICCHARACTERISTICOFEXPRESSINGEMOTIONINTOPAINTINGELEMENTS；MONDRIANFROMTHEANGLEOFPUREPLASTICISM，REMOVEDEXPRESSIONISM，ANDEXPLOREDOUTGENERALESSENCEFROMTHESPECIFICPAINTINGELEMENT。ALTHOVLGHTHEYHADDIFFERENCES，ITCANFINDOUT，THROULGHANALYZINGPHILOSOPHYTHOUGHTWHICHINFLUENCINGTHEMATTHATTIME，INFACTTHEINHERENTORI西NANDPURPOSEOFTWOKINDSOFVIEWSWERETHESAME，WHICHREFLECTINGTHEINTROSPECTIONOFPUREESSENCEOFARTANDCOMMONEXPECTOFESTABLISHINGINDIVIDUAL’SUNIQUETHOUGHTOFUNIVERSEANDLIFEASGENERALVALUETHEREFOREITJSDRAWTHECONCLUSIONKANDINSKYANDMONDRIANPAIDMOREATTENTIONTOTHEVALUEOFABSTRACTPAINTINGELEMENTS，ANDSOUGHTINDEPENDENTMEANINGSOFPAINTINGELEMENTSFROMDIFFERENTANGLEITWASNOTONLYTHECHANGEOFTHESTYLEOFVISIONBUTALSODEEPERCHANGEOFARTIDEAANDATTITUDETOWARDSLIFEHIDDENATTHERELATIONSHIPBETWEENPHYSIQUEANDCOLORTHEIRA】RTTHEORYREPRESENTEDCOMMONATTITUDETOWARDSARTOFABSTRACTARTISTSATTHESMILETIMEKNOWINGITSNECESSITYCANHELPUSTOBETTERUNDERSTANDTHEDEVELOPMENTOFARTOFTHEFUTUREKEYWORDSEMOTION，UNIVERSALITYMEANINGOFPAINTINGELEMENTS，SIMILARITIESANDDIFFERENCESVI

簡介：河北師范大學碩士學位論文中西方繪畫藝術(shù)之線的比較姓名齊勇申請學位級別碩士專業(yè)美術(shù)學指導教師宮六朝20090901ABSTRACTLINEISESSENTIALTODRAWING，WHOSECOMPLEXITYPROVIDESCONVENIENCESFORUSTOPRESENTTHECOLORFULREALITYWHILETHEDIFFERENCESBETWEENTHECHINESECULTUREANDWESTERNCULTUREVARYSHARPLYINTHESENSEOFCULTURALAWARENESSTHETRADITIONALCHINESEARTISTSPUTAGREATEMPHASISONHUMANS，WHOUSELINES，INSTEADOFSTEREOGRAPHICOBJECTS，TEFLECTARTISTS’SUBJECTIVITYTHUS，CHINESEARTISTSCOULDCHOOSETHENATURALOBJECTSFREELYTOGENERALIZETHEREALITYABSTRACTIVELYACCORDINGTOTHEIROWNUNDERSTANDINGOFBEAUTYONTHEOTHERHAND，THETRADITIONALWESTERNARTISTSALEKEENONREFLECTINGTHEATTRIBUTESOFREALITYBYUSINGMORECONCRETEANDVIVIDIMAGESTOSHOWTHEARTISTICTHEMESTHEYTHINKMOREABOUTCHANGESOFRAYANDPERSPECTIVEASWELLASTHESTRUCTUREOFOBJECTSWHILEPAINTINGTHENATURALOBJECTSASARESULT，THELINESAREUSEDMOREFREQUENTLYWHENTHEWESTERNMISTSPAINTINGTHELIGHTANDSHADEBOUNDARIESANDCONTOURLINESKEYWORDSLINE，PAINTINGSTYLE，AMALGAMATIONOFEMOTIONS