簡(jiǎn)介：上海師范大學(xué)碩士學(xué)位論文論油性媒介材料對(duì)西方繪畫的重要影響姓名楊艷申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師姚爾暢20100310THESISTIUETHEIMPORTANTINNUENCEOFOILMEDIAMATERIALSONWESTEMPAINTILLGSABSTRACTPAINTILLGMEDIAMATERIALSDETEMLINEMEFEATURESOF。DLLJFERENTP抽如，ANDAREALSOME洫PON2MTINDICATORT0DISTINGUISHDIFFERENTPAINTINGS．SINCEME15Ⅱ1CENTURY，TLLESIGNIFICANTFEATURESOFOILMEDIAMAT耐ALSMETTLLEREQUNMENTSOFPAI而NGTECLLILIQUESATMATTIMEANDMADET11EPOSSIBILITYONNLEVISUALREPRESENTATIONOFTHETNJEAESTH甜C恥SUITTO恤EUTMOST．THUS，ITINFIUENCEDONNLCDEVELOPMENTAILDDIRECTIONPROCESSOFWESTPAILLTILLGTOTALLY．BECAUSEOFTLLEOILMEDIAMATERIALS，TLLEEXPRESSIVELANGUAGEOFWESTEMPAIMINGBEC鋤ERICHERALLDDIVERTER．OILMEDIAMATERIALSISALSOONEOF也EIN巾ONA址INDICATI嘟OFW齜P幽MNGMATE】IALSY姍WLLICHDI腩RENTF如MORIENTALPAILLTINGS．TODAY，OILMEDIAMATERIALSSTILLKEEPMEDOMINANTPOSITIONIILMEARTSOFWESTEMPAINTING．FARⅡ1ERMORE，ITACCEPTEDBYTLLEEASTAND恤RESTOFMEWORLDFORALONGTIMEANDPLAYSAJLIINPORTANTROLEIILTHEMODEMPAINTINGMATERIALSSVSTEM．KEYWORDSOILMEDIA；MATERIALLAILGUAGE；WBSTEMPAINTHLG；N

簡(jiǎn)介：分類號(hào)J2密級(jí)無學(xué)校代碼10414學(xué)號(hào)2014200034專業(yè)學(xué)位碩士研究生學(xué)位論文專業(yè)學(xué)位碩士研究生學(xué)位論文懷斯繪畫作品中的精神性之我見懷斯繪畫作品中的精神性之我見ASTUDYSTUDYONONTHETHESPIRITSPIRITOFOFREWREWWYETHWYETH’SPAINTINGPAINTING廖成廖成院所美術(shù)學(xué)院導(dǎo)師姓名蔡鳴學(xué)位類別專業(yè)碩士專業(yè)領(lǐng)域藝術(shù)碩士二○一七年六月懷斯繪畫作品中的精神性之我見江西師范大學(xué)獨(dú)創(chuàng)性聲明本人聲明所呈交的學(xué)位論文是本人在導(dǎo)師指導(dǎo)下進(jìn)行的研究工作及取得的研究成果。據(jù)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)表或撰寫過的研究成果，也不包含為獲得或其他教育機(jī)構(gòu)的學(xué)位或證書而使用過的材料。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明并表示謝意。學(xué)位論文作者簽名簽字日期年月日學(xué)位論文版權(quán)使用授權(quán)書學(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江西師范大學(xué)研究生院有關(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)江西師范大學(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）學(xué)位論文作者簽名導(dǎo)師簽名簽字日期年月日簽字日期年月

簡(jiǎn)介：南京藝術(shù)學(xué)院碩士學(xué)位論文“窺視”生活論德加繪畫的思想和技法研究生姓名苤壬薟導(dǎo)師姓名隧壁塑副魏援申請(qǐng)學(xué)饋級(jí)別。J蔓學(xué)；專業(yè)名稱差查堂論文捉空IT朝』塑衛(wèi)豇且墊旦鹼文答辯口期』盟盥且旦學(xué)位授予單位』A塞芏準(zhǔn)芏照一學(xué)位授予日J(rèn)∞上塑宴月旦答辯霎旨會(huì)1‘席J妻主生塑L評(píng)問人鹽盤【_韭監(jiān)一監(jiān)生童盟目A盟2U174【月0I韭酬F||J蜊乳㈣二Ⅲ魁二Y帥ABSTRACTEDGERDEGAS18341717ONEOFTHEIMPRESSIONISTARTIST，SINCE1874JOINEDFIRSTIMPRESSIONISTEXHIBITION，EXHIBITEVERYEXHIBITIONACCEPTEDTHESEVENTHONEAFTERHISDEATHSEVENTYNINEYEARSLATERENGLANDLONDONNATIONALARTGALLERYANDCHIEANOARTASSOCIATIONEXHIBITIN1996“PEGUSBEYONDIMPRESSIONISTEXHIBITION”WORKSHOWISTHEWORKTHATDEGASCREATEDAFTERHISFIFTY，SHOWEDANDPROVEDHISLATERSTAGE’SWORKISMUCHMATUREASTHEIMPRESSIONIST，DEGUSSTILLMAINTAINSASCLASSICALSTYLEINISWORKBECAUSEHEHASASTRONGDRAWINGBACKGROUNDHEISCAPABLETOCACHEMODERN1IFEASHISSUBJECTMATTERDEGASNOTJUSTCONTENDCLASSICALSTYLEINARTHEALSOQUOTEANDINNOVATETHEIMPRESSIONIST’STHEORY“CACHINGTHENATURALNESS’SNATURALISTIC”，WITHTHETREATMENTOFHISSUBJECT，HEWILLCAREFULLYOBSERVETHENATUREFIGURE，OVERANDOVER’SPRACTICEDRAWINGANDSKETCH。MANYPRELIMINARYFOUNDINHISSTUDIOINDEGASCREATIVE1IFETIMEHEKEEPSONSEARCHINGNEWCONCEPTINPAINTING，MOSTIMPORTANTFAITHFORHIMINPAINTINGIS1INESHEUSESMULTILAYEREDAPPROACHTODRAWING，WHICHATTIMESRESEMBLESTHEPREPARATION，UNDERPAINTINGANDGLAZINGOFATRADITIONALOIL一PAINTINGKEYWORDSEDGERDEGASIMPRESSIONISTNATURALISTICFIGURELINESSKETCHLI

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簡(jiǎn)介：南京師范大學(xué)博士學(xué)位論文何香凝繪畫藝術(shù)研究姓名陳姍申請(qǐng)學(xué)位級(jí)別博士專業(yè)美術(shù)學(xué)指導(dǎo)教師陳傳席20090518ABSTRACTBEINGRECOGNIZEDASONEOFTHEEXTRAORDINARILYOUTSTANDINGFEMALEOFTHE20“1CENTURYINCHINAHOHSIANGMINGISREMARKEDBYHERDEMOCRATICIDEASANDREVOLUTIONARYACTIVITIESSUCHFAMEPREVENTEDHERBEINGKNOWN舔AGOODPAINTERTHISTHESISEXPLORESFIOMTHREEASPECTS，NAMELYTRAVELLINGEASTANDWEST，GATHERINGREFMEDWORKSANDORGANIZINGSOCIETIES，ANDREPOSINGFEELINGSANDINDICATINGAMBITIONSTHROUGHPAINTINGINTOTHEGREATSIGNIFICANCEOFHOSARTISTICOOURSOANDACHIEVEMENTTHISTHESISTRIESTOINTERPRETHOSPAINTINGSINTHECONTEXTOFHERTIME，PROBEINTOTHEPOLITICAL，ECONOMICALANDCULTURALELEMENTSBEYONDTHEM，ANDREAPPRAISEHERARTISTICACTIVITIESHAVINGPRACTICEDINTHECOBRSEOFARTFORMORETHAN70YEARS，HOHADGIVENBIRTHTOALARGEAMOUNTOFARTWORKSRANGINGFROMLANDSCAPESANDFLOWERPIECESTOPAINTINGSOFANIMALSHERPAINTINGSOFEARLYAGESHADSOMEDECORATIVECOLORTHATCAMEFROMTHEINFLUENCEOFJAPANESEPAINTINGDURINGHERSTUDYTHEREINHERMIDDLEAGES，HERPAINTINGSTYLESWENTTOATURNINGPOINTSHERETURNEDHERSELFTOTHETRADITIONALLITERATISTYLESOFOREATION，ANDHERPAINTINGSUNDERTHESUBJECTMANOFHONORSUGGESTEDASTRONGFLAVOROFCALLIGRAPHYWHICHWASALSOTHOUGHTASTHEINEVITABLEPRODUCTSOFTHEINFLUENCEOFTHEWHOLECULTURALBACKGROUNDHOHSIANGMINGHADA900DINTERACTIONWIMTHETHREESCHOOLSOFPAINTERSINTHEEARLY20MCENTURYINHERCOLLECTIONOFREFMEDWORKS，THEREARELARGEAMOUNTSOFCOOPERATIVEPAINTINGS、析吐LPAINTERSFROMTHESCHOOLSOFHAISHANGANDJINGIINHOSCONNECTIONWIMGAOJIANFUGAOQISHENGANDCHENSHUREN，THETHREEFOUNDERSOFLINGNANSCHOOL，ISAGOODSUBJECTTHATISINVESTIGATEDINTENSIVELYINTHISTHESISFURTHERMORE，THEPOSTSCRIPTSAFTERHERWORKSAREALSOMATERIALSOFGREATSTUDYVALUE，AMONGWHICHTHEREPRESENTATIVEONESARETHOSEWRITTENBYLIUYAZI，JINGHENGYIANDYUYOURENBASEDONTHEKNOWLEDGEABOUTTHETURNSOFHOHSIANGMINGSPAINTINGSTYLES，THEAUTHORCONFIDENTLYDIVIDESHOSARTISTICCOURSEINTOTHREEPERIODSTHEEARLYPERIODTHEMIDDLEPERIOD。ANDTHELATEPERIODⅥ，LLILEAPPRECIATINGHERPAINTINGSPEOPLESTRONGLYAGREEDTHATHO’SARTISTICCREATIONWASCLOSELYCONNECTED謝THHERREVOLUTIONARYACTIVITIESAMONGOTHERS，SHEWAS，F(xiàn)IRSTOFALL，AREVOLUTIONISTTHENAPAINTERBUTONLYUNDERHERNALNECANWEFINDASTATERUNARTGALLERYSHEISDEFINITELYAPAINTEROFDISTINCTIONFORWEKNOWTHATSHECONTRIBUTEDALOTWHILECONDUCTINGACTIVITIESLIKEDEMOCRATICREVOLUTION，WOMENSLIBERATION，ARTOFPAINTINGANDTHEUNITINGOFOVERSEASCHINESETHEREFORE，F(xiàn)ROMTHISWHOLLYNEWPOINTOFVIEWTHISTHESISAIMSATOPENINGOUTTHEPANORAMAOFHOHSIANGMING，ANAMAZINGCOMBINATIONOFAREVOLUTIONIST，ANACTIVISTANDANARTISTKEYWORDSHOHSIANGMING；FEMALEPAINTING；COOPERATIVEPAINTINGS4

簡(jiǎn)介：分類號(hào)J2J2密級(jí)公開公開論文編號(hào)論文編號(hào)S13007S13007學(xué)號(hào)20131100072013110007碩士學(xué)位論文碩士學(xué)位論文當(dāng)代新工筆花鳥女畫家的當(dāng)代新工筆花鳥女畫家的繪畫語言和精神情感繪畫語言和精神情感以高茜、雷苗、秦艾為例研究生石文婷石文婷指導(dǎo)教師師梅忠智梅忠智教授教授一級(jí)學(xué)科科美術(shù)學(xué)美術(shù)學(xué)學(xué)科、?？?、專業(yè)業(yè)中國(guó)畫中國(guó)畫研究方向向中國(guó)工筆花鳥畫中國(guó)工筆花鳥畫論文完成時(shí)間論文完成時(shí)間20162016年5月3131日論文答辯日期論文答辯日期20162016年6月6日學(xué)位論文原創(chuàng)性聲明學(xué)位論文原創(chuàng)性聲明本人聲明所呈交的學(xué)位論文當(dāng)代新工筆花鳥女畫家的繪畫語言和精神情感以高茜、雷苗、秦艾為例是本人在導(dǎo)師指導(dǎo)下進(jìn)行的研究工作及取得的研究成果。據(jù)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)表或撰寫過的研究成果，也不包含為獲得四川美術(shù)學(xué)院四川美術(shù)學(xué)院或其他教育機(jī)構(gòu)的學(xué)位或證書而使用過的成果。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明并表示謝意。學(xué)位論文作者簽名簽字日期年月日學(xué)位論文版權(quán)使用授權(quán)書學(xué)位論文版權(quán)使用授權(quán)書本學(xué)位論文當(dāng)代新工筆花鳥女畫家的繪畫語言和精神情感以高茜、雷苗、秦艾為例作者完全了解四川美術(shù)學(xué)院四川美術(shù)學(xué)院有關(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)四川美術(shù)學(xué)院四川美術(shù)學(xué)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。學(xué)位論文作者簽名簽字日期年月日導(dǎo)師簽名簽字日期年月日

簡(jiǎn)介：首都師范大學(xué)碩士學(xué)位論文郎世寧中西合璧繪畫與中國(guó)傳統(tǒng)工筆畫之比較姓名程敏申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師李愛國(guó)20070520ABSTRACTTHECONTEMPORARYTRADITIONALCHINESEPAINTINGISCHARACTERIZEDBYTHECOMBININGOFESSTWESTSTYLEINTHEPROCESSOFEXPLORATIONTHEREHAVEBEENACHIEVEMENTSANDPROBLEMSHOWTOABSORBFOREIGNCULTUREHOWTOPERCEIVETRADITIONALCHINESECULTURETHECONFLICTSBECOMETHEMOSTDIFFICULTPARTWHENCOMBININGTHETWOCULTURESTHISTHESISAIMSTOFINDWAYSTHATTRADITIONALCHINESEREALISTICPAINTINGUSESTOABSORBFOREIGNCULTUREBYCOMPARINGALLSUBJECTSOFTRADITIONALCHINESEREALISTICPAINTINGSTYLE謝THTHATOFPAINTINGSOFLANGSHININGAPREACHERINEARLYQMGDYNASTYWHOUSEDAMINGLINGOFESSTWESTSTYLETHEFIRSTPARTOFTHISTHESISIN血ODUCESLANGSHINING’SFIFEANDACHIEVEMENTSTHESECONDPARTOFTHISTHESISISACOMPARISONOFLANGSHININGSPAINTINGSTYLEWITHTHATOFALLSUBJECTSOFTRADITIONALCHINESEREALISDCPAINTING1ACOMPARISONINFIGUREDRAWING2ACOMPARISONINNOWERBIRDWORKS3ACOMPARISONINLANDSCAPEWITHHORSES4ACOMPARISONINLANDSCAPE5ACOMPARISONINDOEMNENTARYPAINTING6PEOPLE’SCOMMENTSONLANGSHINING’SMINGLINGOFEASTWESTSTYLETHETHIRDPARTEXPLAINSTHEREALISTICVALUEOFLANGSHININGSPAINTINGTOTHECOMBININGOFEASTWESTSTYLEOFCONTEMPORARYTRADITIONALCHINESEREALISTICPAINTINGKEYWORDSCOMBININGOFEASTWESTSTYLETRADITIONALCHINESEREALISTICPAINTINGLANGSHININGMINGLINGOFEASTWESTSTYLECOURTOFQINGDYNASTYCOMPARISONWESTERNREALISTICSKILLSFIGUREDRAWINGFLOWERBIRDWORKSLANDSCAPEWITHHORSESLANDSCAPEDOCURAENTARYPAINTINGREALISTICVALUE4

簡(jiǎn)介：河北師范大學(xué)碩士學(xué)位論文論光在西方繪畫中的運(yùn)用姓名魏璇申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師侯志江20100406IIABSTRACTLIGHTUSEDINTHEDEVELOPMENTOFWESTERNPAINTINGPLAYEDANIMPTANTROLEWESTERNUNDERSTINGOFANCIENTPAINTERSUSEOFLIGHTTHESIMULTANEOUSDEVELOPMENTOFWESTERNPAINTINGPAINTINGSOFDIFFERENTPERIODSOFLIGHTREFLECTTHEVALUESVARYBYSTUDYINGTHEUSEOFWESTERNPAINTERSOFLIGHTSCREENLIGHTSHOWEFFECTSNOTONLYFTHEUNDERSTINGINTERPRETATIONOFTHEDIFFERENTACTERISTICSOFDIFFERENTSCHOOLSOFPAINTINGPROVIDESAFRAMEOFREFERENCESUMMEDUPTHELIGHTFROMTHELAWONOURPAINTINGCREATIONTHEREAREPOSITIVESIGNIFICANCETHROUGHTHEUSEOFTHREETERMSMINGGUANGIMPTANCEINPAINTINGTRYINGTOLIGHTTHEHISTYOFWESTERNPAINTINGFROMTHEUSEOFTHEDEVELOPMENTRISETOJUSTDEALWITHANIMPTANTTOOLPICTURESTOCONVEYTHEVISUALEXPERIENCEALONECARRIERFIRSTFROMAHISTICALPERSPECTIVETOEXPLAINTHEIMPTANCEOFLIGHTINTHEPAINTINGSENSESTARTCOMBINGTHEWHOLEOFLIGHTINTHEEVOLUTIONOFTHEDEVELOPMENTOFWESTERNPAINTINGTHENFOCUSEDONTHELIGHTINTHERENAISSANCE1718CENTURYIMPRESSIONISTPERIODTHREEHISTICALSTAGESOFTHEAPPLICATIONVALUEREFLECTSSECONDLYTHELANGUAGEFROMTHEPERSPECTIVEOFPAINTINGTOILLUSTRATETHEIMPTANCEOFLIGHTINTHESCREENROLEANALYSISOFIMAGESOFLIGHTOTHERFACTSSHAPETHEFMOFLIGHTTOLIGHTDARKJUSTTHEPREMISEOFCOLLIGHTPERFMANCEOFCOLLIGHTADJUSTTHEPICTURESTRUCTURETHEROLEOFLIGHTHIGHLIGHTINGTHETHEMEOFPAINTINGASANEXAMPLEOFTHEPOTENTIALALONEDOMINATETHESCREENISANIMPTANTMEANSOFDEALINGWITHPICTURESFINALLYAPAINTINGDESCRIBEDASASTARTINGPOINTTHEIMPTANCEOFLIGHTINPAINTINGWESTERNCONTEMPARYARTISTSFROMTHEANALYSISOFTHETWOMETHODSUSEDTOLIGHTTHEDIFFERENTEXPERIENCETOTHEIRUSEOFLIGHTSEPARATELYFROMTHEVISUALCOMMUNICATIONOFFEELINGSEMOTIONSFOCUSEDONTHETWODIFFERENTANGLESREFLECTINGTHEIRINHERENTNATUREOFTHEVISUALUNDERSTINGOFTHEWLDKEYWDSWESTERNPAINTINGLIGHTUSETRUTH

簡(jiǎn)介：河北大學(xué)碩士學(xué)位論文安格爾繪畫風(fēng)格研究姓名劉虎申請(qǐng)學(xué)位級(jí)別碩士專業(yè)藝術(shù)學(xué)指導(dǎo)教師梅寶樹20070601ABSTRACTABSTRACTINGRESISAREPRESENTATIVECHARACTEROFFRRNCHNEOCLASSICISMIN19THCENTURY，HISWORKSHAVEANEATPICTURE，STABLECOMPOSITION，VARIOUSCHANGINGCOLORANDTHELINEISFULLOFTENSILEFORCEANDFLEXIBILITYWHICHBRINGABEAUTIFULANDSPOTLESSBASSRELIEFEFFECTALTHOUGHINGRES’PAINTINGSTYLEWASLISTEDASNEOCLASSICISM，BUTHISWORKSOFDIFFERENTSUBJECTSBASEDONTHECLASSICSTYLEREVEALREALISTICMOODORROMANTICPASSIONATTIMESTHEESSAYSTARTSWITLLTHECAUSESOFINGRES’PAINTINGSTYLEFROMTWOASPECTSTHATAREEXTEMALCAUSESANDINTERNALCAUSESTHEIMPERSONALCONDITIONSARETHELEADINGIDEAOFPOLITICSANDTHEINFLUENCEOFMAINSTREAMARTTHOUGHTSTHECONGENITALGIFTANDHISEDUCATIONASWELLASHISTEMPERAMENTANDTASTINGPERSONALITYWHICHBROUGHTBYHISUNIQUEEXPERIENCEARETHESUBJECTIVEFACTORSTHATFORMEDHISPAINTINGSTYLEINGRES’CREATIONIDEAANDPAINTINGWORKSENLIGHTENEDTHEMODEMART；THESEEXQUISFFEWORKSBROUGHTPOSITIVEINFLUENCETOTHEPSYCHOLOGICALCONSTRUCTIONOFAUDIENCEBYANALYZINGINGRES’WORKSANDCAUSESOFPAINTINGSTYLE，THEAUTHORHASAPURPOSETECOGNIZINGINGRESFROMDIFFERENTANGLESANDVARIOLLSORIENTATIONSKEYWORDSINGRES；NEOCLASSICISM；STYLEOFPAIMING；CREATIONIDEAH

簡(jiǎn)介：西安美術(shù)學(xué)院碩士學(xué)位論文中國(guó)傳統(tǒng)繪畫空間美的構(gòu)造姓名宋云華申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師姜怡翔20090301SUBJECTCHINESETRADITIONALPAINTINGSPACESTRUCTUREOFCHARMSPECIALTYDEPARTMENTOFCHINESEPAINTINGBIRDPROFESSIONALNAMESONGYUNHUAINSTRUCTORMR．JIANGYIXIANGABSTRACTCHINESETRADITIONALPAINTINGSPACESTRUCTUREOFCHINESECHARMTOTHEIROWNNATIONALARTFORMSHOWNTOTHEAUDIENCE．TRADITIONALCHINESEPAINTINGINTHEPURSUITOFSPACETORELYONTHEPHILOSOPHYOFLAOZIANDZHUANGZI，HIGHLIGHTTHESUBJECTIVE“HEARTTOUR’，ANDMAINLYTHROUGHTHE“OBSERVATIONOFSMALLTOLARGE、OBSERVATIONOFLARGETOSMALL“,“SCATTERPERSPECTIVE“AND“THREEFROMFARACT’THEOBSERVATIONOFSPACETORUNIMAGESOFCHINESETRADITIONALPAINTINGSPACESTRUCTUREISMOLESPIRITUALCONNOTATION,THUSDEMONSTRATINGTHEUNIQUECHINESEPAINTINGCHARM．CHINESETRADITIONALPAINTINGSPACESTRUCTURE，AREINCOMPLETECOPYPAINTEDTHINGS，BUTYETABSTRACTINKPERFORMANCEIMPLIEDBYTHEPHYSICALANDLIFEOFAHIGHLEVELANDCHARACTEROFNATIONALART,ISAKINDOFEMOTIONALEXPRESSIONANDPERSONALITY．THECHARMOFCHINESETRADITIONALPAINTINGSPACEABOUTSTRUCTUREISTOOBJECTSPACE，INKSPACE，HEARTSOFSPACE嬲THETHREEMAJORTYPESOFMUTUALRELEVANCETOCONVEY．SOTHATTHEAESTHETICOBJECT、析廿LEMOTIONALPEOPLEDANCE，SOTHATOBJECTSINSPACE、ⅣIⅡLTHEROMANTICSTYLESUBLIMATION,USII培PENANDINKLANGUAGETOEXPLAINSPACEOFLIFE，THESPREADHEARTLIKESPACESOFESSENCE，ABOUTCHINESETRADITIONALPAINTINGSPACESTIMELESSCHARM．TOANATURALOBJECTBASED，F(xiàn)ROMADIFFERENTPO硫OFVIEWOFDIFFERENTMETHODSTOCREATEAMULTISPACEEXCHANGEANDDIALOGUE，ANDTHISISTHEAWARENESSOFCHINESETRADITIONALPAINTINGSPACEABOUTSTRUCTURETHEMOSTCONCRETEEXPRESSIONOFTHEMOSTVIVID．THECHARMOFTHISSPACEISBOUNDTODRAW、麗TLLCHINASUNIQUESPIRITOFALONGSTREAMOFINKONTHEOUTSIDEWORLD．KEYWORDSSPACESTRUCTURE、IMAGESOFSPACE、INKSPACE、HEARTLIKESPACETHESISTHEORETICALSTUDYⅡ

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簡(jiǎn)介：東北師范大學(xué)碩士學(xué)位論文原始繪畫藝術(shù)與現(xiàn)代繪畫藝術(shù)的比較研究姓名趙燕申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師楊家安20090501ABSTRACTINTHEMODEMARTDEVELOPMENTDIVERSIFICATION’STIME，THEMODEMSCIENCE’SANDTECHNOLOGY’SCOMPLEXITYANDTEDIOUSTHEDEPRESSIONWHICHANDTHESENSEOFDISTANCETHESPIRITUALLIFEBRINGSFORTHEHUMANITYTHEANXIOUSTENSEARTISTICCONDITIONLETSTHEMODEMPAINTINGMISTSNATURALLYINTHISKINDOFARTISTICTHOUGHTCHANGESINPUREPLAINPRIMITIVEDRAWINGENERGETICDIMENSIONINMODEMPAINTINGARTPONCDOUTTHATTHESOCALLEDPEOPLEPLAINCIVILIZEDANDTHEPLAINSIMPLELIFESTYLERECALLTOTHEPRIMITIVETIME，YEARNEDFORANDVIGOROUSLYDISPLAYSWITHTHEPERCEPTIONARTISTICLANGUAGE，THISISALSOTHEARTISTICWAYWHICHINTHEMODEMARTSPIRITPURSUEMOSTYEARNEDMODEMANPRINCIPLEMASTERMATISSETHOUGHTTHATARTHASTWOPERFORMANCEMETHODS，ONEKINDISACCORDINGTOTHEORIGINALDESIGNFACSIMILE，ONEKINDISTHEARTISTICPERFORMANCEHEADVOCATESTHELATTERHESAID“IPURSUE，MOSTIMPORTANTISTHEPERFORMANCEIANLUNABLETODISTINGUISHMETHESENTIMENTWHICHHASTOTHELIFEANDIDISPLAYSENTIMENTALTHEMETHOD‘THEMATISSELIFEEXPLORINGARTTHOUGHTPERFORMANCEWAYPURSUESONEKINDOFPUREPRIMITIVENAIVETEANDTHENATURALPERFORMANCEWAYINTHECOLORANDTHEMODELLINGHEFROMORIGINALPURSUEPERSONORHOUSEHOLDWHEFUSESTOMOVEANDBARGAINSFORUNREASONABLYHIGLLCOMPENSATIONWHENTHELANDISREQUISITIONEDFORACONSTRUCTIONPROJECT，PERFORMANCEINTENSE，UNRESTRAINEDVIEWPOINT，DEVELOPSGRADUALLYPURSUESONEKINDBALANCED，CHASTEANDTHETRANQUILFEELING，THESTYLETENDSTOTHESIMPLEPLAININITIALSTATE，SIMULTANEOUSLYTHEEASTERNART’SPLANEDRAWING’SINTRINSICSPIRITEVENMORECAUSEDHIMTOFINDTHEOWNCREATIONENERGETICSOUL，THEPICTUREHASBEENRICHINTHEDECORATIONFEELINGHEAFTERWARDAPPRAISEDHISWORKSAYINGMYWORK”O(jiān)NEKINDCOMFORTSPROBABLYLOOKSLIKEONEKINDOFSTABILIZERORLOOKSLIKEANAPPROPRIATEEASYCHAIRMAYELIMINATEHISWEARINESS，‘MATISSETHOUGHTTHATREGARDLESSOFBEINGTHEHARMONIOUSCOLORORNOTTHEHARMONIOUSCOLOR’CANPRODUCETHEMOVINGRESULTS，HEALSOBELIEVEDTHATTHECOLORCHOICESHOULDTAKEOBSERVE，THEFEELINGANDEACHKINDOFEXPERIENCEASABASIS，‘THECOLORGOAL，EXPRESSESPAINTER’SNEED，BUTISNOTLOOKSATTHETHINGTHENEED”MATISSE’SVIEWPOINTHIGHLIGHTEDTHEPRIMITIVENATURALISMCHARMTOBE，ANDWASAFFECTINGTHEMODERNISMDEVELOPMENTKEYWORDPRIMITIVE，SIMPLEANDARTLESS，PURE，PERCEPTIONU

簡(jiǎn)介：分類號(hào)密級(jí)單位代碼Q2Z學(xué)號(hào)20032282西北大學(xué)碩士學(xué)位論文指導(dǎo)教師厘熊專業(yè)技術(shù)職務(wù)塾墊撞指導(dǎo)教師堡塞盔專業(yè)技術(shù)職務(wù)墊蕉學(xué)科專業(yè)差查堂答辯日期QQI生I旦學(xué)位授予日期二OO六年六月THECOMPARISONOFSHTLU’SCALLIGRAPHYANDPNLNNGINTHETECHNIQUESSHAOZHIYUANCHINESEPAINTINGANDCALLIGRAPHYDIRECTEDBYPROFESSORQUJIANABSTRACTSHILUONEOFTHE霉【CAT瞞TARTISTSINTHE20THCENTURY，ISREGARDEDASTHEORIENTALVONGOUGHHEHASCAUSEDWONDERANDCONC囂FFLFROMMILLIONSOFPEOPLEWITHHISOUTSTANDINGTALENTSANDUPSANDDOWNSOFHISC甜EET，BUTNOTMUCHWORKONHISARTISTICACHIEVEMENTISFOTMDTHERESEARCHMADESOFARISMOSTLYHOLISTICANDGENERAL，ORMAINLYONHISPAINTINGSTYLE，BUTTHOROUGHSTUDIESOFACERTAINASPECTOFHISARTISTICVALUESAREFEWTHECOMPARISONOFSHILU’SCALLIGRAPHYANDPAINTINGINTHETECHNIQUESISARELATIVELYNEWTOPICTHOUGHAFEWOFSUCHSTUDIES，MOSTLYINCOMPLETE，ARESEENNOWANDTHENSUCH髂WANGCHUAN’SON冊(cè)F血，ZHOUSHAOHUA’SHIGHWINDSONTHEWORLD，ZHUANGTIUNMINGANDZHAOQIBIN’SLMMORMLSHILUTHISTHEWSISDIVIDEDINTOFIVEPARTSTHEFIRSTPARTMAKESABRIEFSTUDYOFTHESIMILARITIESBETWEENHISCALLIGRAPHYANDPAINTJNGTHESECONDPARTDEALSWITHTHECOMMONFEATURE，IETHELINE，WHICHBEINGTHESHAREDCARRIERASTHEMASTERLIKERANSMTED，ISUSEDUNIVERSALLYINTHECALTIGRAPHYANDPAINTINGSTHCNEXTTWOPARTSINCLUDETHEORIGINALITYOFTHISTHESIS11LCTHIRDPARTMAKESANANALYSISOFSHILU’SIDEASABOUTPAINTINGSKILLSTHROUGHWHICHALLUNDERSTANDINGOFSHI’SORIGINALITYISACHIEVED，THEFOURTHPARTMAKESACAREFULSTUDYOFTHECALLIGRAPHYANDTHEPAINTINGSTYLESINTHREEPERIODSOFSHILU’SCAREORTHEFIRSTPERIOD19491959THESECONDPERIOD19591964ANDTHETHIRDPERIOD19711979BEFORE1949，SHILUDIDNOTDEVOTEHIMSELFTOCALLIGRAPHYANDTHEPAINTINGSOTHEFIRSTPERIODISNOTCOVEREDHEREITWASONLYAFTERLIBERATIONTHATHESTARTEDWORKINGONCHINESEPAMTINGWITHTHROUGHALLTHEFIGHTINGINNORTHERNSHAANXIPAINTEDIN1959ASA刪雎POINTAFTERTHAT，SHILUREACHEDMATURITYINTHEARTOFCALLIGRAPHYANDPAINTINGTHROUGHHISPAINFULEXPERIENCEDURINGTHECULTURALREVOLUTION，HISPAINTINGSTYLEGOTADRAMATICCHANGEAFTERTHE1970S，F(xiàn)ROMBEING∞ALISTICTOEXPRESSIVETHELASTPARTMAKESACONCLUSIONOFTHEPAPERTHISTHESISINTENDSTOFURTHERPEOPLE’SUNDERSTANDINGOFSHILUBYDISTINGUISHINGTHEVARIATIONSOFSTYLEINDIFFERENTPERIODSSOTHATCREATIONOFPAINTINGWORKWILTBEPROMOTEDKEYWORDSCALLIGRAPHYPAINTINGCOMMONORIGMOFCALLIGRAPHYANDPAINTINGCOMPARATIVESTUDYFLAVORI血CS

簡(jiǎn)介：山東大學(xué)博士學(xué)位論文20世紀(jì)中國(guó)繪畫美學(xué)姓名孔新苗申請(qǐng)學(xué)位級(jí)別博士專業(yè)文藝學(xué)指導(dǎo)教師周來祥20050101山東大學(xué)博士學(xué)位論文中文摘要20世紀(jì)中國(guó)美術(shù)變革，是中困社會(huì)走出千年封建社會(huì)制度、封建文化，步入新社會(huì)、新文化建設(shè)進(jìn)程的重要組成部分。20世紀(jì)中國(guó)繪畫，最集中地代表了中國(guó)新美術(shù)發(fā)展的核心目標(biāo)與實(shí)踐主題。本文的創(chuàng)新點(diǎn)，是運(yùn)用辯證思維的科學(xué)觀，將歷史的方法與邏輯的方法結(jié)合起來，通過對(duì)20世紀(jì)美術(shù)現(xiàn)象、思潮、重要畫家及作品的美學(xué)品格和藝術(shù)創(chuàng)作特征的分析，將20世紀(jì)中國(guó)美術(shù)從占典形態(tài)向現(xiàn)代形態(tài)的轉(zhuǎn)變過程，描述為崇高審美理想對(duì)古典和諧審美理想的歷史性超越。揭示出20世紀(jì)中國(guó)繪畫美學(xué)發(fā)生、發(fā)展、嬗變的歷史規(guī)律。中西美術(shù)的沖撞與融合，是20世紀(jì)中困美術(shù)變革中最突出的特點(diǎn)。本文將中國(guó)繪畫在20世紀(jì)發(fā)生的巨大變革，看作是自晚明以降中國(guó)封建社會(huì)內(nèi)部濫觴的與封建文化相齟齲的審美現(xiàn)象，逐步積累演化，在19世紀(jì)未與西方文明相碰撞而匯合到中國(guó)社會(huì)整體大變革的歷史潮流之中。因此，本研究與以往那些單純從美術(shù)領(lǐng)域內(nèi)部觀察，將20世紀(jì)中國(guó)繪畫的變革，解釋為一‘個(gè)完整而白恰的繪畫語K系統(tǒng)在特定時(shí)期對(duì)西方繪畫觀念、手法的被動(dòng)接受；或是在異己文化力量作用下一次無奈的對(duì)自身藝術(shù)文化品格的背離與扭曲，取的是不同的研究思路與方法。我力求從與中國(guó)社會(huì)歷史生活密切相關(guān)的時(shí)代審美理想的發(fā)展變化，切入對(duì)20世紀(jì)中國(guó)美術(shù)變革的觀察與研究，建構(gòu)一個(gè)宏觀的審美理想嬗變與具體的中西繪畫語言沖突、融合相互動(dòng)的理論闡釋構(gòu)架，從而將宏觀把握與微觀分析進(jìn)行有機(jī)的結(jié)合。力求使對(duì)中國(guó)繪畫美學(xué)從古典形態(tài)向現(xiàn)代形態(tài)轉(zhuǎn)變的理論描述，能夠更加科學(xué)地展示歷史變化中諸多復(fù)雜因素之間的關(guān)系交織、線索演變及其內(nèi)在的美學(xué)邏輯銜接。論文共兩編七章，可分為三個(gè)部分上編共兩章為第一部分。描述中國(guó)古典繪畫的審美特征、語言特點(diǎn)和古典后期繪畫品評(píng)標(biāo)準(zhǔn)的和諧美品格產(chǎn)生、成熟的歷史根據(jù)與線索。明清時(shí)期，出現(xiàn)了與古典和諧美相異的一些新藝術(shù)個(gè)性追求和繪畫審美中的“怪趣”現(xiàn)象，這一在古典審美文化內(nèi)部形成的裂痕，與19世紀(jì)末西方美術(shù)在上海等沿海地區(qū)的傳播影響相匯合，在現(xiàn)實(shí)生活情境中醞釀出R以“俗”為特點(diǎn)的與封建文化價(jià)值觀相頡頏的美術(shù)現(xiàn)象，使古典和諧美的裂隙進(jìn)一步擴(kuò)大。進(jìn)入20世紀(jì)，在中國(guó)社會(huì)批判封建文化、抵御外敵入侵，建設(shè)科學(xué)、民主新社會(huì)的時(shí)代大潮中；在中西文明沖突、交融的現(xiàn)實(shí)生活情境中，人們于無處不在的巨大社會(huì)動(dòng)蕩里切身體驗(yàn)了與過去所不同的真與善、主體與客體、理想與現(xiàn)實(shí)、情感與理智、時(shí)代與傳統(tǒng)、個(gè)人與社會(huì)等各種因素的矛盾、對(duì)立關(guān)系。由此，藝術(shù)審美中古典和諧的超凡意境美必然讓位于傾向于對(duì)立的現(xiàn)實(shí)崇高美體驗(yàn)。領(lǐng)時(shí)代審美理想之先的新文化變革的

簡(jiǎn)介：2006屆研究生碩士學(xué)位論文Y8IJI6256學(xué)校代碼10269學(xué)‘號(hào)YS03045003攀袋蹲赫麓擎西方現(xiàn)代繪畫的非理性之維院系莖苤堂院差盔堂丕專業(yè)差苤堂研究方向酉友差苤史指導(dǎo)教師處殛撾數(shù)援碩士研究生萱丞應(yīng)2006年5月里翌望竺竺坐堅(jiān)里鑒些坐絲一一ABSTRACTBASEDONTHEIDEA0FIⅡATIONALISMINPHILOSOPHY，THISPAPERREVIEWTHEHORIZONTALRCLATIONSHIDBETWEENWORKSANDANISTSINTHEMODEMWESTINBROADEMCULTURAL∞NTEXT，ANDTHENTOEXPLOFCTHEMODEMWESTEMPAINTING，丘0MTHE”IRRATIONAL”DIMENSIONHASBCCNIGILORCDBYTHETRADITIONALANHISLORYCHAPTEFI，MALEDEARTHERCLEV孤TCONCCPTIONSOFRATIONALAILDIⅡATIONAL，AⅡDPUTASIDETHEBONDAGEOFCONCEPTSOFVARIOUSGENRESINWCSTEMARTHISTORY，SEIZETHECLEW”IMTIONAL”，TOAILALYZETHEMODEMWESTEMPAINTINGFCBELMTIONALCHAPTERII，BRCAKTHROUGHTHELIMITATIONS0FTRADITIONALANTHEORY0NMODEMWESTEMPAILLTIⅡGPURELYFOCUSONTECHNIQUES，HI曲LIGILTTHERELATIONSHIPBET、RECNDISSIMILATION，CLEAVAGEINSUBCONSDOUSMINDOFARTIST鋤D”DIST硎ON”INPAINTINGSCHAPTERIIL，F(xiàn)BCILSINGONTLLEREVELATIONOFMODEMWESTEMPAINTINGHOWTOEXPRCSSTILE”FALLTASTIC”O(jiān)FTHEEXISTENCEOFPEOPLE卸DWORLD，INWHICHHAVEANEWCOGILIZEONTHEANALYSIS0FDRE釉INWORKSCHAPTERIVFOCUSEDONTHEEXPLORATIONOFI皿ERIRR砒IONALCAUSEOFTHERCPRESENTATIONOF”EVILTINMODEMWESTEMPAINTIN島THUSDETEDINGIMPLIEDPROFOUNDS饑SEOFTHERCVERSIONOFHUMAILITYINITKEYWORDI玎ATIONALISMDISTORTIONFANTASTICEVILREVERSION