簡介：湖南師范大學(xué)碩士學(xué)位論文試論繪畫的樸素姓名高淑君申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師任家蓁20060301內(nèi)在的性靈美，從而強(qiáng)調(diào)藝術(shù)之本原“返樸歸真”，主張繪畫藝術(shù)應(yīng)該回歸樸素、保持樸素、發(fā)揚樸素。關(guān)鍵宇繪畫，樸素，返樸歸真，內(nèi)在美Ⅱ

簡介：東北師范大學(xué)碩士學(xué)位論文中西方人物繪畫線性造型研究姓名賈飛申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師戴成有20050501筏BSLRAETTHROUGHDEVELOPINGENJOYMENTOF仃ACINGBACKTOANDCONTEMPORARYOUTSTANDING州S石CCREATIONOFTHEORBTTOCHINA。STRADITIONAL日GUREPAINTING，D】AWTHEMODEMCHINESEFLGUREPAINTINGTOCREATEANDEXPLORE，8JJEXCHANGEDANDCOLLIDECOMPLEMEN謝JYANDJAUNCHAROUNDNLEC伽TACTOFCHINA童姚觚ONAIPENANDINKSP№ANDWESTEMMODEMMODELMEANSBASICALLYLNNEWEM’”ANISTICSPIRIT”THATSHOULDNSISTUNDERTHENEWANISTICIDEAENVIRONMENTW訓(xùn)BEESSEN“ALINCHINESEPAINTINGISCREATEDINTHEFUTURETOUSTHISTEXTBASEDONCHINDSTRADNIONALCUNURESPIRN，MIDWESTSQUAREPERSONAGEMLEARALLKNDSOFSHAPEOFMODELOFPAJNTINGGOONEXHAUSTIVEANALYSISCOMPARETOTFADITIONALA玎DMODEMVISION，ANDTHENDESCR_BETHELINEARMODELCHARACTERISTICINTHECONTEMPORARYCHINAANDSPAIN’SSQUAREPERSOLLAGE’SPAINTINGWORKS，SETOUTACTUALLYFROMCHINESE晶GUREPAINTJNG，SPEAKOFNEWHOWPERIODADOPTACORRECTANITUDETOWARDSRESOURCESOFCUNUREBETWEENEASTANDWESTUNDERT11EANISTJCENVIROMENT，SETUPWE”O(jiān)NE’SOWN”AESTHETICSTANDARD，INSISTCOFRECTVIEWTLLATIS”A11DBUTDIFFEREM”，ADVOCATEWNHTHEFOLKANTHALREASONA11DPRACTCEREPRESENTLHEDIS廿NCTCHINESECHARACTERISTICS，MAKEITSTHEORYTUMINT0OURPRACTICALOPERATIONFEASIBLEMEANSKEYWORDSLIⅡEAS；LINEAR；WRITE；THEIMAGEBEHAVES；II

簡介：魯迅美術(shù)學(xué)院碩士學(xué)位論文陳師曾繪畫歷史觀研究姓名鐘國勝申請學(xué)位級別碩士專業(yè)指導(dǎo)教師楊振國20070529ABSTRACTSTUDIESOFCHINAMODERNARTHISTORYPROBEINTOTHETHEORETICALANDPRACTICALMEANINGSTHATRESULTFROMTHETRANSFORMATIONOFTRADITIONALARTTOMODERNARTINCHINAANANALYSISOFARTMOVEMENTS,THOUGHTSANDIDEASINTHATPERIODMAYPROVIDETODAY’SARTCONSTRUCTIONWITHEXPERIENCEANDINSPIRATIONSWITHEXPLORINGTHEGREATVALUETHOROUGHLYTOPROMOTETHETRANSFORMATIONFROMTRADITIONALARTTOTHEMODERNINASPECTSOFTHEORETICALANDPRACTICALIFONEWOULDLIKETOUNSCRAMBLEANDELUCIDATECHINA’SMODERNARTHISTORYANDITSDEVELOPMENTS,HEMUSTSTUDYTHOSEHISTORICALCHARACTERSANDTHEIRINFLUENCESTHISARTICLEREVIEWSTHETHEORIESANDARTPRACTICESOFCHENSHIZENG–THECHIEFARTISTOFBEIJINGARTFIELDINTHEEARLYDAYSOFTHE20THCENTURY–ANDREVEALSTHEINTERACTIONSANDCONSEQUENCESBETWEENHISWORKSANDTHECULTURALCONTEXTTHETHESISEMPLOYSHISTORICALANALYSIS,PHILOLOGYANDSTYLISTICSTOWORKOVERCHEN’STHEORIESANDPAINTINGSANDEXPATIATESHISPAINTINGPHILOSOPHYANDSTREAMOFTHOUGHTSCHEN’STHEORIESANDARTPRACTICESPLAYANIMPORTANTROLEINTHETRANSFORMATIONANDCARRYAPROFOUNDINFLUENCEUPONMODERNARTTHEARTICLEDISCUSSESCHEN’SPAINTINGPHILOSOPHYANDCULTURALCONTEXTOFPOSTCOLONIALISMANDHISACADEMICADVANCESANDINSPIRATIONSUPONCHINA’SCULTURECONSTRUCTIONTODAYBYMEANSOFSTUDIESANDDISCUSSIONSUPONCHEN’STHEORIESANDPAINTINGS,THEMAINACHIEVEMENTLIESINANEWACADEMICPOINTOFVIEWTOREVIEWHISTORYANDOPENFUTURETHETHESISPLACESITSMAINPOINTSUPONCHEN’SPAINTINGPHILOSOPHYANDMAKESAHOLISTICSTUDYONITITREFLECTSONHISCULTURALMEANINGSINCONTEMPORARYCHINAANDOPENSANEWAREAFORDOINGSTUDIESKEYWORDSCHENSHIZENG,HISTORICALVIEWOFPAINTING,MODERNTRANSFORMATION,PROGRESS,REALITY

簡介：顴失摩碩士學(xué)位論文返璞歸真，繼往開來意大利文藝復(fù)興早期繪畫及其對于現(xiàn)當(dāng)代繪畫的實際意義學(xué)科專業(yè)美術(shù)學(xué)學(xué)位類型口科學(xué)學(xué)位口專業(yè)學(xué)位研究生姓名方維導(dǎo)師姓名、職稱曲湘建教授論文編號湖南師范大學(xué)學(xué)位評定委員會辦公室二零零九年五月摘要文藝復(fù)興時期是歐洲繼古希臘羅馬之后的第二個文化藝術(shù)發(fā)展的高峰時期。文藝復(fù)興運動發(fā)源于意大利，意大利的繪畫藝術(shù)也最早擺脫中世紀(jì)的影響而走向人文主義和科學(xué)主義的道路。本文首先闡述了意大利文藝復(fù)興運動發(fā)生的歷史背景和人文環(huán)境，以此說明意大利文藝復(fù)興的繪畫思想的來源。意大利文藝復(fù)興繪畫最為人稱道的是盛期時的畫家和作品，人們對于語言和材料上不成熟的意大利文藝復(fù)興早期繪畫卻較少提及。本文第一章著重列舉并分析了意大利文藝復(fù)興早期最具代表性的畫家及其作品，這里面有些畫家甚至在被重新發(fā)現(xiàn)之前己被人們遺忘了幾百年。意大利文藝復(fù)興早期繪畫有區(qū)別于其盛期、晚期繪畫的樸實、率真、古拙之美也比北歐文藝復(fù)興早期繪畫更不拘小節(jié)、更能體現(xiàn)人文主義和科學(xué)主義的精神此外，意大利文藝復(fù)興早期的一些繪畫重視線條的表現(xiàn)卻暗合于古代中國畫的基本造型語言以上這些意大利文藝復(fù)興早期繪畫的特點也是本文第一章所要論證的內(nèi)容。本文第二章則主要討論意大利文藝復(fù)興早期繪畫對于現(xiàn)當(dāng)代繪畫的實際意義，通過對現(xiàn)當(dāng)代畫家的個案研究來說明其對現(xiàn)當(dāng)代繪畫的影響。文章最后得出結(jié)論意大利文藝復(fù)興早期繪畫以其思想上的執(zhí)著、真誠和語言上的本質(zhì)、樸實等特點而成為一種“古淡天真”式高尚畫品的繪畫，這樣的繪畫正是現(xiàn)當(dāng)代繪畫所應(yīng)當(dāng)借鑒和傳承的。關(guān)鍵詞意大利文藝復(fù)興早期繪畫，語言，具象繪畫

簡介：東北師范大學(xué)碩士學(xué)位論文十九世紀(jì)歐洲東方題材繪畫研究姓名高菲菲申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師潘宏艷20070501ABSTRACTSINCE20CENTURYHALEINTHEMIDDLE，ABOUTORIENTTHEMEPAINTINGBEGINLOCATEARTDISCUSSOFEDGEORIENTTHEMEPAINTINGNOTONLYENCOURAGE19CENTURYEUROPEPAINTINGBURALSOWESTMODERNISMPAINTINGIMPACTEXERTFULLIMPORTANTOFFUNCTIONAGESEARCHMORELAYPARTICULARSTRESSONSINEPAINTER，AFATLOTRESEARCHORIENTTHEMEPAINTINGSTYLEANDCHARACTERISTICEMBEDDEDDISCUSSTEXTWOULDFROMSEVERALASPECTOPENOUTDISCUSSFIRSTRESEARCHORIENTTHEMEPAINTINGGROWBOUNDANDCOLONYGERENTMUMALORIENTCIVILIZEDOFATTITUDE，ANALYZECAUSEEUROPE19CENTURYORIENTTHEMEPAINTINGUPSURGEOUTSIDEREASONANDIMMANENCEREASONSECONDLYSUMMARIZEORIENTTHEMEPAINTINGSTYLEANDCHARACTERISTICFINALLYORIENTTHEMEPAINTINGOFCONSIDER，GETACROSS20CENTURYEUROPESTARTARISENJNPANISMANDORIGINALITYDEPICTANYLYSEORIENTTHEMEPAINTINGREPLY20CENTURYWESTMODERNTIMESPAINTINGSTYLEANDPAINTEROFAFFECTKEYWORDORIENTTHERNECULTURECHOICECHARACTERISTIC、AFFECTN

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簡介：首都師范大學(xué)碩士學(xué)位論文繪畫中哀傷情感的表現(xiàn)比較分析凡高、蒙克、莫迪里阿尼的代表作中哀傷情感的表現(xiàn)姓名張宇申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師劉孔喜20080519ABSTRACTSINTHELATE19THCENTURYEARLY20THCENTURY，WESTERNPAINTINGISINASEARCHFORANEWSTANDARDANDEXPERIMENTALARTTRANSFORMATIONPERIOD．THISPENODOFTHREEARTISTSTHATVINCENTVANGOGH，EDVARDMUNCH，MODILIANIDIVERSITYOFARTINTHISPARTICULARENVIRONMENTOPENEDUPTHEIROWNUNIQUEARTISTICPATH．ATHOMEANDABROAD，ONTHEIRBIOGRAPHIESANDPICTURESOFMANYPUBLISHED，BUTITWASNOTTHEWORKOFTHREEARTISTSTOCONTROLANALYSISANDCOMPARISON．INTHISPAPER，THREEARTISTSFROMTHEUNIQUECHARACTERANDEXPERIENCEASTHESTARTINGPOINT，ANALYSISANDRESEARCHSCREENEMOTIONALEXPRESSIONOFGRIEFLINEARFACTORSANDCOLOR，THENMOREPROFOUNDUNDERSTANDINGANDAPPRECIATIONOFTHEARTIST’SWORKS．SCREENDYNAMICFACTORSOFPERSONALITYANDTHEINGENIOUSAPPLICATIONOFCOLORARETHREEPAINTERSEMOTIONALEXPRESSIONOFGRIEFONCEAGAININIT．INPARTICULAR，THEREPRESENTATIVESOFTHETHREEHASASIMILARMAGICALEFFECT．INMODIGLIANI’SWORKS，THEELEGANTCURVESTOUZHEGENTLESADNESS；INMUNCH’SPAINTING，SUFFERINGTHECURVESUCHASBENDINGANDTORSIONQIANRUOLIFEINHELLGROANING；VANGOGH’SPAINTINGSINTHEUNIQUESTYLEOFTHECAMPAIGNREVEALEDASTRONGLONELINESSANDANXIETY．1WILLLEARNFROMTHEPERSPECTIVEOFCOLOR，ACCORDINGTOTHREEARTISTSUNIQUECOLORSCREENSYSTEMTODEFINETHEEMOTION．SUCHASVANGOGH’SINTENTIONTOIMPROVETHECOLORBNGHTNESSANDCONTRASTSCREENATTHESAMETIMEUSEAVISUALUNREST；MUNCHPREFERENCEFORNONCONFORMINGPURPLE，YELLOW，REDANDGREENANDTHEUSEOFSOPHISTICATEDCOLORORCOLORSATURATIONISHIGHINTHEGLOOMYPICTUREOFTHESUDDENWAYTOCREATEACLIMATEOFANXIETY；MODIGLIANITOREDANDGREENTOTHESCREENINTHEULTIMATEINHARMONY，HEBRUSHESUNDERTHEREDFEMALEBODYASASCULPTUREOFUNPARALLELEDBEAUTYANDHARMONYOFCOLORINTHELIGHTTHROUGHTHEGRIEF．KEYWORDSCLIMATEPERSONALITYTRAITCURVEOFSADNESSATTHESAMETIMECOMPANSON2

簡介：河北師范大學(xué)碩士學(xué)位論文從韓熙載夜宴圖談傳統(tǒng)繪畫中色彩的意象性姓名范艷芬申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師朱興華20090401河北師范人學(xué)美術(shù)學(xué)碩十學(xué)位論文ABSTRACTWITHAUNIQUESTYLEANDSTRONGNATIONALCHARACTERISTICS，TRADITIONALCHINESEPAINTINGHASALONGHISTORYANDAUNIQUEAWARENESSANDUSEOFCOLOR，WHICHFORMTHETRADITIONALCONCEPTOFCOLORFROMTHEORIGINAL”FIVECOLORS”CONCEPTTOA”WITHFUCAICLASS”O(jiān)F”LIUFA”ANDTHE”FIVECOLORINK”，ALLOFTHEMCONVEYTHECHINESEPAINTING’SATTENTIONANDEXPLORATIONOF”COLOR”ANDFORMASERIESOFBASICRULESTOADAPTTOTHEREQUIREMENTS，’’WITHFUCAICLASS”，WHICHINDICATESTHEINHERENTCOLOLSETSASIDETHECOLOROFLIGHTSOURCEANDTHECOLOROFENVIRONMENT，ASWELLASOTHEROBJECTIVEFACTORSBOTHOF”WITHFUCAICLASS”ANDTHE”SUBFIVECOLORINK”PROPOSEDLATERREFLECTTHECOLORIMAGEFIRSTOFALL，THISPAPERSTUDIESTHETRADITIONALCHINESECONCEPTOFCOLORPOINTSOUTTHATTHETRADITIONALCONCEPTOFCOLORCHASESTHECONCEPTOF‘‘IMAGE’ANDPROPOSESTHECONCEPTOF‘‘COLORIMAGERY’，EXPLAINSTHATITISASUBJECTIVECOLORSYSTEMCREATEDBYARTISTS，ANDEXPLORESTHEBASEOFPHILOSOPHYWITHTHESPECIFICCONDITIONSOFPAINTINGOFDIFFERENTTIMES，THEPAPERALSOSETSFORTHTHETRADITIONALCONCEPTOFCOLORFROMAMONOCHROMECOLORTOGLORIOUSCOLORWHILEAFTERSONGYUAN，THETRADITIONALCOLORTENDSTOBESIMPLEANDTHEPAPERDISCUSSESTHECONCRETEMANIFESTATIONOFTRADITIONALCOLORDURINGITSDEVELOPMENTONTHEWHOLE，INTHECONTEXTOFTRADITIONALCHINESECULTURE，BOTHGLORIOUSANDSIMPLECOLORINPAINTINGUSETHECOLORIMAGE，EMPHASESONPEOPLE’SINITIATIONINPAINTINGSECONDLYFROMHANBANQUETMAPOFFIVEDYNASTIESANDGUHONGZHONGTHEPAPERANALYZESTHEHISTORICALANDCULTURALBACKGROUNDOFHANBANQUETMAP，POINTSOUTTHECONCRETEMANIFESTATIONOFCOLORIMAGEINHANBANQUETMAPEXPLAINSTHEINGENIOUSCOMBINATIONOF‘MEANING’’AND‘‘IMAGE’’，ASWELLFITSTHESPIRITOFIMAGEINWORKSFINALLYWITHTHEDEVELOPMENTOFCHINESECONTEMPORARYPAINTINGPEOPLE’STHOUGHT，AESTHETICASWELLILLSINTERESTARECONSTANTLYCHANGINGTHEINTRODUCTIONOFWESTERNCOLORLEADSTHETRANSFORMATIONOFTRADITIONALPAINTINGTOMODEMPAINTINGSINCE1990S，MODERNHEAVYPAINTINGSHOWSUPANOPENMINDOFCULTURE，BREAKSTHEFIXEDTHOUGHTPATTERNINPAINTINGLANGUAGE，ANDEXPLORESNEWWAYSINCREATIONWITHTHEINTERVENTIONOFNEWMATERIALSUCHASROCKANDNEWMEDIATHECREATIONOFHEAVYCOLORPAINTINGTENDSTOBEDIVERSITYANDII

簡介：上海大學(xué)碩士學(xué)位論文張大千繪畫作品市場特征探究姓名李何申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師胡光華20090301張大干繪畫作品市場特征探究ABSTRACTASTHEMODEMCHINESEMASTEROFPAINTINGCHANGDAICHIENMARKETISONEOFTHEIMPORTANTFORCESINTHEARTMARKETCHANGDAICHIENMARKETNOTONLYHAVETHESOMEMARKETCHARACTER勰OTHERTRADESBUTALSOHAVEITSOWNPARTICULARITIESSINCEITENTEREDTHEAUCTIONMARKET，HAVENINGBEENSHOWASTEADYANDHEALTHYSITUATION，NOMATTERTRADINGVOLUME，CLOSINGCOSTORTRANSACTIONRATEALLKEEPRISINGTREND，LANDSCAPEPAINTINGTAKEUPTHEMAINPLACEOFHIGHERPRICEHISFIGUREPAINTINGMARKETSCOMPARABLYKEEPSTEADILYRISINGTRENDHISFLOWERANDBIRDPAINTINGHAVETHEPOTENTIALOFRISINGAGAINTHEPERSQUAREFOOTOFFINALPRICE，AIMPORTANTFACTORTHATUSEDTOMEASUREAPAINTER’SVALUEOFWORK，ISALSOSHOWAHIGHERTREND，ITISNOTLIKETHEFAMOUSOFSHANGHAIFACTIONPAINTERSDEVELOPMENTTRENDSSUCHASLUYANSHAOWUHUFAN，THEIRPERSQUAREFOOTOFFINALPRICEINALLAUCTIONPERIODSHOWOSCILLATIONSANDNEGATIVEGROWTH，SOTHEIRWORKSVALUENEEDFURTHEREXCAVATEANDCULTIVATINGINLARTMARKETTHEEMERGENCEOFCHANGDAICHINE’SPARTICULARPAINTINGMARKETSITUATIONNOTBYACCIDENT，WRITERTRIEDTOINTERPRETHISPAINTINGSABOUTTHEREALREASONSFORTHESPECIALMARKETMERCHANDISEFROMTHEASPECTSOFTHEVALUEOFARTITSELFARTMARKETANDCOLLECTORSMARKETBEHAVIORTHEINTRINSICFACTORTODETERMINEITSMARKETISTHEVALUEOFARTMERCHANDISE，OFWHICHTHEARTISTICVALUEANDCULTURALVALUESARETHECORE，ACADEMICVALUEANDMARKETVALUEAREESSENTIALTOEXTENDCHANGHAVEAKEENAWARENESSOFTHEMARKETINHISLIFETIME，CARLBEBETTERTOCHANGEHISSTYLEBASEDONMARKETAESTHETICTRENDS，ANDBEGOODATCOOPERATEWITHANINTERMEDIARIESANDTHEMEDIA，THROUGHTHEDISSEMINATIONOFARTEXHIBITIONSEFFECTTOSETTLEHISOWNPAINTINGSOFHISTORYVALUEAFTER90S，THEAUCTIONHOUSEINTERVENTIONINCHINESECALLIGRAPHYANDPAINTINGSMARKET，ACHIEVEAMAXIMIZATIONOFTHEVALUEOFCHANGDAICHIENPAINTINGVIEWHISRELATEDACADEMICRESEARCH，PUBLICITYBYTHEUSEOFMODEMMEANSSUCH勰THEMEDIANOWTELEVISIONSTATIONS，NEWSPAPERS，MAKINGUSEOFTHEIRWORKSSCHEDULINGRULESOFTHEMARKETORDERTOCREATEACLIMAXAUCTIONTOATTRACTTHEATTENTION

簡介：東北師范大學(xué)碩士學(xué)位論文丙烯與我的繪畫語言視覺觀姓名龐磊申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師宋學(xué)智20090501ABSTRACTTHETRADITIONALPAINTINGWITHTHEARTIST’STHOUGHTHASRHYTHM，PROPYLENEMATERIALSANDPROPYLENEMEDIAUSEDISTHEARTIST’SBOLDATTEMPT，NEWMEDIA，THEUSEOFNEWMATERIALSBROKETRADITIONALPAINTINGMATERIALSWITHITSEXCELLENTPROPYLENEMATERIALCHARACTERISTICSOFCONVENIENT，HASMADEITMOREANDMOREWIDELYUSEDANDNUMEROUSARTISTSPROPYLENEMEDIAAGENTANDPROPYLENEPAINTINGMATERIALSFORPAINTINGLANGUAGECHANGESANDDEVELOPMENT，CREATEAN‘UNPRECEDENTEDDEVELOPMENTSPACEARTISTSUSINGARTSYMBOLS，INHERITEDEXISTINGCODE，ONTHEOTHERHAND，THEMODEOFEXISTINGCONSCIOUSLYBREAKTHROUGH，ITALSOMAKESACREATIVEARTISTSINTHEWIDERPLATFORMTHEARTISTISTOUSEASASYMBOLOFINDUSTRIALPRODUCTS，DUEONTHEREADYMADEINDUSTRIALPRODUCTSCLOSELYLINKEDWITHTHELIFEOFPEOPLE，OBJECTS，USEASHUMANLIFE，THROUGHMEMORYPERCEPTIONSYMBOLSOFARTTOHIGHLIGHTINNERLIFEENERGYCONVERSION，THISISUSEDINTHEWORKCANBEVERYINTUITIVEIDEA，ANDPAINTERSTABLEVIEWEREASILYTHEACCUMULATIONOFHUMANCIVILIZATIONANDHISTORYANDRICHCULTURALMEANINGINANAGEOFSCIENCE，WHICHISTHEPERCEPTIONISNOTOUTOFTHEEXPERIMENTALANALYSISOFTHEMATERIALISHUMANPERCEPTION，THESIGNIFICANCEOFHUMANITYWITHPEOPLEOFCONSCIOUSNESSANDDEEPENING，PETROPHYSICALPROPERTY，HADTHETIMEANDREPRODUCTIVITYTODAY，THEARTISTICCREATIONOFTHESEXUALMEANINGISBASEDONTHEIRSPIRITUALDEMANDARTISTSFORSPIRITUALMESSAGEOFTHISCREATION，ALSOHASTHEVALUEOFCONTEMPORARYCONTEXTKEYWORDSPROPYLENE；MATERIAL；SYMBOLS；MATERIALSⅡ

簡介：南京師范大學(xué)碩士學(xué)位論文淺論中西傳統(tǒng)繪畫節(jié)奏姓名馮韜申請學(xué)位級別碩士專業(yè)藝術(shù)學(xué)；美術(shù)學(xué)指導(dǎo)教師吳維佳20090518ABSTRACTIIABSTRACTRHYTHMISAFAIRLYCOMMONPHENOMENONINNATUREFROMTHEBIRTHOFTHEUNIVERSETODESTROYTHEFUNCTIONINGOFWLDENERGYCONVERSIONTHEREPLACEMENTOFSEASONSTHROUGHOUTTHEYEARTHEPENDULUMSWINGINGSURGINGWAVESASWELLASRESPIRATYRHYTHMCHANGEEXISTSITCANBESAIDTHATALLTHINGSAREALWAYSCHANGINGOBVIOUSLYSECRETLYDISPLAYINGTHEIRENERGYOFLIFERHYTHMINPAINTINGARTRHYTHMARTISTAREMANYMODELINGELEMENTSINTHEPERFMANCECONDUCTEDINANDERLYMANNERTHEREISCHANGEINTHESTRENGTHOFONEOFTHEMEANSTODEALWITHITTHEUSEOFPAINTINGASPECIAL“LANGUAGE“REFLECTSTHESTRENGTHOFTHINGSINSPTSSPEEDCHANGETHESEVERITYOFAVARIETYOFRELATIONSTOSHOWTHEUNIQUEBEAUTYOFITSPAINTINGSPERFMANCEARTHASAVITALROLETHISESSAYPUTSFWARDTHEPRODUCTIONFUNCTIONOFRHYTHMANALYZESTHEDIFFERENTCOGNITIVEABOUTITBETWEENCHINESEWESTERNTRADITIONALPAINTINGINWHICHMAINLYANALYZESTHEDIFFERENTCOGNITIVEABOUTRHYTHMOFMODELINGELEMENTSBASEDONHISTYIMAGESBECAUSEOFTHEDIFFERENCESOFCULTURALTHINKINGMODELSPAINTINGTOOLSTHEREAREDIFFERENTDISPLAYOFAPPLICATIONEMPHASISOFTHERHYTHMOFMODELINGELEMENTSBASEDONLIKENESSCHINESETRADITIONALPAINTINGMAINLYAPPLIESTHERHYTHMWITHOBVIOUSSUBJECTIVITYEXPRESSESITSFEELINGSTHROUGHHOGARTH’SLINECHIAROSCUROWHILEWESTERNTRADITIONALPAINTINGPAYSMEATTENTIONTOEXPRESSINGFEELINGSTHROUGHCOLCHIAROSCUROWITHOBJECTIVITYBASEDONAPPEARANCERESEMBLANCEFINALLYTHEESSAYPUTSFWARDTHESIGNIFICANCEOFTHERESEARCHONPAINTINGRHYTHMFROMTHEPERSPECTIVEOFPAINTINGRHYTHMITSELFGLOBALARTENVIRONMENTWHICHISTOFINDOUTTHENEWWAYCRESPONDINGRHYTHMINTHENEWCULTURALLANGUAGESURROUNDINGSKEYWDSPAINTINGRHYTHM，SHAPE，LIGHTSHADE，COL，TEXTURE

簡介：勝物而不傷論視知空間與繪畫空間的對應(yīng)關(guān)系美術(shù)學(xué)油畫董文通一韓寶生教授一摘要本文以中國哲學(xué)莊子中“勝物而不傷”的哲學(xué)觀點和西方現(xiàn)象學(xué)哲學(xué)作為理論依據(jù)，對繪畫的空間秩序建構(gòu)予以分析研究。由繪畫的空間建構(gòu)主體“身體空間”入手，圍繞“真正偉大的繪畫作品“如何建構(gòu)為目標(biāo)，通過對繪畫空間秩序建構(gòu)與現(xiàn)實空間秩序的對應(yīng)關(guān)系出發(fā)展開論述。文章的前一部分闡述了“勝物而不傷”的理論淵源及概念解釋。通過論述“勝物而不傷”實現(xiàn)的現(xiàn)實前提，簡要論述它對于繪畫，或者說真正偉大的藝術(shù)作品的指導(dǎo)意義。文章第二部分重點探討了身體空間的諸多屬性，及其與現(xiàn)實空間的關(guān)系。之后詳盡論述了“勝物而不傷“對繪畫者視知空間體驗的要求，指出在認(rèn)識事物、感知事物存在真實的體驗中，“清虛”是前提，“自守’’是原則。最后闡述了“勝物而不傷”這一認(rèn)知事物的體察原則，只有建立在主體身體屬性的基礎(chǔ)上才能實現(xiàn)。文章第三部分論述了建構(gòu)繪畫空間秩序的要素，以及身體空間屬性在實現(xiàn)繪畫空間秩序建構(gòu)中的現(xiàn)實意義及其決定因素。同時闡明了“勝物而不傷”對繪畫空間秩序建構(gòu)的要求，并且進(jìn)一步揭示了在繪畫實踐中，主體自身平衡意識的建構(gòu)與錯覺的參與同樣是深化、詮釋“勝物而不傷”意義的行為需要。文章最后一部分通過對典型畫家的代表性作品的分析，從實際可操作的角度出發(fā)，進(jìn)一步論證了“勝物而不傷”觀點的現(xiàn)實意義?！皠傥锒粋笔歉兄挛锎嬖谡鎸嵉挠行緩?，是感知自身真實意識的絕佳方式。在繪畫建構(gòu)過程中，通過對空間秩序的理解，實現(xiàn)了呈現(xiàn)事物真實存在與主體真實情感意識的完美平衡。既實現(xiàn)了事物本身的價值，又彰顯了知覺主體存在的意義，同時把繪畫的單純表現(xiàn)的屬性還給了繪畫，使繪畫回歸自身。關(guān)鍵詞勝物而不傷、身體空間、繪畫空間、空間秩序、存在真實研究類型其它TLLEPRACTICALPOIILTOFVIEWANDFURTHERDEMONSTRATEDTHATPRACTICALSIGNIFIC觚CEP0INTO。VJEWCONTROLTHINGSWITHOUTINJURY”。。CON仃OLTHINGSWMUTINJ叫’ISALLEFFECTIVEWAYTOPERCEIVEDTHEE【IS‘ENCEOFTHLNGS1SA燈EATWAYT0PERCEIVEDSELFCONSCIOUSNESSINTHEPAINTINGPROCESSBYUNDERS協(xié)DLNGSPATLALORD甌TOACHIEVEMEPE疵CTBALANCEBETWEENSHOWTHEREALTHINGANDPERSON’STMEFEELINGSNOTONLLI『REALIZESTHEVALUEOFTHETHINGITSELFALSOHIGHLIGHTSTHESIGNIFICANCEOFTHEEXLSTENCEOFMEMAINPERCEPTION，ATTHESAMETIMETHEPERFORMANCEOFTHEPROPERTIESOFPUREPAINTLNGBACLTO1吐LEDRAWING，SOTHATPAINTINGHASITSOWNSIGNIFICANCEKEYWORDSC。N仃OL蚰NGSWIM。UTINJURYB。DYSPACE，PAINTINGSPACE，SPATIALORDER，REALBEINGTHESISOTHERIII

簡介：南京師范大學(xué)碩士學(xué)位論文論宋代貨郎圖中物件造型在現(xiàn)代兒童題材繪畫中的應(yīng)用姓名王小娟申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師劉赦20100525ABSTRACTABSTRACTCHILDREN’STHEMESOFTRADITIONALCHINESEPAINTINGCHINESEPAINTINGASAIAINTEGRALPARTOFCHINESEFIGUREPAINTINGASSOCIATEDWITHTHEPRODUCTIONDEVELOPMENT，ANDHASUNDERGONETHOUSANDSOFYEARSOFACCUMULATIONANDTHEEVOLUTIONOFCULTURE，UNIQUEARTSANDCULTURALCHARACTERANDAESTHETICFORM．THISARTICLEFIRSTCHILDBEFORETHESONGDYNASTYSUBJECTSABRIEFOVERVIEWOFTHEDEVELOPMENTOFCHINESEPAINTING，SONGIMAGEONTHESCREENBEFORETHECHILDISAFOILOFMULTIPLEROLES，SEPARATETHETHEMEOFPAINTINGS，OFACHILDLESS．THESONGDYNASTY,CHILDREN’SDRAWINGDEVELOPMENTASASEPARATESUBJECTCATEGORIES，THISARTICLEBYSUHANCHENANDLISONG’STWO”STREETVENDORMAP”O(jiān)FRESEARCH，ANALYSISOFTHETWOIMAGESOFVARIOUSOBJECTSSHAPECHARACTERISTICSANDPAINTINGTECHNIQUES，“STREETVENDOR,”ALARGENUMBEROFTHEUSEOFOBJECTMODELINGFORTHESCREENTOCREATEAMORERELAXEDANDHAPPYATMOSPHERE，GOODBACKGROUNDOFTHEMAINCHARACTERSOFTHELATERPAINTINGSHAVEAPROFOUNDIMPACT．ICOMBINECREATIVEINTHEIRFEELINGSANDEXPERIENCESTHATTHESONGPAINTING”STREETVENDOR,”APORTRAYALOFTHEOBJECTMODELINGTECHNIQUEFORTHEPERFORMANCEOFCHILDREN,SUBJECTSOFCHINESEPAINTINGISWORTHLEARNING，HELPINGCHILDRENINNOCENTANDLIVELYPERFORMANCECHARACTERISTICSOFTHESCREENTOCREATEAMORERELAXEDANDHAPPYATMOSPHERE．REPLACETHEIRPAINTINGTECHNIQUESLITTLECHANGED，THESCREENWILLHAVESOMEMODEM．FULLTEXTCONSISTSOFTHREEPARTSCHILDRENBEFORETHEFIRSTCHAPTEROFTHESONGDYNASTYTHEMEOVERVIEWOFTHEDEVELOPMENTOFCHINESEPAINTING．CHAPTERIIMAINLYINTHESONGDYNASTY,”STREETVENDORMAP”O(jiān)FRESEARCHANDANALYSIS，ANDBRIEFLYDESCRIBETHEIRMETHODOFOBJECTMODELINGTHEIMPACTONFUTUREGENERATIONS．CHAPTERIIIDESCRIBESHIMSELFINTHESONGDYNASTY,”STREETVENDOR,’’ACHARACTERIZATIONMETHODOFMODELINGOBJECTSABSORBANDLEARNFROM，ANDFROMTHECOMPOSITION，SHAPE，COLORSIDESCRIBEDTHREESUBJECTSOFCHINESEPAINTINGFORCHILDREN’SCREATIVEEXPERIENCESOFEXPERIENCE．KEYWORDSSTREETVENDORMAP；OBJECTMODELING；CHILDTHEMEDTRADITIONALCHINESEPAONTING；CREATIONⅡ

簡介：東北師范大學(xué)碩士學(xué)位論文丹青妙筆著文章論凌叔華作品中的繪畫美姓名王會娜申請學(xué)位級別碩士專業(yè)中國現(xiàn)當(dāng)代文學(xué)指導(dǎo)教師孫中田20050501ABSTRACTASONEOFTHEFIRSTWOMANHOVELWRITERSOFMODERNCHINESELITERATURE．LINGSHUHUA1900?1990，ALTHOUGHSHEHASNOANEARTHQUAKEONLITERARYCIRCLES．SHEMASTERSTHECULTUREOFEASTCOUNTRYANDWESTCOUNTRY，LEARNINGTOKEEPDEEPLY．SHEPURSUESINTHEARTUPAWAREOFSELFHIGHLY,SUPERTAKEOFFTHEESTHETICSENSEOFTHEUTILITYANDTHESMOKEDPOTTERYOFTHETRADITIONARTACCOMPLISHMENTS，ADDEDTHECREATIONATTITUDE，MAKINGHERWORKBECOMETHESPECIALARTSTYLE，ITMAYBESAID“PAINTINGTHEARTANDLITERATUREBREEZE，AVEINACCEPTSMUTUALLY”，DIDTOCONTRIBUTEFORTHEQUESTANDDEVELOPMENTSOFTHECHINESECONTEMPORARYLITERATURE．SHESINCEASCENDEDTHELITERARYCIRCLESBEFULLYFOCUSATTENTION．ASTOIT．LUXUN、ZHUGUANGQIAN．SHENCONGWENALLHAVETHECOMMENT．THISTEXTCREATESFROMANEWANGLEOFTHECONTACTOFTHELITERATUREANDTHEPAINTINGART，INQUIRINGINTOSOMEAPPRECIATEBEAUTYANDTHECHARACTERISTICOFLINGSHUHUA’SWORKS，TRYINGTOEXPANDTHENEWRESEARCHSPACE．THEFIRSTPARTOFTHISARTICLEEXPLORETHEREASONWHYLINGSHUHUA’SWORKSHAVETHEPAINTINGBEAUTY，THEREARETWOREASONSONEISTHATTWOKINDSOFARTSOFLITERATUREANDPAINTINGORIGINALLYHAVEMUTUALLYTHEPLACE，ANDTWOISTHECONDUCTANDACTIONSOFPAINTER’SACCOMPLISHMENTOFLINGSHUHUA．THECHARACTERQUALITIESAFFECTSHERLITERATURETOCREATE．BEINTHELIGHTOFTOPURPOSEOFTHEBEAUTIFULOVERALLTREATISEOFLINGSHUHUA’SWORKSINTHEPAINTINGRESEARCH，THISSTATIONERYBODYANALYZEDLINGSHUHUATOLEARNTHECREATIONSTOMELTTONOTETHEPAINTINGINCHINAESPECIALLYTHECREATIONSSPIRITOF“SCHOLARPAINTING”ANDTHEPORTRAITPAINTING．THISMAINBODYNOWFOLLOWINGFEWASPECTSONEISTODEPENDON“BLANK”IN“SCHOLARPAINTING”THEORY,WRITE“PICTUREALBUM”STRUCTUREWORKS；SETOUTFROMTHENATURALSCENERY，SUCHASTHEESTHETICSENSEOFTHEPAINTING，WRITE’‘SETOFPAINTING’’STRUCTUREWORKS；TWOISTHECOMPOSITIONLAYOUT．THERAYRESULTANDSTATICSTATESTHATTHESCENERYINTEXTDESCRIBESTOPURSUETHEPAINTINGSORTTOPRESENT；THREEISTOSUCCESSFULUSAGEOFTHECOLOR；FOURISASKILLMETHODTHATABSORBSTHEPORTRAITPAINTING，TRYHARDFORTHEFORMABSOLUTEBEINGANDHAVEWHILEMOLDINGTHEPERSON，THEFLAVORISVIVID．COMPAREDWITHTHEWOMANWRITERWHOCAUSESTHELONGPOPULARITY．SUCHASZHANGAILINGANDXIAOHONG，LINGSHUHUAMAYFEELLONELYSOMETIMES，BUTSHESTILLISIMPORTANT．SHEJUST1IKEAPICTURE，NEEDYOUTASTEITSOFTLY．AFTERTASTING，YOUWILLFILLTHATSHEHASTHEMAGICPOWERTHATLEADYOUTODREAMITLONGTIME．KEYWORDSLINGSHUHUA；BEAUTYOFDRAWING；‘’PICTUREALBUM”STRUCTURE；“SETOFDRAWING’’STRUCTURE；SCENERYDESCRIPTION；FIGUREPAINTING

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