簡介：Y108829L校代嗎L0475號104753040613；．I南大學(xué)研究生碩士學(xué)位論文傳統(tǒng)中西繪畫空間意識比較ACOMPARISONONSPACECONSCIOUSNESSBETWEENTRADITIONALPAINTINGSINEASTANDWEST專業(yè)名稱美術(shù)學(xué)專業(yè)代研究方碼向塑墨塾堂魚嬰塞年級二OO四級研究生姓名墮墊導(dǎo)師姓名、職稱李明偉副教授完成日期三QQ主生里旦一論文主題詞傳統(tǒng)／中國繪畫／西方繪畫／空間意識ABSTRACTFROMTHETRADITIONALOPERAWIDELYKNOWNINBOTHEASTERNANDWESTERNCOUNTRIES，THISTHESISATTEMPTSTOPROBEINTOTHESPACECONSEIOUSNESSOFTRADITIONALPAINTINGSINEASTANDWEST．THEROLEORIENTATIONANDACTINGPROCEDURE0R1，F(xiàn)IETRADITIONALCHINESEOPERABEARALOTOFSIMILARITYTOTHOSEOFTHETRADITLENACHINESEPAINTING，THESPACECORSEIOUSNESSINPARTIEULAR．SOISTHERELATIONBETWEENTRADITIONALWESTERNOPERAANDPAJNTING．HENCE，JTISQUITEOBVIOUSTHATTHECUTURALCONCEPTOFANATIONEXERTSATREMENDOUSINFUENCEONTHECULTURALARTSINIT．THEREFORE，TOKNOWONEARTFORMWELL，WEMAYSTARTFROMITSSISTERARTFORMS．INORDERTOMAKEADEEPANDTHOROUGHCOMPARISONONSPACECONSCIOUSNESSOFTRADITIONALPAINTIRIGSBETWEENEASTANDWEST，THISTHESISADOPTSTHEINDUCTIONREEL。HOD，THATIS，F(xiàn)ROMSPECIFICTOGENERALANDFROMPARTTOWHOLE．FROMTHEANGLESOFHISTORYOFLDEVELOPMENT，IDEOLOGICALANDCULTURALCONCEPTS，PHILOSOPHYANDSCIENCE，THETHESISCONDUCTSANALYSESOFTHECOTRESPONDINGBRANCHESOFINTRADITIONALEASTERNANDWESTERNPAINTJNGS，NAMELY，F(xiàn)IGUREPAINTING，LANDSCAPEPAINTING，F(xiàn)LOWERANDBIRDPAINTINGANDSTILLLIFEPAINTING．1TMAKESADETAILEDINVESTIGATIONOFTHEPAINTJNGSINRESPECTSLIKESTENOGRAPHY，CHAROSCURO，POETRYANTICALLIGRAPHY．THROUGHCONTRASLANDCOMPARISON，THETHESISPRESENTSTHESLRIKINGDIFFERENCESINSPACECONSCIOUSNESSANDEXPRESSIONTECHNIQUESINEASTERNANDWESTERNPAINTINGS．PAINTINSISAVISUAART．ASTHEPAINTINSITSEFBESTILLUSTYARESTHEDIFFERENCEINSPACECONSCIOUSNESS，THISTHESISHASCHOSENSEVERATYPICALPAINTINGSINEASTANDWESTASEXAMPLES．INTHEPROCESSOFTASTINGAND

簡介：同濟大學(xué)人文學(xué)院碩士學(xué)位論文梅洛龐蒂視見繪畫理論研究姓名李冰申請學(xué)位級別碩士專業(yè)美學(xué)指導(dǎo)教師陳家琪20070601同濟大學(xué)學(xué)位論文原創(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)師指導(dǎo)下，進行研究工作所取得的成果。除文中已經(jīng)注明引用的內(nèi)容外，本學(xué)位論文的研究成果不包含任何他人創(chuàng)作的、已公開發(fā)表或者沒有公開發(fā)表的作品的內(nèi)容。對本論文所涉及的研究工作做出貢獻的其他個人和集體，均已在文中以明確方式標(biāo)明。本學(xué)位論文原創(chuàng)性聲明的法律責(zé)任由本人承擔(dān)。學(xué)位論文作者簽名M產(chǎn)干月，廠EL

簡介：遼寧師范大學(xué)碩士學(xué)位論文試論繪畫的構(gòu)圖張力姓名王文申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師孫靜茹20070528ABSTRACTPICTURECOMPOSITIONTENSIONCOMILLGTHEMAINBODYOFABOOKTOBEDISCUSSEDBEINGTRYINGSPREADINGOUTAROUNDDRAWING．THATATPRESENT，DISCUSSIONABOUTDRAWINGPICTURECOMPOSITIONDOESNOTCAREISINTHEHOMELANDBESTILLABROAD，ISINAPRETTYCOMPLETELEARNINGLEVEL．BUTDISCUSSIONTOTENSIONTHENBEACCOUNTSDIFFERANDOPINIONSVARY．BYNOW,THERESEARCHTOOPTESTHESIATENSIONREMAINSMOSTLYINTIEROFFACETHATTHEFORMANALYSES，SYSTEMRESEARCHSEEINGTHEOVERALLONTOLOGYNOTYET．ATHOMEANDABROAD，SYNTHESISABOUTPICTURECOMPOSITIONTENSIONCOMMENTSTHATRELATIVELYCOMPARATIVELYFEW,ANDNOTENOUGHCOMPLETE．BEMEMBEROFTHEAESTHETICTHEORYBOUNDARYCURRENTLY,STABLEBOUNDARYEXPOUNDINGTOTENSIONISQUITEMANY,THEMAINBODYOFABOOKADOPTUSAPSYCHOLOGY，AESTHETICSPROFESSOR，RUDOLFARNHAIMEXPOUNDINGTHATAMHAIMDEFINESTOTENSION．11LETHEORYBEINGTHEMAINBODYOFABOOKWITHAMHAIM’SEXPLANATIONABOUTTENSIONISPROPPEDUP．THISISTATTOOEDWITHFIVETOGETHERMARKOFPARTSPARTI，THESIGNIFICANCETALKINGABOUTPICTURECOMPOSITIONTENSION．EMPHASIZEPICTURECOMPOSITIONPOSITIONANDSIGNIFICANCEBEINGGOINGINGENERALNESSOFDRAWINGCHINESEPAINTING”．ANDPASSTHESIGNIFICANCEEXPLAININGTHATPICTURECOMPOSITIONANDTENSIONTALKABOUTTENSIONCOMINGEXTREMELYCLOSERELATION．THEDRAWINGTENSIONISTOEMBODYCOMINGLEECHINGONTOPICTURECOMPOSITION，PICTURECOMPOSITIONISPREMISECONDITIONFORTHEREEXISTINGINTENSION．COMETENSIONINDRAWINGTOCOMETRUESOMETIMESBYPICTURECOMPOSITIONTHISONELINK．ONLYHAVECOMPOSINGAPICTUREUNCERTAINEXISTENCETENSION．THETENSIONDEGREEISALSOCONDITIONACCORDINGTOCONCRETEPICTURECOMPOSITIONBUTORSTRONGORWEAK，ORHAVENO．DRAWINGHAVINGTENSIONBEINGABLETOSTRENGTHENTHETABLEAUDYNAMICFEELING，THEOPTESTHESIASTRENGTHENINGATABLEAUPOUNDSTHEFORCE，OPTESTHESIAAPPEAL．ANDBYAFFIRMINGTHEFINEARTSFORMMIDDLECOMINGCONCRETEEXAMPLEINDEEDEXISTENCETENSION．ANDBRINGFORWARDAQUESTIONWHATPICTURECOMPOSITIONHASTENSION，WHATPICTURECOMPOSITIONHASNOTENSION．PARTII，PASSESTHETENSIONCOMINGTOSTUDYTHEPICTURECOMPOSITIONANALYSINGTHEGEOMETRYLINE，SHAPESEXATHOMEANDABROADCONCRETEDRAWINGWORKEXAMPLE．JOINTHEWORKBORROWINGTHECONCRETEGEOMETRYLINE，SHAPENATUREPICTURECOMPOSITIONCHECKINGTENSION’SHAVING，THEFORMORNOT，DEGREEBEINPROGRESSANALYSISEXPOUNDSONEBYONE．ANDLISTTHEINHERENTEMOTIONHINTBEINGUNLIKETHELINE，THEGEOMETRICFIGUREONEBYONE．PART111，THEPICTURECOMPOSITIONTENSIONTALKINGABOUTANIMAGO．EXPLAINTHATTRADITIONTRADITIONALCHINESEPAINTINGIMAGOTHOUGHTCAUSEISTHEREASONWHYTRADITIONALCHINESEPAINTINGISCALLEDTRADITIONALCHINESEPAINTING，DEPENDSONPROPERARTOFTHECHINESENATIONWATCHES，BUTTHISARTCONCEPTFORMATIONANDPERFECT，TAOISTTHEORYBEINGPRODUCEDOBSERVESANDZENICPUSHINGHELPSLOCATIONTOBEBASIC．ANDGIVEANEXAMPLEANALYSINGIMAGOPICTURECOMPOSITIONTENSIONCONDITION．PARTIV，THETALKCUTOUTDYADICPICTURECOMPOSITIONTENSION．SETFORTHTHECHARACTERISTICCUTTINGOUTDYADICPICTURECOMPOSITIONCONCEPT，CUTTINGOUTDYADICPICTURECOMPOSITIONPRODUCINGOPTESTHESIATENSION．COMEANDTOANALYSETHEPROTRUDING

簡介：武漢理工大學(xué)碩士學(xué)位論文圖畫見聞志繪畫美學(xué)研究姓名閆麗麗申請學(xué)位級別碩士專業(yè)設(shè)計藝術(shù)學(xué)指導(dǎo)教師鄒其昌20100401ABSTRACTTUHUAJIANWENZHIISALLACADEMICWORKOFPAINTINGHISTORYWRITTENBYGUUOXUINNORTHERNSONGDYNASTY，SECONDONLYTOTHELIDAIMINGHUAJIINTHEHISTORYOFPAINTINGINCHINAITINCLUDSAWEALTHOFARTHISTORICALSUBJECTS，SUCHASARTISTBIOGRAPHIES，CRITICALBIOGRAPHIES，PIECESOFSTORIES，ETC，WHICHEMBODIEDBYMANYAESTHETICPOINTS，PAINTINGVIEWSOFGUO，ISTHECRUCIALDOCUMENTTOEXPLORETHEPAINTINGHISTORYBETWEENTANGDYNASTYANDNORTHERNSONGDYNASTYITHASBEENATTRACTINGBYMOSTANCIENTANDMODERNSCHOLARSINCLUDINGALOTOFFOREIGNRESEARCHERSANDCREATINGINCREASINGLYPROFOUNDANDLASTINGIMPACTWITHITSEMERGENCESONGDYNASTYLITERATUREANDPAINTINGSTUDIESSUPPORTEDLITERARYACTIVITIESPROMOTEDANDREACHEDANUNPRECEDENTEDDEVELOPMENTBASEDONCONFUCIANISMSONGDYNASTYEXTENDEDTANGDYNASTY’SACHIEVEMENTONACADEMICINNOVATIONTOTHEPROSPEROUSSITUATIONSONGDYNASTYCLASSICALART，ASBEANIMPORTANTPARTOFTHESONGDYNASTYCULTURE，WASCOMPOSEDOFTHEIMPORTANTASPECTSOFSONGDYNASTYCULTURE，ANDCAMEINTOBEANUNIQUEEXISTENCEOFTHEDEVELOPMENTINTHEHISTORYOFTRADITIONALPAINTINGSTUDYGUOWASBORNINARISTOCRATICFAMILYWITHLARGEAMOUNTSOFCOLLECTEDBOOKSHEWROTESOMEBOOKS，BUTBECAUSEOFAFFECTEDBYTHEBOOMINGOFPAINTINGDOMAINAFTERZHANGYANYUAN’SLIDAIMINGHUAJIEXPIREDINEPOCHOFHUICHANG841，THEMOSTAREINTHEDISORDERGUODECIDEDTOWRITEABIOGRAPHYFORTUHUAJIANWENZHITHATTHETIMESPANISMORETHAN200YEARSBETWEENTHEFIRSTYEAROFHUICHANGTOTHESEVENTHYEAROFXINING1074THEFIRSTVOLUMEMADEATHEORETICALSTUDYIMITATINGFROMZHANGYANYUAN’SSTYLE，INVOLVINGCOLLECTIONSKILL，THEORYCRITICISMANDSOON，WHICHEXPRESSEDTHEZHANG’SAESTHETICPOINTMAINLYTHEIITOIVDISPLAYEDTHEARTISTS’BIOGRAPHYANDESSAYS，ABOUTMORETHAN280ARTISTSTHEVANDVISHOWEDMANYPIECEDSTORIESABOUTARTSTHEFUTURITIESPARALLELEDTHISBOOKTOTHELIDAIMINGHUAJILIKETHE”HAN”TOTHE”HISTORICALRECORDS”HISTODANMADANLINSAIDTHETUHUAJIANWENZHIWAS”THEDIRECTORYOFREADINGOFPAINTING”COMMENTSACROSSTOTHEGUO’STUHUAJIANWENZHIANDTHESTUDYOFTHEAGE，STRUCTUREⅡ

簡介：JIJILUFLLILLIIIFLIFJY3416691分類號LUDCO密級編號中國美術(shù)學(xué)院碩士學(xué)位論文兩漢以后神鬼繪畫的異化一一以淮南子思想影響為例THEALIENATIONOFGHOSTPAINTINGAFTERTHEHANDYNASTYTAKINGTHEINFLUENCEOFHUAINANZIPHILOSOPHYASANEXAMPLE許漢梟指導(dǎo)教師姓名職務(wù)、職稱捻左副教授2疊?？p副教援2申請學(xué)位級別藝塞殛童業(yè)堂位專業(yè)名稱差本論文提交日期2QL墨年5月論文答辯日期2QL基年5月學(xué)位授予單位和日期生國墓苤堂院答辯委員會主席評閱人細(xì)J呂繹6司2018年5月30日中國美術(shù)學(xué)院一版畫系一許漢梟兩漢以后神鬼繪畫的異化以淮南子思想影響為例目錄目錄1摘要2ABSTRACT；引言5第一章“巫”與神鬼文化一61楚地初民生命意識的覺醒62感應(yīng)認(rèn)識到神鬼文化721藝術(shù)思維的萌發(fā)722先秦繪畫中的“彼岸世界”9第二章淮南子中的思想轉(zhuǎn)折121逍遙游一一“巫化”的藝術(shù)思維122“游”和“雅”的分野133淮南子中的儒道糾葛15第三章兩漢以后神鬼繪畫的異化171“玄妙”的洛神賦圖172三教合流對神鬼繪畫的影響183“世俗化”的轉(zhuǎn)向20結(jié)語24參考文獻25一、學(xué)術(shù)專著25二、期刊論文25專業(yè)能力展示27致謝30

簡介：中國美術(shù)學(xué)院碩士學(xué)位論文論繪畫中的地平線THEHORIZONINPAINTING劉志成密級編號指導(dǎo)教師姓名職務(wù)、職稱井士劍教授余旭鴻教授申請學(xué)位級別蘭型頊硪。專業(yè)名稱羞苤裳論文提交日期2Q璺笙5目論文答辯日期至Q壘生三目學(xué)位授予單位和日期蟲國羞苤雯陵2Q墾生墨目答辯委員會主席評閱人2018年5月12日中國美術(shù)學(xué)院繪畫藝術(shù)學(xué)院由畫系2015級劉志成論繪畫中的地平線目錄摘要”P4引言P51地平線的源起P52透視法畫面中的地平線P5二流變的繪畫中的地平線1地平線與眼見為實P72。再現(xiàn)的覆滅與地平線的轉(zhuǎn)變P93地平線的消失與再現(xiàn)PIO三界限之外的界限1觀看之外的觀看一P122界限與場P14結(jié)語P14參考文獻P15參考圖片P15致謝P183

簡介：學(xué)位論文題目獨創(chuàng)性聲明本人提交的學(xué)位論文是在導(dǎo)師指導(dǎo)下進行的研究工作及取得的研究成果。論文中引用他人已經(jīng)發(fā)表或出版過的研究成果，文中已加了特別標(biāo)注。對本研究及學(xué)位論文撰寫曾做出貢獻的老師、朋友、同仁在文中作了明確說明并表示衷心感謝。學(xué)讎文儲砑馬螂簽字吼2Ⅲ年4舢目學(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西南大學(xué)有關(guān)保留、使用學(xué)位論文的規(guī)定，有權(quán)保留并向國家有關(guān)部門或機構(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)西南大學(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，本論文口不保密，口保密期限至年月止。學(xué)位論文作者簽名訝秀日飛鋤鮐爐人鼉西南大學(xué)碩士學(xué)位論文二、傳統(tǒng)山水題材佛畫的“以線造型”和“形神寫照”23第二節(jié)當(dāng)代中西兼容并蓄形態(tài)一25一、佛像繪畫技法的“中西合揉”26二、佛像“現(xiàn)代人文主義”精神的表現(xiàn)30三、佛像“時空關(guān)系”的轉(zhuǎn)換32第三節(jié)當(dāng)代抽象表現(xiàn)形態(tài)35一、佛像的“具象性抽象”一35二、“非具象性抽象”37第四節(jié)當(dāng)代消解主義形態(tài)一40一、“扭曲”的藝術(shù)形象一40第四章當(dāng)代都市佛教題材繪畫藝術(shù)呈現(xiàn)多元形態(tài)的原因及未來發(fā)展向度43第一節(jié)呈現(xiàn)多元化藝術(shù)形態(tài)趨勢的原因43一、消費對審美主體的精神性遮蔽43二、審美的泛化45第二節(jié)佛教題材藝術(shù)的發(fā)展向度47一、大眾審美文化下，堅持佛教繪畫藝術(shù)審美的“多元化”發(fā)展47二、消費主義時代，佛教繪畫藝術(shù)創(chuàng)作的本土、本真、本善、本美的統(tǒng)一ZI；結(jié)語51參考文獻53致謝57作者在攻讀碩士學(xué)位期間獲得的成果59

簡介：碩士學(xué)位論文碩士學(xué)位論文題目遼寧現(xiàn)代工業(yè)題材繪畫的形成與發(fā)展論文編號專業(yè)名稱美術(shù)學(xué)（油畫）培養(yǎng)單位美術(shù)與設(shè)計學(xué)院沈陽師范大學(xué)研究生處制類別教育碩士同等學(xué)力遼寧現(xiàn)代工業(yè)題材繪畫的形成與發(fā)展學(xué)位論文獨創(chuàng)性聲明本人所呈交的學(xué)位論文是在導(dǎo)師的指導(dǎo)下取得的研究成果。據(jù)我所知，除文中已經(jīng)注明引用的內(nèi)容外，本論文不包含其他個人已經(jīng)發(fā)表或撰寫過的研究成果。對本文的研究做出重要貢獻的個人和集體，均已在文中作了明確說明并表示了謝意。作者簽名日期學(xué)位論文使用授權(quán)聲明本人授權(quán)沈陽師范大學(xué)研究生處，將本人碩士學(xué)位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫進行檢索；有權(quán)保留學(xué)位論文并向國家主管部門或其指定機構(gòu)送交論文的電子版和紙質(zhì)版，允許論文被查閱和借閱；有權(quán)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規(guī)定。作者簽名日期

簡介：鄭州大學(xué)碩士學(xué)位論文中國當(dāng)代意象油畫中傳統(tǒng)繪畫語言的意蘊姓名付璐璐申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師王國建201205ABSTRACTABSTRACTCHINESETRADITIONALCULTUREISAL【INDOFINTELLECTUALANDELEGANT，GRACEFULANDRESTRAINEDTOASTATEOFPOETICCULTURETHEINNATEPOETICCULTUREMAKESCHINESETRADITIONALPAINTING，SUCH船F(xiàn)REEHANDBRUSHWORKPAINTING，CALLIGRAPHY，SCULPTURE，F(xiàn)OLKART，ETEAREPRESENTEDUNIQUE，HAVEDIFFERENTREGIONALSTYLECULTURECHARACTERISTICTHETRADITIONALCHINESEAESTHETICSSYSTEMIS”IMAGE”，”FREEHANDBRUSHWORKINTRADITIONALCHINESEPAINTING”ASTHECORE，AND”IMAGE“THEORYISTHETRADITIONALAESTHETICSOFOURCOUNTRYMAINCATEGORY，CHINAISTHETRADITIONALCULTUREOFTHETYPICALAESTHETICPROPOSITIONSOILPAINTINGFROMFOREIGNCOUNTRIESINCHINAWIDELYUSEDTHELANDTHATMOMENTOFBEGANTOABSORBTHENUTRITIONISTHETRADITIONALCULTUREOFCHINACHINESEARTISTSBOTHINTHEORYANDINTHEPRACTICEOFOILPAINTINGINTHEEXPLORATIONOFTHEDIFFERENTLEVEL，ANDHASALSOMADEVERYGRATIFYINGACHIEVEMENTSOFCOURSE，THEIMAGEISALSOCHINASOILPAINTINGARTISTSEXPLORERESULTSTHEDEVELOPMENTOFTHECHINESEOILPAINTINGINAFTERTHEREFORMANDOPENINGINTOTHERAPIDDEVELOPMENTPERIOD，THEREAREMANYARTISTSFROMCHINA’STRADITIONALCULTUREBEGANTOEXTRACTNUTRITIONMAINLYFROMTHETRADITIONALCHINESEPAINTING，SUCH嬲TRADITIONALCHINESEPAINTINGFREEHANDBRUSHWORKINTRADITIONALCHINESEPAINTINGFROMTHECABLE晰MTHEPENREFERENCE，COLORING，COMPOSITIONANDAESTHETICREQUIREMENTS；CANALSOFOLKARTFROMUSINGFOLKALLKINDSOFMATERIALS，THECOLOUROFBRIGHTLANGUAGELANGUAGEANDEXAGGERATEDTHEMODELLINGOFDISTORTIONANDSOONTOTHELANGUAGEOFTHEFRESHOILPAINTERSCREATEINSPIRATION，TOTHETRADITIONALCHINESEPAINTING，AESTHETICTHOUGHTTHISPAPERTAKESTHECHINESETRADITIONALPAINTINGLANGUAGETOTHEINFLUENCEOFTHECONTEMPORARYIMAGEOILPAINTING嬲THERESEARCHOBJECT，THEIMAGEOFTHEOILPAINTINGCULTURALPHENOMENA，DEVELOPMENTINTHEVIEWOFCOMPREHENSIVEINVESTIGATION，THROUGHTHISTHEORY，COMBINEDWITHTHECAPTIONMETHOD，AMORETHOROUGHUNDERSTANDINGOFTHEIMAGEOFTHELOCALIZATIONOFOILPAINTINGKEYWORDSCHINESETRADITIONALPAINTINGLANGUAGE；IMAGE；IMAGEOILPAINTINGII

簡介：20世紀(jì)6070年代，西方藝術(shù)界被追求極致簡約的極簡主義和去物質(zhì)化的觀念藝術(shù)所引領(lǐng)，繪畫被認(rèn)為是一種陳舊的傳統(tǒng)藝術(shù)媒介且不合時宜。20世紀(jì)70年代末，“反藝術(shù)”潮流逐漸平息，繪畫被重新重視并登上世界藝術(shù)的舞臺。這種回到繪畫的“復(fù)舊”造就了80年代的“新意”，那些被形容成為“猛烈的”、“粗狂的”等風(fēng)格的繪畫開始成為藝術(shù)市場的主流和博物館青睞的對象，這股繪畫“復(fù)蘇”的潮流從歐洲大陸興起，席卷北美并走向世界?！靶卤憩F(xiàn)主義”是這次繪畫“回歸”運動的總稱，它以薩特的存在主義哲學(xué)為依托，倡導(dǎo)思想自由、“以人為本”的藝術(shù)理念，真實反映出了當(dāng)代人的生活狀態(tài)和精神訴求。眼鏡蛇畫派的繪畫藝術(shù)吸取了原始主義、民間文化和稚拙藝術(shù)等風(fēng)格，向我們展現(xiàn)了一幅幅飽含激情、充滿活力的繪畫作品。德國新表現(xiàn)主義，以極具個性的藝術(shù)作品來表達對歷史和社會的關(guān)懷，并由此形成了一種具有新歷史主義傾向的文化景觀，畫家們通過藝術(shù)作品，挑戰(zhàn)、反抗歷史文本，試圖改變教條、僵澀的知識體系，強調(diào)個人與歷史和社會之間的關(guān)系。筆者在研究生學(xué)習(xí)期間，較為深入的研究了新表現(xiàn)主義繪畫的繪畫理念和藝術(shù)風(fēng)格，旨在通過論述新表現(xiàn)主義繪畫的發(fā)展歷程和藝術(shù)價值，以及其對筆者畢業(yè)作品的影響，來表達對繪畫藝術(shù)的認(rèn)知。

簡介：LIIILLLIILLLLLLLLLLILY3282240分類號密級編號中國美術(shù)學(xué)院學(xué)位論文“處厚不薄，有實若虛“一一徐渭繪畫的現(xiàn)代性意蘊研究張科奇指導(dǎo)教師姓名職務(wù)、職稱匿焰副麴援王握王熬拯21黃迭副教援2申請學(xué)位級別莖本亟童些堂焦專業(yè)名稱差丕論文提交日期星QZ生墨月Q旦論文答辯日期星QZ生墨旦Z旦學(xué)位授予單位和日期壺習(xí)基速盥盟絲』2笪答辯委員會主席蘭童盥丑一評閱人』型紅塹絲廣掣2017年05月09日中國美術(shù)學(xué)院一繪畫藝術(shù)學(xué)院油畫系一張科奇一“處厚不薄，有實若虛”一徐渭繪畫的現(xiàn)代性意蘊研究目次摘要1ABSTRACT第一章引言3第二章徐渭美學(xué)思想產(chǎn)生的淵源一41徐渭的生平概述42明朝中后期的社會現(xiàn)狀43王陽明心學(xué)對徐渭的影響5第三章徐渭美學(xué)思想概論一71“本色”思想72徐渭的“狂者”氣象83“輕形重韻”之主張94徐渭的藝術(shù)成就10第四章徐渭繪畫的現(xiàn)代性意蘊121美學(xué)的現(xiàn)代性進展122在美學(xué)現(xiàn)代性背景下對徐渭繪畫的審視123媒介在畫面中的運用134通過徐渭繪畫現(xiàn)代性意蘊的研究對個人創(chuàng)作的啟示13結(jié)侖15參考文獻17致謝18

簡介：IIIIIIIIIIII1111111LY3416629分類號UDC密級編號中國美術(shù)學(xué)院碩士學(xué)位論文直接表現(xiàn)論梵高與弗洛伊德繪畫作品中的普通人形象DIRECTEXPRESSIONANALYSISOFTHEIMAGEOFORDINARYPEOPLEINTHEPAINTINGSOFVANGOGHANDFREUD王憶梅指導(dǎo)教師姓名職務(wù)、職稱筮叢鰉塾堡2二趙至副麴援2申請學(xué)位級別莖壟亟童些堂焦專業(yè)名稱差丕論文提交日期星Q墨生墨旦墨目論文答辯日期星Q壘生墨旦2墨旦學(xué)位授予單位和日期史國菱盔堂醫(yī)答辯委員會主席評閱人2018年05月18日中國美術(shù)學(xué)院造型藝術(shù)學(xué)院油畫系王憶梅直接表現(xiàn)論梵高與弗洛伊德繪畫作品中的普通人形象目錄中文摘要1英文摘要2一、梵高與弗洛伊德普通人形象的直接表現(xiàn)311何為直接表現(xiàn)312不同時代下的共同選擇3二、梵高與弗洛伊德的看421擺脫偏見直面對象422摒除表象刻畫真實4221梵高與弗洛伊德眼中的真實4222審丑與審美9三、梵高與弗洛伊德的繪畫語言931梵高與弗洛伊德繪畫的造型特點9311／J、人物的美與丑9312赤裸裸的肉體的身份11313動態(tài)扭曲展現(xiàn)張力1132梵高與弗洛伊德繪畫的重量感12四、梵高與弗洛伊德的描繪普通人形象的創(chuàng)作方法對當(dāng)今人物創(chuàng)作的啟示1441與審美的關(guān)系1442永恒的繪畫性15結(jié)語16參考文獻17專業(yè)能力展示18致謂十33

簡介：西南師范大學(xué)碩士學(xué)位論文繪畫的節(jié)奏姓名李旭申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師馬一丹200351THERHYTHMOFPAINTINGSMAJORFINEARTSPECIALTYOILPAINTINGSTUTORPROFMAYIDANAUTHORLIXU2000188ABSTRACTTHERHYTHMISAVERYUNIVERSALPHENOMENONITISOBSERVEDNOTONLYINOURLIFEANDENVIRONMENT，BUTALSOINALLFORMSOFARTINDIFFERENTARTFORMS，THERHYTHMHAVEMANYDIFFERENTEXPRESSIONSTHEDIFFERENCEBETWEENRHYTHMANDTHEMUSICALRHYTHMISTHATTHERHYTHMOFPAINTINGRHYTHMISAVISUALANDABSTRACTRHYTHMFORMMOSTOFPEOPLEAREN’T。FAMILIAR、試也THEWAYSOFTHEOBSERVATIONANDAPPRECIATIONOFTHEPAINTINGRHYTHMHOWEVER，THECAPABILITYOFUNDERSTANDINGRHYTHMISVERYIMPORTANTTOTHEPEOPLEWHOSTUDINGVISUAL黼THEARTICLEWILLSTATEINDETAILTHEOBSERVATIONEXPRESSIONANDANALYSISORAPPRECIATIONOFPAINTINGRHYTHMACCORDINGTOSOMERELATEDTHEORIESOFMUSIC。THISESSAYMAYBEHASDEVELOPMENTHASEONTHEPRECEDENETRSEARCHABOUTPANGINGRHYTHM。KEYWORDSTHERHYTHMOFPAINTINGFORMALESSENCEORDERESSENTIALSTRUCTURALPARTTHEWAYOFDEVELOPMENT2

簡介：分類號密級論八大山人繪畫中題款布白的特點及藝術(shù)價值CHARACTERISTICSANDARTISTICVAIUEOFINSCRIPTIONANDBLANKIEAVINGINBADASHANRENPAINTINGS指導(dǎo)教師姓名、職稱塑埡垂塾撞湖南師范大學(xué)學(xué)位評定委員會辦公室二。一六年五月山人題款布白簡約深邃、樸素自然的特點及藝術(shù)價值。關(guān)鍵詞八大山人，朱耷，題款，布白Ⅱ

簡介：編號碩士學(xué)位論文碩士學(xué)位論文題目當(dāng)代工筆人物畫當(dāng)代工筆人物畫繪畫語言的表現(xiàn)探究繪畫語言的表現(xiàn)探究培養(yǎng)單位美術(shù)與設(shè)計學(xué)院專業(yè)名稱美術(shù)學(xué)指導(dǎo)教師許勇研究生張瑾完成時間2012229沈陽師范大學(xué)研究生處制類別全日制研究生√教育碩士同等學(xué)力RESEARCHONTHEREPRESENTATIONOFMODERNMETICULOUSPTRAITPAINTINGABSTRACTSMETICULOUSPAINTINGPLAYSANINDISPENSABLEROLETHROUGHTHEWHOLECHINESEARTHISTYONROCKSILKPAPERMETICULOUSPAINTINGREPRESENTSTHETRADITIONOFANCIENTCHINAALSOITSUNIQUEETHICSTHISPAPERMAINLYARGUESABOUTTHEREPRESENTATIONOFMODERNMETICULOUSPTRAITPAINTINGWHICHHASINHERITEDTHETRADITIONALCHINESEPAINTINGIDEASSKILLSBUTALSOCLOSELYRELATEDTOCURRENTCULTUREBACKGROUNDTHEBASICACTERISTICOFCHINESEPAINTINGISTOREPRESENTSHAPEWITHLINEITWASFIRSTLYCONCERNEDINCONFUCIUSSSTATEMENTOF“HUISHIHOUSU”WHICHMEANSFIRSTLAYTHECOLOURTHENSKETCHTHELINEDURINGTHESOUTHDYNASTYBEFETANGXIEHESTATEDATHEYOF“GUFAYONGBI”WHICHMEANSBONESTYLEDRAWINGTHISTHEYSUMMARIZESTHEFUNCTIONTRADITIONOFCHINESEMOLDINGLINEBECOMESTHEKEYTHOUGHTMAINREPRESENTFMOFCHINESEPAINTINGTHETHEYOF“GRINDPEN“WASPUTFWARDFIRSTSUMMARIZESTHEFUNCTIONTRADITIONOF“MOLDING“INCHINESEPAINTINGWASESTABLISHEDWITHANEXPLICITTHEYFMASTOTHERESEARCHONOTHERTHEY“GRINDPEN“ISTHELIFEBLOODTHEMAINMEANSOFEXPRESSIONTHEDIRECTCARRIEROFCHINESEPAINTINGGUKAIZHIPUTFWARDARTISTICVIEWSOF“TOWRITEIMAGETOTEMPERAMENT““TOMOVETOTHINKWONDERFUL“INTHETHEIESOFCHINESEPAINTINGINTHECOMPARISONOFLANGUAGEMBETWEENCHINESEWESTERNLINESWEOBTAINEDTHATTHE“LINEARREPRESENTATIONS”ISTHEFMATIONOFAPAINTER’SCOMPLEXOWNAESTHETICSTYLEWHICHRESULTEDFROMTHEINHERITANCEEVOLUTIONOFTRADITIONALSPIRITTHEEMOTIONALEXPRESSIONOFLINEOFISNOTONLYHOWTODEALWITHTHECONTOUROFTHEEXTERNALSHAPEBUTWHAT’SMEIMPTANTISTHEEXPRESSIONOFMOODCHINESEMETICULOURSPAINTINGWASDIVIDEDINTO“MINERALCOL”“LIGHTCOL““DESALINATIONOFTHELINE”O(jiān)THERSEVERALMAINFMSINTHEEXPRESSIONOFCOLWITHTHEADVANCEOFTIMETHEVARIETYOFPAINTINGMATERIALSTOOLSWKSBECAMEMEACTERISTICINTHECONTEMPARYCHINESEMETICULOUSFIGUREPAINTINGSTHEATTEMPTONMIXEDMEDIAMULTIPLETECHNIQUESENRICHEDTHEFMOFWKSFEXAMPLETHEINTERVENTIONOFTHELIGHTMEDIATECHNOLOGYNEWFMSOFARTDESIGNTHEFMOFFOLKARTSOONAREALLFILLINGWITHVISUALPERFMANCESPACESINCONTEMPARYCHINESEMETICULOUSFIGUREPAINTINGSOTHETRANSFMATIONOFCREATIONIDEAHOWTOENHANCETHECOMPREHENSIVEAPPLICATIONOFMATERIALPERFMANCEINCONTEMPARYCHINESEPAINTINGHASBEENTHEPAINTERS’SDEBATERESEARCHTOPICNOWADAYSCHINESEARTISTSTREATLINESASAREPRESENTFMOFAESTHETICTENSIONTHELINEINPAINTINGSNOTONLYBEHAVEASATREATMENTTOWARDSEXTENISHAPESBUTALSOCONVEYTHEMOODSEXPRESSIONOFARTISTSTHEMSELVESINMODERNMETICULOUSPTRAITAREAARTWKSBECOMEMEME