簡(jiǎn)介：河南大學(xué)碩士學(xué)位論文偉大精神的印跡謝洛夫繪畫(huà)藝術(shù)探究姓名李國(guó)新申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師王彥發(fā)200351ABSTRACTCHINAANDRUSSIAARENEIGHBORSINGEOGRAPHYTHEREFORETHEREAREMANYCULTURALEXCHANGESBETWEENTHESETWOCOUNTRIESSINCEANCIENTTIMESSINCE1950’S，THERSSIANCHISTIAKOV’STEACHINGSYSTEMHASHADFARREACHINGINFLUENCEONFINEARTSEDUCATIONINCHINAWHILEAPPRECIATINGTHEPAINTINGSOFVALENTINALEXANDROVICHSEROVONEOFTHEGREATESTARTISTSCULTIVATEDBYTHECHISTIAKOV’STEACHINGSYSTEM，IHAVEASTRONGFEELINGOFFAMILIARITYITISTHISFEELINGTHATURGESMETODORESEARCHONHISLIFEANDARTVALENINALEXANDROVICHSEROVTHEMOSTFAMOUSARTISTFROMI9MCEFITURYTO20嫩CENTURYINRUSSIA，COMBINEDWITHGIFT，ASSIDUITYANDLUCK，PLAYSAVERYIMPORTANTROLEINTHEHISTORYOFFINEARTSINRUSSIANOREVENINTHEWHOLEWORLD。TAN曲TSTRICTLYBYTHEREPRESENTATIVEOFITINERANT’SREPIN，HEBECAMEANIMPORTANTMEMBERLATERSEROVMADEEFFORTSTOOUTSTRIPITINERANTSBRAVELYANDJOINEDACTIVELYIN“THEWORLDOFARTSOCIETY’’MOVEMENTWHICHMADEHIMTHEJUNCTIONBETWEENITINERANTANDWORLDOFARTSOCIETYANDAPERSONWHOWORKEDASMEDIABETWEENTRADITIONALRUSSIANFINEARTSANDMODEMFINEARTSWHENDOINGRESEARCH，THEAUTHORBEARSATLEASTTWOPURPOSESINMINDFIRST，TOSUMMARIZESEROV’SSUCCESSFULEXPERIENCEOFGETTINGRIDOFRUSSIANFINEARTSCIRCLE’SCONFUSIONATTHATTIME；SECOND，TOTAKESEROVASANEXAMPLE，F(xiàn)INEOUTTHEESSENCESOFCHISTIAKOV’STEACHINGSYSTEMANDGETSOMEINSPIRATIONFORFINEARTSEDUCATIONINCHINAATTHEBEGINNINGOFTHEESSAYTHEAUTHORTRIESTODISCLOSETHOSEFUNDAMENTALFACTORSOFARTSUCHASINHERITABLEFACTORLIFEEXPERIENCE，NATIONALTEMPERAMENTANDTHESPIRITOFERAINORDERTOANALYZETHEARTIST’SGREATSPIRITUALWORLDANDHAVEABETTERUNDERSTANDINGOFSEROV’SPROCESSINTHEMINDTHEN，THEAU，THORSTARTSFROMSEROV’SPAINTINGSANDREFLECTSONTHEPAINTER’SSPIRITANDLIFEINADDITION，THEAUTHORATTEMPTSTOMAKEEXPLANATIONSWITHTHECOMBINATIONOFBOTHWESTERNANDEASTERNARTCONCEPTIONSTOMAKETHEESSAYMOREORIGINALTHROUGHCAREFULSTUDYOFSEROVTHEAUTHORREALIZEFIRSTLYFACEDWITHCOMPLETEDRUSSIANFINEARTSCIRCLETHENSEROVSUCCEEDEDWITHLHEHELPOFHISBRAVERYWISDOMANDPERSISTENCE，ANDSETSAGOODEXAMPLEFORUSWEDOBENEFITALOTFROMAPPRECIATINGHIS

簡(jiǎn)介：上海大學(xué)碩士學(xué)位論文超現(xiàn)實(shí)主義繪畫(huà)中的視覺(jué)隱喻姓名孫靈申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)（架上繪畫(huà)）指導(dǎo)教師李朝華20030501ABSTRACTMETAPHORISONEOFTHEESSENTIALMETHODSTHATPEOPLEKNOWANDTHINKOFTHEWORLDAROUNDITISALSOACOGNITIVEACTIVITY；PEOPLEMAKEUSEOFMETAPHORTOEXPLAINONETHINGBYANOTHERTHINGINTHEAREASOFARTANDLITERATURE，METAPHORCANHELPUSTOEXPRESSANDEXPLAINTHEEXPERIENTIALWORLDOUROWNWHENSOMEVISUALIDIOSYNCRASYISEXPERIENCEDANDTAKENASEQUITYTOSOMEETHICALANDAESTHETICVALUES，VISUALMETAPHORCOMESINTOEXISTENCETHEREISAGREATDEALOFINDELIBLEVISUALMETAPHORINSURREALISMBECAUSEOFTHEDEEPINFECTIONBYTHETHEORYOFSUBCONSCIOUSTHEOBJECTOFMETAPHORISHUMANBEING’PSYCHOLOGYITISTHEFIRSTTIMETHATMETAPHORWASUSEDINTHISAREAINTHEWHOLEANHISTORYFORTHESEREASONS，ITISUSEFULTOSTUDYTHEVISUALMETAPHORINSURREALISM1TAKEVISUALMETAPHORASACUTINPOINTTOSTUDYTHESTATUSANDTHEVALUEOFSURREALISMATTHESAMETIME，THROUGHANUMBEROFLIVELYEXAMPLESABOUTVISUALMETAPHORINSURREALISM，IALSODESEARCHONTHEFUNCTIONSOFVISUALMETAPHORINPAINTINGINTHISPAPERIDISSERTATEFROMTHEFOLLOWINGSEVERALASPECTS1REPRESENTATIONOFSUBCONSCIOUSWHICHISTHEMAINCHARACTEROFVISUALMETAPHORINSURREALISM2VISUALIDIOSYNCRASYINSURREALISM3VISUALMETAPHOR’SFUNCTIONOFPOETICIZINGINSURREALISM4UNDERSTANDINGVISUALMETAPHORINSURREALISMBYRESEARCHINGTHECOL／RSESOFTHEEVOLVEMENTOFFUNCTIONANDVALUEINVISUALMETAPHOR5THECONSIDERATIONANDAPOCALYPSEOFAESTHETICVALUEANDSIGNIFICANCETHATVISUALMETAPHNRINSURREALISMGIVESUSVISUALMETAPHORALWAYSH戤；CONNECTIONWITHEMOTIONITALSOPROVIDESMOREFLEESPACEOFIMAGINATIONFORAUDIENCESANDFILLSUPTHEEMOTIONALBLANKNESSOFTHEMODEMPEOPLEARTISTSSHOULDTAKETHEBENEFITSFROMTHEVISUALMETAPHORINSURREALISMONLYDOWEDARETOCHALLENGESTATUSQUOWEWILLCREATETHEFUTUREOFARLKEYWORDSVISUALMETAPHORSURREALISM，SUBCONSCIOUS，EMOTION，POETMLZEV

簡(jiǎn)介：II藝術(shù)碩士學(xué)位論文美術(shù)學(xué)姚靜童樂(lè)師范大學(xué)摘要摘要關(guān)于“現(xiàn)代藝術(shù)”和“當(dāng)代藝術(shù)”。很多文章對(duì)于這兩個(gè)概念的使用非常的混亂。其實(shí)“現(xiàn)代藝術(shù)”MODEMART是從藝術(shù)史的角度衍生而來(lái)的概念，而“當(dāng)代藝術(shù)”CONTEMPORARYART只是一個(gè)時(shí)間上的概念，“當(dāng)前，當(dāng)下發(fā)生的藝術(shù)”。因?yàn)閷?duì)于“現(xiàn)代”和“后現(xiàn)代”等等概念尚存爭(zhēng)議，所以當(dāng)代藝術(shù)世界中，仍然存在相當(dāng)一部分符合“現(xiàn)代藝術(shù)”特征的作品，當(dāng)然更多地活躍著那些“后現(xiàn)代藝術(shù)”現(xiàn)代意識(shí)是理解現(xiàn)代生活的關(guān)鍵”。抽象派繪畫(huà)的代表者康定斯基認(rèn)為“主題”在現(xiàn)代藝術(shù)中的作用將慢慢減弱，他“把一種抽象無(wú)所指的藝術(shù)看成是未來(lái)的理想藝術(shù)，但他也預(yù)見(jiàn)到了，這種藝術(shù)會(huì)很容易陷入單純的裝飾趣味中去”。現(xiàn)代藝術(shù)反中心反宏大的雛形在這里可見(jiàn)一斑，而當(dāng)代藝術(shù)的很多作品我們也可以發(fā)現(xiàn)是這種思想的繼續(xù)和衍生。藝術(shù)愈來(lái)愈趨向于自由，這種在拉塞爾看來(lái)，恰恰是現(xiàn)代意識(shí)不可缺少的一個(gè)組成部分，未來(lái)派的馬利奈蒂則是其代表，“一種隨意性藝術(shù)概念即一種可以畫(huà)在地上，或由電報(bào)傳遞的藝術(shù)概念”由他起源。隨著1914年歐洲舊秩序的崩潰，出現(xiàn)了一種“另類”的藝術(shù)，“它是一種奇特、狂熱有時(shí)甚至是瘋狂的藝術(shù)”，“是一種開(kāi)辟通向了解日常物質(zhì)生活之外的東西的途徑”。它們都帶有顛覆性和反傳統(tǒng)的特質(zhì)。達(dá)達(dá)主義“代表了對(duì)藝術(shù)的否定和摒棄它的目標(biāo)主要是對(duì)準(zhǔn)詩(shī)歌、印刷品式樣、公共關(guān)系以及表演藝術(shù)的一個(gè)特異的變體”。關(guān)鍵詞達(dá)利的繪畫(huà)，超現(xiàn)實(shí)，現(xiàn)代藝術(shù)。

簡(jiǎn)介：天津美術(shù)學(xué)院碩士學(xué)位論文攝影對(duì)繪畫(huà)的影響姓名王維維申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師陳九如20070701THEINFLUENCEOFPHOTOGRAPYTOTHEPAINTINGABSTRACTWANGWEIWEIGRAPHICDIRECTEDBYCHENJIURUCUR唧TLYTHECULTUREHASMATUREDTOANEWERA．INTHISERA，CULTUREHASDIFFERENTPERSPECTIVESTHANTHEPASTOUES．THEWRITERPROVIDESTHE“IMAGEERA”CONCEPTINTHISPAPER．THISPAPERWILLDEMONSTRATETHISCONCEPTINTHREELAYERSFIRST,CURRENTDESIGNPROCESSINTRODUCESTHEUSAGEOFPICTUREARTENRICHTHECUSTOMERS’FEELINGS．ATTHESAMETIME,THELEGACYDRAWINGALSOHASBEENSEVERELYIMPACTEDBYTHEPICTUREART．ITBRINGSTHERETHINKINGOFTHEESSENTIALIDEASBEHINDDRAWINGS．SECOND，USINGTHEPHOTOGRAPHASTHESOURCEOFPAINTINGBRINGSTHETHINKINGOFIMAGE’SVALUEANDMEANING．INANOTHERWORD．THEHEWVIEWMETHODINTHEIMAGEERACAUSEDTHECREATIONOFVIEWLANGUAGE．THIRD，ARTISTWHOUSEPHOTOGRAPHYSHOULDKNOWTHEIMPACTIONOFUSINGTHEPHOTOGRAPHYT0THECURRENTART．THEUSAGEOFPHOTOGRAPHYHASBEENATRUTHBOW．ANDWESHOULDHAVETHERIGHTACKNOWLEDGEOFTHISTRENDANDTAKETHISTRENDINOURWORK．KEYWOEDIMAGE；VISUALCULTURE；DRAWINGCHARACTERISTICPHOTOGRAPH

簡(jiǎn)介：學(xué)位論文獨(dú)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(gè)人已經(jīng)發(fā)表或撰寫(xiě)過(guò)的研究成果。對(duì)本文的研究做出重要貢獻(xiàn)的個(gè)人和集體，均己在文中作了明確說(shuō)明并表示了謝意。作者簽日期學(xué)位論文使用授權(quán)聲明本人授權(quán)沈陽(yáng)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(kù)進(jìn)行檢索；有權(quán)保留學(xué)位論文并向國(guó)家主管部門(mén)或其指定機(jī)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ASTUDYOFTRADITIONALWOODCARVINGLANGUAGEMATENTATIVESTUDYONTHEVALUECONFIRMATIONOFCHINESEMINGDYNASTYPRINTSINCONTEMPORARYAGEABSTRACTMINGDYNASTYWASTHEMOSTFLOURISHINGTIMEINTHEDEVELOPMENTOFCHINESECLASSICALPRINTMAKINGTHISPERIODWASFULLOFTALENTSOFALLKINDSANDWASREGARDEDASTHEGOLDENAGEINTHEHISTORYOFTHEANCIENTPRINTMAKINGWHAT’SMOREITWASCALLEDBYMRZHENGZHENDUOASTHEMOSTREMARKABLEAGEINTHEHISTORYOFCHINESEPRINTMAKINGPRINTMAKINGHASSIGNIFICANTACHIEVEMENTBOTHINQUANTITYANDQUALITYESPECIALLYTHEWOODBLOCKPRINTHASMADEMUCHPROGRESSWITHHIGHARTVALUEANDAESTHETICVALUETHISPAPERMAINLYANALYSESWOODBLOCKPRINTARTOFMINGDYNASTYFROMTHEASPECTOFTHEME，CONTENTSTYLEANDSOONANDITALSODISCUSSESTHECHARACTERISTICSOFTHEMOSTFLOURISHINGMINGDYNASTY’SWOODBLOCKPRINTARTANDITSINFLUENCEONCONTEMPORARYPAINTINGFROMTHEASPECTOFHISTORYCULTUREMANUFACTURETECHNOLOGYANDSCHOOLOFSTYLEFROMTHEVIEWOFITSHISTORICALDEVELOPMENTMANIFESTATIONANDSIGNIFICANCETHISTHESISMAKESAPERIODICALRESEARCHANDCOMPREHENSIVESTUDYOFTHEDEVELOPMENTPROCESSANDARTISTICCHARACTERISTICSOFTHEMINGDYNASTY’SWOODBLOCKPRINT；ITALSOMAKESARESEARCHONTHEINNOVATIONOFTHECONCEPTANDTECHNIQUEOFMINGDYNASTY’SWOODBLOCKPRINTTOEXPLOREITSSIGNIFICANCEINTHECONTEMPORARYAGETHISSTUDYMAINLYFOCUSESONTHESIGNIFICANCEOFTHEINNOVATIONINMINGDYNASTY’SWOODBLOCKPRINTINTHECONTEMPORARYAGEFROMTHELONGITUDINALVIEWITPRESENTSTHEDEVELOPMENTOFTHEMINGDYNASTY’SWOODBLOCKPRINTSYSTEMATICALLY；FROMTHEHORIZONTALVIEWBYTHECOMPARISONBETWEENTRADITIONALCHARACTERISTICSANDMODEMCHARACTERISTICSITCOMPREHENSIVELYANALYSESTHEINTEGRATIONOFMINGDYNASTY’SWOODBLOCKPRINTANDMODEMPAINTINGFROMTHEPERSPECTIVEOFCHINESETRADITIONALARTTHEORYTHISTHESISDISCUSSESTHEFORMALELEMENTS，EXPRESSIONME也ODTHECORRESPONDINGHUMANISTICTHOUGHTSANDEMOTIONSOFMINGDYNASTY’SWOODBLOCKPRINTASWELLTHEREFOREWECANDRAWEXPERIENCEANDTAKETHEESSENCEOFFORMEREXPERTSINOURARTISTICCREATIONANDAPPRECIATIONINREALITYANDKEEPNECESSARYCONTACTWITHARTISTICTRADITIONS，F(xiàn)ORTHEREASONTHATMINGDYNASTY’SWOODBLOCKPRINTNOTONLYACCUMULATESRICHCREATIVEEXPERIENCEFORUS，BUTALSOEMBODIESTHEESSENCEOFCHINESEARTWHICHMAKESITBRIGHTENINGINTHERIVEROFANCIENTARTANDMAKESINDELIBLECONTRIBUTIONTOTHETRANSMISSIONOFHUMANCIVILIZATION。TOOINAWORDTHEMANIFESTATIONOFMINGDYNASTY’SPRINTMAKINGISTHEHIGHLIGHTOFTHESTUDYOFTHECHINESETRADITIONALPRINTMAKINGITLEAVESAPROFOUNDINFLUENCEONCHINESECONTEMPORARYPAINTINGCOMPREHENSIVELYEMBODIESTHECONNOTATIONOFCHINESEART，ANDVALUESMUCHONTHECREATIONTHETHESISISDIVIDEDINTOTHREECHAPTERSTHEFIRSTCHAPTERDESCRIBESTHECAUSES11

簡(jiǎn)介：陜西師范大學(xué)碩士學(xué)位論文中國(guó)繪畫(huà)藝術(shù)傳神與寫(xiě)意的美學(xué)觀和時(shí)代演進(jìn)姓名李強(qiáng)申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師徐義生20050401精神即繪畫(huà)主體的表現(xiàn)。到明清時(shí)期對(duì)筆墨表現(xiàn)技法進(jìn)行了規(guī)范化的總結(jié)。筆墨從傳物之神，到傳我之神，再到傳畫(huà)外之神；從象中求意，到象外求意；筆墨在傳統(tǒng)藝術(shù)精神的指導(dǎo)下，在精神化方面走向了極致。筆墨的表現(xiàn)力和獨(dú)立的審美功能增強(qiáng)了，內(nèi)涵變的豐富。中國(guó)畫(huà)進(jìn)入現(xiàn)代，傳統(tǒng)筆墨的審美價(jià)值標(biāo)準(zhǔn)受到西方寫(xiě)實(shí)繪畫(huà)的沖擊，中國(guó)畫(huà)如何從傳統(tǒng)走向現(xiàn)代，面對(duì)西方種種新的審美趣味和造型觀念，創(chuàng)新和繼承都圍繞著一個(gè)點(diǎn)“中國(guó)藝術(shù)的精神”。隨著新時(shí)期中國(guó)畫(huà)的不斷探索和發(fā)展，現(xiàn)代中國(guó)畫(huà)的形態(tài)與傳統(tǒng)有了很大差異。西畫(huà)寫(xiě)實(shí)因素的融入，使畫(huà)家重新強(qiáng)調(diào)對(duì)客體物象的“傳神”?，F(xiàn)代多元化的美學(xué)建構(gòu)也使“寫(xiě)意”論得以繼承，同時(shí)又富于新的美學(xué)價(jià)值。傳神與寫(xiě)意理論在現(xiàn)代得到新的闡釋。關(guān)鍵詞繪畫(huà)傳神寫(xiě)意筆墨傳統(tǒng)現(xiàn)代II

簡(jiǎn)介：廣西師范大學(xué)碩士研究生學(xué)位論文吳昌碩“與古為新”繪畫(huà)創(chuàng)作論的美學(xué)解讀與文化觀照ANAESTHETICANALYSISANDCULTURALVIEWOF‘‘ENDOWOLDWITHNEW”O(jiān)FWUCHANGSHUO’SCREATIVETHEORYOFPAINTING系別；中文系年級(jí)2002級(jí)專業(yè)美學(xué)研究方向文藝美學(xué)導(dǎo)師王朝元教授馬馳研究員研究生陳健毛完成時(shí)間2005年4月吳昌碩“與古為新”繪畫(huà)創(chuàng)作論的思想內(nèi)涵與明清浪漫主義繪畫(huà)革新派一脈相傳，不過(guò)他的創(chuàng)作動(dòng)機(jī)和動(dòng)力、創(chuàng)作方法以及審美取向等方面包含著現(xiàn)實(shí)需要和時(shí)代精神的因子。吳昌碩“與占為新”繪畫(huà)創(chuàng)作論的美學(xué)精神對(duì)傳統(tǒng)文藝思想的傳承和變異其實(shí)也是傳統(tǒng)文人運(yùn)用傳統(tǒng)文藝進(jìn)行策應(yīng)的體現(xiàn)，即整合傳統(tǒng)文藝思想和傳統(tǒng)文化中的活力因子來(lái)劉付現(xiàn)實(shí)的壓力，這是他及其他海派畫(huà)家自覺(jué)不自覺(jué)地借助傳統(tǒng)文化的內(nèi)在延傳性來(lái)完成的。所以他這一繪畫(huà)創(chuàng)作理論的價(jià)值和意義放在古今文化碰撞、中外文化交流那特定的歷史語(yǔ)境中才充分凸現(xiàn)出來(lái)。吳昌碩及其他海派畫(huà)家在一定程度』二為中國(guó)傳統(tǒng)繪畫(huà)如何結(jié)合現(xiàn)實(shí)需要和時(shí)代精神提供了極具價(jià)值的思路。海派繪畫(huà)在繪畫(huà)商品化的歷史語(yǔ)境中找到了自己的生存空間并使傳統(tǒng)繪畫(huà)獲得了新的生命質(zhì)地，這對(duì)當(dāng)今解決中困傳統(tǒng)繪畫(huà)如何市場(chǎng)化的問(wèn)題會(huì)有所啟迪。關(guān)鍵詞吳昌碩與古為新繪畫(huà)創(chuàng)作論美學(xué)解讀文化觀照II

簡(jiǎn)介：上海大學(xué)碩士學(xué)位論文論畫(huà)品戲，“意”猶未盡研究關(guān)良戲曲人物油畫(huà)中的東方形式繪畫(huà)語(yǔ)言姓名黃莉萍申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)（架上繪畫(huà)）指導(dǎo)教師李朝華20070409上海大學(xué)碩士學(xué)位論文摘要1“凡事有常必有交。常，承也；變，革也，承易而革難，然常從非常來(lái)，變從有常起，非一朝一夕，偶然得之?！边@里潘天壽先生精辟地闡述了傳統(tǒng)與創(chuàng)新的關(guān)系，也是藝術(shù)自身的發(fā)展規(guī)律。時(shí)代的前進(jìn)使我們認(rèn)識(shí)到重復(fù)的藝術(shù)形式己不能引起時(shí)下人們的興趣，只有創(chuàng)新的藝術(shù)，才是藝術(shù)的唯一出路。對(duì)于油畫(huà)語(yǔ)言的創(chuàng)新，尤其是中國(guó)油畫(huà)的創(chuàng)新，是值得我們每一個(gè)學(xué)習(xí)西方油畫(huà)的東方人思考的。本文是對(duì)20世紀(jì)上半葉重要畫(huà)家關(guān)良的個(gè)案研究。以他的戲曲人物油畫(huà)下文以“戲畫(huà)”簡(jiǎn)稱為切入點(diǎn)，研究東方形式的繪畫(huà)語(yǔ)言問(wèn)題。探討其油畫(huà)中國(guó)氣派的原因。論文將從水墨情調(diào)與戲曲意境二方面來(lái)尋找“戲畫(huà)”的本質(zhì)特點(diǎn)，分別就用筆、線條、色彩、造型等形式語(yǔ)言進(jìn)行由表及里，循序漸進(jìn)的分析論述。然后通過(guò)與受到東方藝術(shù)影響的西方現(xiàn)代派大師馬蒂斯、畢加索的比較來(lái)進(jìn)一步歸納關(guān)良繪畫(huà)語(yǔ)言的本質(zhì)特點(diǎn)。最后，在前文論述的基礎(chǔ)上，引申出關(guān)良戲曲人物油畫(huà)對(duì)于探索“東方形式繪畫(huà)語(yǔ)言”的啟示。結(jié)論部分將點(diǎn)出，關(guān)良戲曲人物油畫(huà)“純中國(guó)”的根源在于，畫(huà)家對(duì)“意”的把握。是對(duì)不同門(mén)類中國(guó)藝術(shù)的共通文化特質(zhì)一“重精神性”的參悟。這也是戲曲人物油畫(huà)的本質(zhì)特點(diǎn)。本文主要分三大部分進(jìn)行探索1、從畫(huà)面的水墨情調(diào)和戲曲意境二方面論述關(guān)良的“戲畫(huà)”特點(diǎn)。2、通過(guò)與西方畫(huà)家馬蒂斯、畢加索作品的對(duì)比，進(jìn)一步分析其作品中的中國(guó)氣質(zhì)。3、綜合論述關(guān)良戲曲人物油畫(huà)的本質(zhì)特點(diǎn)，并進(jìn)行理論上的引申。關(guān)鍵詞東方形式寫(xiě)意精神性水墨情調(diào)戲曲意境1參見(jiàn)潘天壽，潘公凱潘天壽畫(huà)論鄭州河南人民出版社1999年，第86頁(yè)。

簡(jiǎn)介：學(xué)校代號(hào)分類號(hào)號(hào)一級(jí)學(xué)密趣消大掌碩士學(xué)位論文泰州學(xué)派對(duì)明末清初繪畫(huà)思想的影響學(xué)位申請(qǐng)人姓名培養(yǎng)單位導(dǎo)師姓名及職稱學(xué)科專業(yè)研究方向論文提交日期馮棋岳麓書(shū)院章啟輝教授專門(mén)史宋明理學(xué)年月日湖南大學(xué)學(xué)位論文原創(chuàng)性聲明本人鄭重聲明所呈交的論文是本人在導(dǎo)師的指導(dǎo)下獨(dú)立進(jìn)行研究所取得的研究成果。除了文中特別加以標(biāo)注引用的內(nèi)容外，本論文不包含任何其他個(gè)人或集體已經(jīng)發(fā)表或撰寫(xiě)的成果作品。對(duì)本文的研究做出重要貢獻(xiàn)的個(gè)人和集體，均已在文中以明確方式標(biāo)明。本人完全意識(shí)到本聲明的法律后果由本人承擔(dān)。作者簽名瑪博日期年月日學(xué)位論文版權(quán)使用授權(quán)書(shū)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(mén)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)湖南大學(xué)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、保密口，在年解密后適用本授權(quán)書(shū)。、不保密回。請(qǐng)?jiān)谝陨舷鄳?yīng)方框內(nèi)打“了”作者簽名導(dǎo)師簽名冷求竺日期年月日日期年月日嘛州‘敞飾、，萬(wàn)

簡(jiǎn)介：河北大學(xué)碩士學(xué)位論文齊白石繪畫(huà)藝術(shù)淺論姓名張忠鳳申請(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(shù)20041101ABSTRACTQIBAISHIWASALLINBOMARTISTHISPOEMSCALLI／R4PHYWORKS，SEALCUTLMGASWENASHISPAIN玨ILGSSHOWFAIRLYWONDERFULPURENESSNATURALNESS，ANDTRUEQUALITIESQI’SPAMTINGSEXPANDEDTHEEXPRESSIVEFORCEOFPAINTING邱SOWNSTRONGSTYLEWASROOTEDINHISDEEPGOINGLEARNINGOFTRADITIONANDHISDEVOTIONTOARTSHEFOLLOWEDTHEHEARTOFTHEARTWITHOUTIMITATINGITSAPPEARANCESANDTHENTHEPAIRINGSARTOFQISCHOOLWASFORMEDTHISDISSEATAFIONWHICHFALLSINTOEIGHTPARTSTHEFIRSTPARTISTHEFAMILYANDSOCIALBACKGROUNDHAVETHEINFLUENCEONTHEPAINTINGSANOFQIBAISHITHESECONDPARTISTHEPERIODOFTHEPAINTINGSOFQIBAISHITHETHIRDPARTISTHEARTISTICCHAMAEFISTICOFQIBAISHITHEFOURTHPARTISTHELIFEEXPRESSIONOFPAINTINGSOFQIBAISHITHEFIFTHPARTISTHE呻TMGSOFFLOWERS，BIRDS，舒LSS如SEDS硒ESIXTHPANISTHESTYLEOFPAINTINGFENNEROPENAEUSCHINENSISTHESEVENTHPARTISTHEINTERNALMEANINGOFCHARACTEROFQIBAISHITHELASTPARTISTHEAATISFICREASEARCHOFQIBAISHIKEYWOTDSQIBAISHIARTOFP血TMG

簡(jiǎn)介：ⅢⅢ㈣㈣㈣JJ『IFJJJFF『『JJJ『『IJY3416。IRLL8LILLLL3ILLLL14IIIII。分類號(hào)密級(jí)UDC編號(hào)中國(guó)美術(shù)學(xué)院碩士學(xué)位論文對(duì)西方現(xiàn)代繪畫(huà)大師作品中童真因素的解讀蔡圓圓指導(dǎo)教師姓名職務(wù)、職稱王蘧壬申請(qǐng)學(xué)位級(jí)別莖薟堂亟專業(yè)名稱差苤堂一論文提交日期星Q墾生墨旦星旦曼論文答辯日期星Q墾生墨旦星旦旦學(xué)位授予單位和日期生國(guó)差苤堂暄窒Q晝生魚(yú)旦答辯委員會(huì)主席遜薹壹評(píng)閱人目錄摘要4ABSTRACT；緒論I第一節(jié)現(xiàn)代繪畫(huà)中關(guān)于“童真”的基本概念與研究綜述1第二節(jié)本課題的研究方法與研究?jī)r(jià)值2第一章現(xiàn)代繪畫(huà)中的“童真”之源4第一節(jié)原始藝術(shù)、土著藝術(shù)與“童真”的關(guān)系4第二節(jié)現(xiàn)代繪畫(huà)重視“童真”的歷史背景5第二章對(duì)幾位西方現(xiàn)代繪畫(huà)大師作品中的童真因素的分析6第一節(jié)盧梭業(yè)余畫(huà)家的另辟蹊徑6第二節(jié)米羅“謹(jǐn)慎”地?fù)肀?第三節(jié)其他幾位西方現(xiàn)代藝術(shù)大師作品中的童真因素10第三章“還童”之路14第一節(jié)“純真之眼”與童真的關(guān)系14第二節(jié)重返童真的途徑15結(jié)語(yǔ)17參考文獻(xiàn)18致謝19

簡(jiǎn)介：中國(guó)美術(shù)學(xué)院碩士學(xué)位論文王晉元花鳥(niǎo)畫(huà)研究王晉元繪畫(huà)藝術(shù)對(duì)云南當(dāng)今花鳥(niǎo)畫(huà)創(chuàng)作的啟示姓名陳克宇申請(qǐng)學(xué)位級(jí)別碩士專業(yè)中國(guó)畫(huà)花鳥(niǎo)指導(dǎo)教師閔學(xué)林毛建波20060614望墨查蘭墮璺墅墨鱉塞主三蘭墨壟皇墮里墨ABSTRACT‘WANGJINYUAN，AGRADUATEFROMCENTRALARTISTICACADEMYOFCHINAIN1964，MADEHISCHOICETOSTAYINREMOTEAREASOFYUNNANPROVINCE．DURINGHISFORTYYEARSINYUNNAN，HISARTISTICWORKSONFLOWERSANDBIRDSMADEFANTASTICEXPLORATIONINTOREALISTICSTYLEOFFURTHERUNDERSTANDINGOF1IFE，EXHIBITINGLIFE，INNOVATIONANDDEVELOPMENT．INTHISARTICLE，1WILLANALYZEANDRESEARCHWANG’SSTYLEOFFLOWERANDBIRDSARTWORKSBYSTATINGHIS1IFEANDARTWORKS。ARTSCHARACTERISTICS，INFLUENCEONFLOWERANDBIRDSARTWORLSINYUNNAN．WANGMADEHISINNOVATIONANDDEVELOPMENTINHISWORKSBYMAKINGFULLUSEOFTHEDIVERSITYOFFLOWERSANDBIRDSINYUNNAN，PRACTICINGHISWORKSWITHANEWARTSKILLOF’A11一PERSPECTIVESTRUCTURING’ONLYTOBROADENTHEAREAOFFLOWERSANDBIRDS．IT’SNOEXAGGERATIONTOSAYTHATWANGHASINITIATEDANEWSTYLEFORIIMNINGFLOWERSANDBIRDS．RESEARCHONWANG’S1IFEOFARTISTICCREATIONISTOMAKECLEARWHATWECANLEARNFROMHIM。WHATWECANSUCCEEDFROMHIMANDWHICHAREASCANBEFURTHEREXPLORERD．INOTHERWORDS，THISRESEARCHWILLHELPUSMAKEINNOVATIONSINARTWORKSTOLIMNTROPICALFORESTSINYUNNAN，GRASSLANDINFRIGIDZONE，VEGETATIONINTABLELAND，WHICHINTURNWI11BENEFITTHEFLOWERANDBIRDSARTCREATIONSNOWADAYSINYUNAN．KEYWORDSWANGJINYUANINNOVATIONSINARTCREATIONOFFLOWERSANDBIRDSALLPERSPECTIVESTRUCTURINGAREACHARACTERISTICSOFYUNNANSUCCESSIONANDDEVELOPMENT2

簡(jiǎn)介：南京航空航天大學(xué)碩士學(xué)位論文任伯年繪畫(huà)藝術(shù)研究姓名顧琴申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師鄭奇20061201任伯年繪畫(huà)藝術(shù)研究IIABSTRACTRENBONIANISASIGNIFICANTBUTCONTROVERSIALPAINTERINCHINESENEOTERICPAINTINGHISTYTHEPAPERGIVESABRIEFREVIEWONHISLIFEPAINTINGIGINCLASSIFICATIONOFHISWKSFOCUSINGONCHINESEPAINTINGONTOLOGYELEMENTSSUCHASTHEUSINGOFCHINESEWRITINGBRUSHSHAPINGARTOFCOMPOSITIONCOMPOSITIONOFAPICTURETHEUSINGOFCOLSITMAKESAFULLSCANOFMRREN’SFIGUREPAINTINGFLOWERBIRDWKSLSCAPETHEPAPERCONSIDERSTHATRENBONIANPOSSESSESTHETALENTOFUSINGCHINESEWRITINGBRUSHEXTRADINARYPAINTINGABILITYHISFIGUREPAINTINGSBREAKTHELIMITOFTRADITIONALLINEFIGUREPAINTINGWITHTHESKILLOFWESTERNCOALDRAWINGHEMADESOMENEWACCOMPLISHMENTSINCHINESEPAINTINGEXPRESSIONHEALSOUTILIZEDWESTERNPAINTINGSKILLSINFLOWERBIRDWKSSHAPINGVIVIDLYCOLINGBRILLIANTLYHISPAINTINGSTYLEISCOMBININGTHENMALWITHTHESELFCOMBININGTHENMALWITHTHENEWASASIGNIFICANTPAINTERINCHINESENEOTERICPAINTINGHISTYHEINFLUENCEDWUCHANGSHUOXUBEIHONGALOTHISPAINTINGHIGHLIGHTEDDRAWINGWASRELATIVELYDIFFERENTFROMLITTERATEURSPAINTINGSTYLERENBONIANTHEPIONEEROFCHINESEMODERNPAINTINGDEVELOPMENTHEADEDTHEWAYOFPUREPAINTINGWHICHBOTHRECOVEREDTHECLASSICBROUGHTFTHNEWIDEASKEYWDSFEELINGOFUSINGCHINESEWRITINGBRUSH，VIGOFSTROKESINDRAWING，TOCAPTURETHESPIRITBYLINEDRAWING，TOCOLUPBYSPRINKLINGGOUACHEONTHEWATERPAINTING，TOADOPTWESTERNDRAWINGSKILLSTOCHINESEPAINTING，SUITBOTHREFINEDPOPULARTASTES

簡(jiǎn)介：福建師范大學(xué)碩士學(xué)位論文繪畫(huà)作品色彩數(shù)字圖像化的實(shí)用價(jià)值研究姓名肖志雄申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師王耀偉20070401

簡(jiǎn)介：中國(guó)美術(shù)學(xué)院碩士學(xué)位論文八大山人繪畫(huà)空間關(guān)系研究姓名金鎮(zhèn)洙申請(qǐng)學(xué)位級(jí)別碩士專業(yè)中國(guó)畫(huà)畫(huà)鳥(niǎo)指導(dǎo)教師閔學(xué)林顧震巖20060530葉1國(guó)美術(shù)學(xué)院中國(guó)麗系會(huì)鎮(zhèn)洙八大IIJ人繪畫(huà)宇問(wèn)關(guān)系研究繼承和發(fā)展傳統(tǒng)，國(guó)畫(huà)的出路何在對(duì)于這些問(wèn)題，本文嘗試做一個(gè)總結(jié)。本文在附錄中主要介紹韓國(guó)的繪畫(huà)與韓國(guó)的著名文人畫(huà)家金正喜。關(guān)鍵詞八大山人空間文人畫(huà)ABSTRACTPADASHANRENASONEOFTHEMOSTFAMOUSARTISTESINTHEERALYQINGPERIODISRECOGNISEDBYHISFANTASTICISMSTYLEANDORIGINALITYCOMPOSITION．THISTHESISTRYTODOASYSTEMICREARCHABOUTPADASHANRENANDGIVEPROMINENCETOTWOPOINTS，ONEISTHECOMPOSITIONSINHISWORKS，ANOTHERISTHEINFLUENCETOTHEKOREAPAINTINGS．THECONTENTEMBODIESINFOLLOWS’FIRSTCHAPTERWILLINTRODUCETHEBACKGROUNDOFHIM．THEFIRSTPARTISABOUTTHEPERIODOFLATERMINGDYNASTYANDEARLYQINGDYNASTYWHICHPADAEXPERIENCED；THESECONDPARTISMAINABOUTTHELIFETIMEOFPADASHANREN．SECONDCHAPTERTRYTOINTERPRETTHEIDEOLOGYOFPADASHANREN．MAINABOUTTHEINFLUENCEOFBUDDHA、TAOANDCONFUCIANTOHIM。HERE，THEBUDDHAISEMPHASES．THISTHESISWILLINTERPRETTHEINFLUENCESOFBUDDHAINHISPAINTINGS．THIRDCHAPTERISABOUTTHEPAINTINGWORKSOFPADASHANREN．AFTERENTIREINTRODUCTIONTOHIM，HEREWILLANALYSETHECONCEPTIONOFSPACES，THEREASONSWHYCOURSEDTHISANDTHERELATIONSHIPBETWEENTHISANDHIS4