中國人物畫面部圖式類型與技法研究

1、一———————————————————————————————————————一～ 一’原創(chuàng)申明及版權使用授權書中國美術學院學位論文原創(chuàng)性聲明本人鄭重聲明：所提交的學位論文是本人在導師的指導下，獨立進行研究工作所取得的研究成果。除文中已經加以標注引用的內容外，．本論文不包含其他個人或集體已經發(fā)表或撰寫過的研究成果，也不含為獲得中國美術學院或其它教育機構的學位證書而使用過的材料。對本文的研究作出重要貢獻的個人和集體，均已在文中以明確方式

2、標明。本人承擔本聲明的法律責任。作者簽名：盧曉峰 日期： 2 0 1 0 年4 月 1 5 日學位論文版權使用授權書本學位論文作者完全了解學校有關保留、使用學位論文的規(guī)定，同意學校保留并向國家有關部門或機構送交論文的復印件和電子版，允許論文被查閱和借閱。本人授權中國美術學院可以將本學位論文的全部或部分內容編入有關數據庫進行檢索，可以采用影印、縮印或掃描等復制手段保存和匯編本學位論文。本學位論文屬于l 、保密口，在 年解密后適用本授權書。

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13、3;··············一·····“4( 2 ) 骨的結體階段···············

14、;································5( 3 ) 骨法用筆階段··&#

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27、3;·······“3 4( 1 ) 貫休、陳老蓮的變形圖式··························

28、;···········3 4( 2 ) 圈墨與線對面部的平面分割······················

29、·············3 9二、重“肉”的體系·····················

30、3;····- ················4 4l 、“面短而艷’’的圖式特征·············

31、························4 4( 1 ) 佛像的輸入與初步改造·········

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33、#183;·························4 5( 3 ) 面短而艷圖式的形成········

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41、······························5 6( 3 ) 高光法與粉彩法····

42、····································