古代中國(guó)繪畫(huà)中的影與形_14975.pdf

1、論文獨(dú)創(chuàng)性聲明本論文是我個(gè)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。論文中除了特別加以標(biāo)注和致謝的地方外，不包含其他人或機(jī)構(gòu)已經(jīng)發(fā)表或撰寫(xiě)過(guò)的研究成果。其他同志對(duì)本研究的啟發(fā)和所做的貢獻(xiàn)均已在論文中做了明確的聲明并表示了謝意。作者簽名：砂乞產(chǎn)孝期：論文使用授權(quán)聲明本人完全了解上海師范大學(xué)有關(guān)保留、使用學(xué)位論文的規(guī)定，即：學(xué)校有權(quán)保留送交論文的復(fù)印件，允許論文被查閱和借閱；學(xué)?？梢怨颊撐牡娜炕虿糠謨?nèi)容，可以采用影印、縮印或其它手段

2、保存論文。保密的論文在解密后遵守此規(guī)定。儲(chǔ)簽乞乞爭(zhēng)礦戤：杉乞p島日期：上海師范大學(xué)學(xué)位論文英文摘要AbstractThererarelyoccurredshadowinancientChinesePainting，neitherrelateddiscussioninmainstreamtheoryresearchHoweverthisisnottosaythatthereisnorelationshipbetweenChinesePai

3、ntingandtheshadowByresearchIfoundthatnotonlyChinesePaintingpaysattentiontotheshadowbutalsohassometechniquesandconceptrelatedtoit，whichinfluencethecreativeworkonpainting，aestheticsappreciationandtheevolutionofPainting’Shi

4、storytosomeextentFirst，theregeneratedcorrectrecognitionanduniqueconceptofshadowintheearlystageofChinesecultureSomefourcharacterphrasesrelatedtoshadowaretreasuresinancientChineseideologyDifferentwiththeWest，Chineseculture

5、determinesthatthediscussiononshadowdidn’tgoto‘‘lightandshadow”butconcentratedon‘‘figureandshadow”InWdandJindynastyduetothedeepexplorationon“figureandspirit”aswellastheBuddhism’Sinfluence，theshadowwentintotherelationshipb

6、etweenfigureandspirit，thusinjectingtheshadowaprofoundphilosophicalconnotationAlloftheselaidtheideologicalfoundationfortheuseofshadowinancientChinesePaintingSecond，themethodofabstractingthefigurethroughtheshadowexistedina

7、ncientChinesePaintingduetotheinwardlyconsistencybetweentheshadowandthefigureInthefieldoffigurepainting，MrSuShidiscussedbeinglifelikeinvirtueoftheshadowHealsointroducedamethodof‘‘a(chǎn)bstractingthefigureunderthelamplight”，whi

8、chbroughtpositiveinfluenceonfigurepaintingInthebirdandflowerpainting，theinkpaintingofbambooandplumblossomissaidtooriginatefrom‘‘tracingtheshadowonthewindowunderthemoonlight”Thoughitmaylackevidenceinhistory’Sperspective，i

9、treflectstheircloserelationshipActuallythemodelingmethodof“abstractingthefigurethroughtheshadow’’waswidelyacceptedandadoptedinancientpainting，whichbenefitedthecreativeworkofpainting，andmoreoverbroughttheimportantinspirat

10、ionforChinesePainting’StransformationThirdamidtheriseoffreehandbrushworkinMingandQingdynastytheconceptof“abandoningthefigureandenjoyingtheshadow”wasintroduced，whichturnedintoanimportanttheoryforfreehandbrushworkInthefree