簡介：繪畫語言在水墨人物畫中的運用探析重慶大學(xué)碩士學(xué)位論文（學(xué)術(shù)學(xué)位）學(xué)生姓名王躍指導(dǎo)教師張春新教授專業(yè)中國人物畫與傳統(tǒng)藝術(shù)研究學(xué)科門類美術(shù)學(xué)重慶大學(xué)藝術(shù)學(xué)院二O一三年四月重慶大學(xué)碩士學(xué)位論文中文摘要I摘要繪畫靈魂就是其精神內(nèi)涵，繪畫生命就是其形式語言，失去了生命的作品是不成立的，同樣丟了靈魂的作品也是無法存活的，繪畫是一種以視覺形式傳達(dá)思想意識的特定語言符號，本文將繪畫語言作為重點研究對象，對古代及現(xiàn)代水墨人物畫中出現(xiàn)的繪畫語言做詳細(xì)的梳理和比對，對水墨人物畫繪畫語言的起源背景、發(fā)展概況、當(dāng)代轉(zhuǎn)化、風(fēng)格流派等進行分析，根據(jù)各個朝代畫論對繪畫語言進行梳理。本篇文章三部分組成，緒論、本論以及結(jié)語。本論分為四個部分一、傳統(tǒng)水墨人物畫發(fā)展概況梳理，分析各朝各代水墨人物畫中呈現(xiàn)出的繪畫語言；二、傳統(tǒng)水墨人物畫繪畫語言的分析，從筆法、墨法、水法、章法、造型、設(shè)色等方面進行研究和探索；其三，由于生存環(huán)境、表現(xiàn)題材、觀念意識的轉(zhuǎn)變，在當(dāng)今社會時代背景下傳統(tǒng)語言受到局限，伴隨著西方文化的不斷沖擊，繪畫語言不得不與時俱進；四、通過繪畫語言的不同面貌，分析當(dāng)代水墨人物畫的風(fēng)格流派，并且根據(jù)八大美院所處的地理位置以及各個美院獨特的繪畫風(fēng)格，對當(dāng)今水墨人物畫做區(qū)域劃分。繪畫語言存在的意義也就是形式與內(nèi)容的辯證關(guān)系。在人類漫長的藝術(shù)實踐中，從最初不重視繪畫語言到逐漸開始意識到繪畫語言的重要性，認(rèn)知它不僅僅載著藝術(shù)家的內(nèi)心情感，還制約著藝術(shù)家的情感抒發(fā)，作為一個藝術(shù)家沒有自己的繪畫語言就很難表述心中的情感給觀眾，觀眾們也將無法領(lǐng)悟到藝術(shù)作品的精髓。關(guān)鍵詞關(guān)鍵詞繪畫語言水墨人物畫社會背景，地域劃分

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簡介：四川美術(shù)學(xué)院碩士學(xué)位論文裝飾性繪畫的現(xiàn)代語言學(xué)轉(zhuǎn)向姓名李潔申請學(xué)位級別碩士專業(yè)指導(dǎo)教師朱小禾20070330四川美術(shù)學(xué)院碩士學(xué)位論文中文摘要II第四部分，主要集中于當(dāng)代裝飾性繪畫的運作策略的分析上，也是回答了當(dāng)代裝飾性繪畫向哪些方向轉(zhuǎn)向的問題。如何運作主要體現(xiàn)在（1）主題的語言學(xué)轉(zhuǎn)向創(chuàng)作的文本化傾向，非主題性、有別于傳統(tǒng)裝飾的教化美化主題。（2）繪畫手段是修辭手段，而非模仿和再現(xiàn)。（3）當(dāng)代裝飾畫成了新的修辭語言的繪畫。（4）在符號運用上，打破傳統(tǒng)的意指的固定，使能指呈現(xiàn)開放的、多元的、發(fā)散的鏈接。當(dāng)代裝飾性繪畫也繼續(xù)了古代裝飾性繪畫的模糊的特點，其含糊表現(xiàn)為符號異質(zhì)后產(chǎn)生的語義的模糊，追求語言“詩性”的表達(dá)。當(dāng)代多元藝術(shù)語境中，現(xiàn)代裝飾性呈現(xiàn)出了巨大的開放的文本活力以及與傳統(tǒng)不同的審美和操作手段。本文的研究目的是為我們以抽象手法對圖案及圖式進行再設(shè)計、再創(chuàng)作，作一些觀念和理論上的探索。關(guān)鍵詞符號性，裝飾性，模糊性，多義

簡介：南京師范大學(xué)碩士學(xué)位論文中西方繪畫藝術(shù)造型之比較姓名車言寧申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)（中國畫）指導(dǎo)教師林逸鵬20070101ABSTRACTHI∞辯PAINTINGARTANDTHEWESTERNONE，F(xiàn)ALLINGTWODIFFERENTDISCOURSESY吼EM,VARYGREATLYINFORMSHANGCONCEPTION,AESTHETICSENSEANDEXPRESSIONCRAFT,WHICHRESULTFROMTHEDIFFERENTHISTORI∞LGEOGRAPHIC,ANDCULTURALBACKGROUND．WITHTHENEWARTISTICCONCEPTIONINTHENEWERA,THECOMMANICATIONANDMUTUALCOMPLEMENTOFTHESINOWESTEMARTISTICSYSTEMSFOCUSONTHECHINESETRADITIONALINKPAINTINGTECHNIQUEANDMODEMWESTERNFORMSHAPINGCRAFT．THOSEEXCHANGESARCBOUNDTOPRODUCETHEEVOLUTIONOFPAINTINGTOBOTHPARTSWITHTHEHISTORICDEVELOPMENT．田圮DIVERSITYINFORMSHAPINGCONCEPTIONANDEXPRESSIONCRAFTISAMAJORCONTRIBUTINGFACTORFORTHEDIFFERENTSINOWESTEMPAINTINGARTS．THETHESISMAKESACONTRASTIVERESEARCHBETWEENCLIINESEPAINTINGANDTHEWESTERNONE．THROUGHTHEANALYSISFORMSHAPINGCONCEPTIONSANDCRAFTSOFTHETWOPARTS,ITARGUESTHEDIFFERENCESINFORMSHAPINGWITHTHEPURPOSETOCLEARUPTHESIMILARITIESANDDIVERSIFIESOFTHETWOPAINTINGARTSANDTOFORESEETHEDEVELOPMENTTRENDOFEACHPART．THEACQUISITIONOFTHEREGULARITYWHICH啊ELDSTHESIMILARITIESANDDIFFERENCESISHELPFULTORECOGNIZETHEFEATURESOFCHINESEANDWESTERNPAINTINGART,TOESTABLISHTHEAESTHETICCRITERIAFTOMCHINESEPERSPECTIVE．ANDTOSTICKTOTHEPROPERVIEWOF“HARMOMO惦WHILEDIFFERENT”ANDTOPUTTHERELEVANTTHEORIESINTOTHEARTISTICPRACTICE．KEYWORDSTHECHINESEANDWESTERNPAINTING；FORMSHAPINGCONTRASTN

簡介：四川美術(shù)學(xué)院碩士學(xué)位論文駁繪畫中性別主義存在的合理性姓名王玉申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師付仲超20070330四川美術(shù)學(xué)院碩士學(xué)位論文中文摘要II中國古代女性也有參與到純繪畫創(chuàng)作中去，傳統(tǒng)的中國繪畫是中國古代男女共同創(chuàng)造的。3．現(xiàn)代男女各方面的差異在不斷縮小導(dǎo)致藝術(shù)上的差異也不段縮小，性別主義繪畫一說是難以體現(xiàn)。因此，女性主義在繪畫的內(nèi)容范疇、主題內(nèi)涵、藝術(shù)中主義的定義以及男女差異等方面邏輯上不成立、概念上不符合并且作品中難以體現(xiàn)，因此，我認(rèn)為繪畫藝術(shù)沒有“性別主義”一說。繪畫藝術(shù)發(fā)展到今天，越來越多的呈現(xiàn)出多元化的發(fā)展趨勢，我們不應(yīng)該通過性別主義一說，把藝術(shù)二元化，并對立起來。我們應(yīng)該少提些主義，多研究些問題。拋開性別歧視和性別主義之爭，把主要精力用在創(chuàng)造美好事物上，在繪畫的范圍類，更應(yīng)該回到藝術(shù)的本質(zhì)上來，在繪畫語言和表現(xiàn)形式上以及形式語言和思想內(nèi)涵的統(tǒng)一、協(xié)調(diào)上下功夫，在努力體現(xiàn)不同的時代精神內(nèi)涵的同時，開創(chuàng)繪畫藝術(shù)更廣闊的表現(xiàn)空間。關(guān)鍵詞女性主義，主義，精神內(nèi)涵，差異

簡介：廈門大學(xué)碩士學(xué)位論文對繪畫作品中“笑”的形象分析姓名陳文雷申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師關(guān)紅實20080501ABSTRACTOVERVIEWINGTHEHISTORYOFCHINESEANDFOREIGNARTPAINTINGS，THEFACESHAPINGOFIMAGESAREOFGREATCONCERNHOWEVER，AMONGSOMANYFACIALIMAGES，LAUGH”FACEISRAREWHENAPPEARINGINTHESPECIALHISTORICALPOINT，THEWORKSOF”LAUGH’’DRAWOURATTENTIONINTHELIGHTOFTHESPECIFICHISTORICALBACKGROUND，THISPAPERISMAINLYTOMAKEANBRIEFANALYSISOFTHEIMAGEOFLAUGHTERINCHINESEANDFOREIGNPAINTINGS，BYEXEMPLIFYINGTWOWESTERNTYPICALWORKSDAVINCIANDHA’ERSI，THEWORKSAFTERTHEYEAROF1949THE‘NEWCHINA’’ERAANDTHEWORKSSTILLPOPULARAFTERTHE’’AUGUST5THTRENDY’THISPAPERISDIVIDEDINTOTHREECHAPTERS，CHAPTER1ISMAINLYTOCONCLUDETHEMEANINGSOFTHESETWO‘‘LAUGH’ISTHERESPECTOFHUMANBEINGSBYINTRODUCINGTHEANDDAVINCIANDHA’ERSI’SREPRESENTATIVEWORKSANDTHECOMBINATIONOFTHEHISTORICALBACKGROUNDTHETWOPAINTERSWORKSISTHEREPRESENTOFHUMANSPIRITOFTHEIRTIMESCHAPTERS2AND3SETOURSIGHTSONCHINA，CLASSIFYTHEDIFFERENTLAUGHSOFTHE”MAOZEDONGERA”INTOSOMEPARTSAGREATMAIL’SLAUGHTERTHELAUGHTEROFORDINARYPEOPLE，THESOLDIERS’SMILEBYCOMBININGPAINTINGIMAGESMAINLYPICTURESWORKSANDTHESPECIFICHISTORICALBACKGROUNDINTHESELAUGH”BECAUSEOFHISTORICALANDPOLITICALREASONS，THELAUGHTEROFTHESAMEIDENTITYINDIFFERENTPERIODSISDIFFERENTDURINGTHESPECIFICPERIODUNDERTHESHACKLESOFPOLITICALCRITERIA，ONEWHOISEXTREMELYDEPRESSEDHASBEENGIVENENCOURAGINGSMILEBYEVENTS，PEOPLECANHARDLYBELIEVETHESERIDICULOUSTRUTHSTHECLEARREPRESENTOFLAUGHINTHECHINESEPAINTINGISMAINLYINTHEERAOFMAOZEDONGANDTHELATTER”AUGUST5TRENDY”AFTERTHE’’AUGUST5TRENDY”，THENEWIMAGEOFASMILINGISSHAPINGANEWIDOLOFTHETIMES，WHICHINSOMEEXTENTISAKINDOFCONTINUATIONANDREFLECTIONOFTHEERAOFMAOZEDONG’SLAUGHTERTHEATMOSPHEREISNOTBADINTHISPAPERWITHTHEFAMOUSFRENCHPHILOSOPHERHENRIBERGSON’S”LAUGH”THEORYWILLMAKEALLSPECIFICANALYSISOFHOWTHECREATIVEARTISTSPAINT“SMILE”IMAGEAFTER”AUGUST5TRENDYWHICHISALSOTHEMAINCONCERNAREAINTHISPAPERKEYWORDSPAINTING；LAUGH；SERIOUSⅡ

簡介：南京藝術(shù)學(xué)院碩士學(xué)位論文論勃魯蓋爾繪畫作品中的寓意性姓名沈泓申請學(xué)位級別碩士專業(yè)油畫指導(dǎo)教師陳世寧20080420ABSTRACTPIETERBRUEGEL，ISONEOFTHENEDERLANDRENAISSANCETIMEMOSTIMPORTANTPAINTERSHISWORKHASMANIFESTEDTHEARTDEVELOPMENTACHIEVEMENTOFNEDERLANDANDHISDRAWINGSTYLEEMBODYEDTHERENAISSANCEHUMANISMCHARACTERISTIC，ALSOHASTHETIMECHARACTERISTICBRUEGELLAYTHEPROFOUNDPHILOSOPHYWITHINTHEREALCREDIBLEARTISTICIMAGE，EXTREMELYRICHIMPLICATIONANDTHEDEPTHTHEARTICLECONSISTSOFFOURPARTS，THEFIRSTPARTOFTHE16THCENTURYNEDERLANDSMAINLYONTHEBACKGROUNDOFTHETIMES，ASDISCUSSEDBELOWHISTORICALBACKGROUNDONTHEIMPACTOFBRUEGEL7SPAINTINGSTYLEMADEAPREREQUISITE；THESECONDPARTDISCUSSESTHEOVERALLBRUEGEL7SPAINTINGSTYLE，WHICHNOTONLYCLARIFYTHENEDERLANDSRENAISSANCEPAINTINGCHARACTERISTICSANDBRUEGEL’SMASTERSOFTHELIFEEXPERIENCEANDTHEIMPACTOFFACTORSONTHEBRUEGELALSODISCUSSEDTHEOVERALLPAINTINGSTYLEOFBRUEGEL，ANDHEANDBOSCH，MLIIETWORKSFORCOMPARISONPARTIIIFOCUSESONBRUEGEL’SPAINTINGSTYLEONTHE”IMPLIEDMEANING”O(jiān)FTHECHARACTERISTICSTHATLEDTOTHISSTYLEONTHECAUSESAND”IMPLIEDMEANING”INBRUEGEL’SEMBODIEDINTHEWORKSANDTHE”IMPLIEDMEANING”O(jiān)FTHEARTISTICCHARACTERISTICS；PARTIVDISCUSSESBRUEGELONFUTUREGENERATIONS，INCLUDINGTODAY’SAFFECTSUSTHISARTICLEWILLTHROUGHBRUEGEL’SARTISTICSTYLEELABORATION，F(xiàn)ROMTHEWORKIMPLICATIONOBTAININGOFBRUEGEL7SPICTURES，STUDIYITSDEVELOPMENTWAY，PROMULGATEITSARTISTICCHARM，SOCIETYBACKGROUNDANDTHECULTURALINTERNALCAUSEPROPOSEBRUEGEL’SINFLUENCEANDTHEGUIDINGSENSEKEYWORDSPIETERBRUEGELNEDERLANDRENAISSANCEIMPLIEDMEANINGN

簡介：1摘要2ABSTRCT3引言1第一章關(guān)于戰(zhàn)爭題材的定義、背景及意義2一、戰(zhàn)爭題材的定義2二、簡述現(xiàn)代戰(zhàn)爭題材繪畫創(chuàng)作背景及意義2第二章戰(zhàn)爭題材在當(dāng)今主題畫創(chuàng)作中的體現(xiàn)3一、戰(zhàn)爭題材在主題畫創(chuàng)作中的重要性體現(xiàn)3二、藝術(shù)展覽對戰(zhàn)爭題材繪畫的需求4第三章戰(zhàn)爭題材的創(chuàng)作實踐5一、對筆墨精神探索5二、對藝術(shù)的真實性與歷史的真實性的理解6三、軍旅精神與藝術(shù)創(chuàng)作的融合6結(jié)論8參考文獻93ABSTRCTINDISPENSABLETOABSTRACTTHECREATIONOFLARGEHISTICALTHEMESREVOLVEAROUNDAHUGESUBJECTWARITISTHEPEOPLESREPUBLICOFCHINAWASFOUNDEDTOONEOFTHEIMPTANTFACTSHAVINGANINDELIBLEPLACEINHISTYABOUTTHESUBJECTSFWARINPAINTINGCREATIONFMADISTINCTIVEARTISTICACTERISTICSINPARTICULARWITHTHECREATIONOFLARGEHISTICALTHEMESWARISNUMEROUSCOMPLICATEDYIXULIFESHOWBEARINGTHEHISTYAGAINATTHESAMETIMETHEMFROMMULTIFACETEDMULTILEVELCONSTITUTESAMAGNIFICENTLIFEMOVEMENTEXPLICITLYTHEWARTHEMEYIXULIFEINTHELARGEHISTYTHEMECREATIONWITHHUGECREATIONGRSCENESMECOMPLICATEDSTRUCTURETOSHOWTHETHEMETHECREATIONOFTHESUBJECTTHISARTICLEMAINLYTHROUGHTHEIRWARFPENINKSPIRITOFEXPLATIONCREATIONMETHODOFBREAKTHROUGHTRULYACHIEVEBETTERINTEGRATIONSERVICESPIRITMODERNELEMENTSALSOBYWARDRAMAWKSREFLECTTHEHISTYOFYESTERDAYMAKETHEARTWKKEYWDSWARMILITARYTHEMATICSUBJECTSFINKELEMENTFUSION

簡介：吉林藝術(shù)學(xué)院碩士學(xué)位論文從印象主義繪畫談起，試論藝術(shù)家的創(chuàng)新精神姓名王子驍申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師劉大明20060501通過列舉大量的史實，經(jīng)過認(rèn)真客觀的分析對比，初步得出以下結(jié)論一、印象派繪畫是在繼承傳統(tǒng)的基礎(chǔ)上進化發(fā)展而來。這一點并不如有的學(xué)者尤其國內(nèi)學(xué)者所說。二、印象派繪畫的產(chǎn)生是符合藝術(shù)發(fā)展規(guī)律的，符合藝術(shù)創(chuàng)作的自身規(guī)律的，符合藝術(shù)_L倉TL作的創(chuàng)新原則。三、印象派繪畫的精神意義的核心是創(chuàng)新。四、藝術(shù)作品的功能應(yīng)服從作品的自身過濾與要求。當(dāng)然，包括以上結(jié)論在內(nèi)，許多問題還需結(jié)合我們?nèi)蘸蟮乃囆g(shù)實踐深入研究討論。關(guān)鍵詞印象派創(chuàng)新與實踐藝術(shù)技巧精神意義

簡介：西北師范大學(xué)碩士學(xué)位論文瓜州東千佛洞二窟壁畫水月觀音的藝術(shù)特色通過臨摹感悟西夏繪畫風(fēng)格姓名汪旻申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師王宏恩200906IVABSTRACTTHISARTICLEPRESENTSADETAILEDINVESTIGATIONOFTHEFRESCOSHUIYUEKWANYININEASTTHOUSBUDDHACAVEGROTTOINGUAZHOUCOUNTYWHICHGETSFROMCOPYINGPAINTINGINPRACTICEMAKEASHTTOTHEPOINTANALYSISONHISTYBACKGROUNDINXIXIAMOTIFACTERISTICSOFSHUIYUEKWANYINASWELLASTHESUBJECTOFGETTINGSUTRABYXUANZANGTOOTHEFRESCOISGREATNEATWHICHDOESNOTLIMITONPRATSOFITINSTEADPAYATTENTIONTOCONSTRUCTINGTHEWHOLECONCEPTIONTHEREARESEVERALARTISTICFEATURESOFTHISFRESCOASFOLLOWTHELSCAPEPAINTINGSASTHEBACKGROUNDOFTHESHUIYUEKWANYINREFLECTSTHESTYLEOFTHEGROUPOFLSCAPEINSOUTHSONGDYNASTYWHOSENUMBERSAREMAYUANXIAGUISOONASFARASTHELINEOFTHEPICTURESISCONCERNEDTHEREARETHECOMPREHENSIVEUSEIMPROVEMENTOFTHELITERARYFIGURESOFTHECENTRALPARTOFCHINAINTHEIRARTISTICACHIEVEMENTTHECOMBINATIONOFTIBETANIRONLINESTYLEINITSSTRENGTHDELICATESMOOTHNESSINCOLOURTHEREARETHEGENTLEBRIEFFEATURESINPICTURESBYTHELITERARYFIGURESOFSINOTHEIRARTISTICSTYLETASTEMEANWHILETHEREAREALSOTHETIBETANSTYLESINITSTHICKSTATELYCOLOURUSETHEARTISTICSTYLEOFXIXIAWHICHHASANINTENSIVEEXPRESSIONTHEQUALITYOFDANGXIANGNATIONALITYARTISINFLUENCEDBYAESTHETICTASTEINTHESINOFIRSTTHENEWSTYLEWHICHISASARESULTOFSEEPINGONBUDDHISMPROPAGATEDBYTIBETANKEYWDSXIXIASHUIYUEKWANYINXUANZANGTHELINEOFTHEPICTURESCOLOURARTISTICACTERISTICS

簡介：華中師范大學(xué)碩士學(xué)位論文德伯家的苔絲繪畫特色研究姓名汪芳申請學(xué)位級別碩士專業(yè)比較文學(xué)與世界文學(xué)指導(dǎo)教師聶珍釗20060501⑨碩士學(xué)位論文MASTEⅣSTHESISABSTRACTTHISTHESISSTUDIESTESSOFTHED“URBERVILLESFROMAPOINTOFPAINTINGBYCHOOSINGENVIRONMENTANDCHARACTERFROMAHORIZONTALLYSECTION，ANDPAINTINGCOLOR’SDYNAMICCHANGINGCOMBINEDWITLL訂AGEDYMOTIFANDTHEDESTINYOFCHARACTERSFROMAVERTICALSECTIONITDESCRIBESTHEPAINTINGOFNINETEENTHCENTURYESPECIALLYTHEENGLISHPAINTINGOFLANDSCAPEANDEXPATIATESTHEORIGINBETWEENHARDYANDPAINTINGCOMBINED、訪T11THECIRCUMSTANCEOFHARDY’SLIFE，TIMECHARACTEROFWRITINGNOVEL，EXPERIENCEANDLIKEOFTHEAUTHORHIMSELFINTHEEPILOGUE，INORDERTOEXPLAINWHYHISNOVELHASSOMANYPAINTINGFEATURESTHISTHESISISCOMPOSEDOFTHREECHAPTERSCHAPTERONETHISCHAPTERSTUDIESTHEPAINTINGFEATUREINTHEDEPICTIONOFENVIRONMENTWHICHEMBODIESTHEPAINTINGFEATUREMOSTEVIDENTLYITHASTWOPARTSTOSTUDYONEPARTSTUDIESREALISTICSTYLEOFPAINTINGINNATURE’SDEPICTIONWHICHSHOWSTHEINFLUENCEOFFAMOUSENGLISHPAINTEROFLANDSCAPE，T1A“NER；THEOTHERPARTSTUDIESIMPRESSIONISMSTYLEINTHEDEPICTIONOFSCENE，WHICHISINTHESHADOWOFIMPRESSIONISM，RENOIRANDMONETTHISCHAPTERDIFFERENTIATESLANDSCAPEFROMSCENE，NOTONLYTOPOINTTHEAESTHETICFEELINGOFPICTUREINENVIRONMENT’SDEPICTIONBUTALSOTOSTUDYHARDY110WTOBSETHEPAINTINGTECHNIQUEOFFARNOUSPAINTINGGENREINTHESAMEAGEINTOTHELITERATURECHAPTERTWETHISCHAPTERSTUDIESTHEPAINTINGFEATUREINTHEDEPICTIONOFCHARACTELWHICHALSOHASDE印AESTHETICFEELINGOFPICTUREITHASTHREEPARTSTOSTUDYTHEFIRSTPARTSTUDIESPORTRAITURE，WHICHHASADEQUATELYUSEDELEMENTSOFIMPRESSIONISMTOEMBODYCHARACTER’SNOBLEST‘RELIEVO’BEAUTY；THESECONDPARTSUDIESHARDYHOWTOSHOWCHARACTER’SFEELINGTHROUGHTHE‘VIDEO’PICTURES；THELASTONESTUDIESTARDYHOWTOUSECOLORSYMBOLTOHINTPEOPLE’SCHARACTERANDCOMBINEPOSITIVEANDNEGATIVECHARACTERSWITHTHECOLOR‘SSYMBOLICMEANINGOFWHITEBLACK，WHICHEMBODIESTHEHARDY’SUNDERSTANDINGOFCOLORANDINGENUITYINCHARACTER’SCONSTITUTIONCHAPTERTHREETHISCHAPTERSTUDIESTHEDYNAMICCHANGINGOFTHEPAINTINGPICTURESFIRST，THE‘RED’COLORWHICHHASCONSTANTLYAPPEAREDINTHENOVELPOINTSTHEDEATHDIRECTLYWITHITSSYMBOLICMEANINGSECONDINCESSANTCHANGINGPICTURESEVIDENTLYEMBODIESTHECHANGINGCONRSESFROMBRIGHTT0DARKFROMPLEASURETOGRIEFTHROUGHTHECHANGINGINTHREEASPECTSSEASON，LANDSCAPEANDPEOPLE’SCOLORKEYWORDSTHOMASHARDY；TESSOFTHEDURBERVILLES；PAINTINGFEATUREII

簡介：蘇州大學(xué)碩士學(xué)位論文心性的自由表達(dá)論博納爾的繪畫藝術(shù)姓名張立影申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師劉昌明20070401THETEMPERAMENTFIBERTYISEXPRESSED∞MM明佃ⅢGONBONNARD’SDRAWINGARTABSTRACTPIERREBONNARDTHATTHEGREATMASTERWHOENLIVENSTHEFRANCENABIISMDRAWINGINTHEBEGINNINGOF19ENDSOFTHECENTURY，20CENTURIES，ISOFTENCALLED。IMPRESSIONISTSCHOOLWHOARRIVESLATE”HEISTAKENOBSERVINGTONATULⅢDIRECTNESSASBASIS，EARLYPHASEISFLOATEDMOREBYHEIGHTWITHJAPANTHEEFFECTTHATTHEWORLDDRAWS，DEVELOPSOUTONESELFSTYLEDECORATINGNATUREEXTREMELY，CHANGESTOANDIMPLICITDREAMLIKEPMNTINGWINDGRADUALLY，F(xiàn)ORMSHAVECOLORCHARMSALONE，SUPERALLTRANSCENDENTARTISTICUYLE，DRAWSLITERARYEXCELLENCEALONEINMODEMDRAWINGWORLDOFARTULTIMATELYBONAERHASNOTFOLLOWEDFADINTHEWORLDDIVERSIFYINGINTHAT20CENTURIESWESTSARTHASALWAYS，DEFENDEDSIGNIFICANCEGIVENTOBYTIMES把丑ACIOUSLYINSELFHEARTTOTHEDRAWINGTENDERSENTIMENTS。HASEXCEEDEDHEISNOTONETOCHANGEALLSEWSLIFEDESCRIBETHESEWSINNERWORLDMTGREATMASTERBONAERASNABIISMPIONEER，COMPREHENSIVENESSARTTHOUGHTHAVINGDISCUSSEDTHEEARLYGENERATIONGREATMASTERTHESUCCESSIONOFTEACHINGSFROMAMASTERTOHISDISCIPLESIMPRESSIONIST∞HOOLTHEREBENEWCOLORLANGUAGEINEXCEEDINGWIMDRAWINGWORKTOPILSHHAVINGFACEDALLEXTREMEHISDRAWINGHASBEENEASTANDWESTARTANASTOMOSINGEXAMPLE，HASINHERITEDANDHASDSVDOPEDALLIMPRESSIONISMTHECHASMHAVINGSTRIDDENOVERTHEQUEENIMPRESSIONISMANDMODERNISMHASOPENEDNEWDRAWINGCOLORROUTETHEDRAWINGWORKTHEMAINBODYOFABOOKISPASSEDSMDNGBONAEREXPLORESTHELRACELOOKINGFORBONAERARTOBJECTIVELYFROMHEIS”NABIISM‘S。MEMBERBASESELF011THECOMPARISONINANALYTICAL，ANDCOEVALPAINTEROFWORKART，ANALY∞BONAERDRAWINGSPIRITCONNOTATION”THECULTURE∞X。CREATIONTRAINOFTHOUGHTANDMAKESⅡ

簡介：獨創(chuàng)性聲明本人聲明所呈交的學(xué)位論文是本人在導(dǎo)師指導(dǎo)下進行的研究工作及取得的研究成果。據(jù)我所知，除了文中特別加以標(biāo)注和致謝的地●方外，論文中不包含其他入已經(jīng)發(fā)表或撰寫過的研究成果，也不包含為獲得或其他教育機構(gòu)的學(xué)位或證書而使用過的材料。與我一同工作的同志對本研究所做的任何貢獻均已在論文中作了明確的說明并表示謝意。學(xué)位論文作者簽名欲勛簽字日期必F37年∥月‘日學(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江西師范大學(xué)研究生院有關(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)送交論文的電子版和紙質(zhì)版，允許論文被查閱和借閱。本人授權(quán)江西師范大學(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)書學(xué)位論文作者簽名蘞豸屯簽字吼燦L筍6月日鋤始矽烤冬簽字日期沙侈年‘月護日ABSTRACTMUNCHASAPIONEEROFEXPRESSIONISM，INHISHESITATION，ANXIETYANDFEARSTATEWILLBETHETHEMEOFCREATIONANDSTRONGLYPERSONALSUBJECTIVESTRONGEMOTIONSCLOSECOMBINATION，COMBINATIONWHICHOPENEDUPTHEPIONEERROADOFSPIRITASTHEMAINSTYLEMUNCHSPAINTINGSREFLECTINGTHESIGNIFICANCEISNOTJUSTTREATDEATH，F(xiàn)EAR，ANDRUTHLESSREALLIFEDONOTHING，ITSTRUEMEANINGISTOWAKEUPTHEPEOPLE，TOSTIMULATETHEPEOPLESHOULDHAVETHECOURAGETOFACELIFEFROMANOTHERANGLE，ESPECIALLYINTHEFACEOFTHEREALITYOFTHEUGLYANDUNFORTUNATE，TOOVERCOMETHEFEARANDBROKENUTENSILOFHUMANNATUREUNDERTHELEADERSHIPOFSPIRITUALIDEALSTHISPAPERATTEMPTSTOFORMSOFLANGUAGEANDEMOTIONALEXPRESSIONOFMUNCH’SPAINTINGFROMTHEFOLLOWINGASPECTSTHEFIRSTPARTMAINLYANALYSISTHERELATIONSHIPBETWEENPAINTINGLANGUAGEANDEMOTIONALEXPRESSION；SECONDPARTSUMMARIZESTHEMUNCHSLIFEEXPERIENCEASWELLASHISLIFEEXPERIENCESINFLUENCETHEIROWNLANGUAGEOFPAINTINGTHETHIRDPARTFOCUSESONMUNCH’SPAINTINGLANGUAGEANDEMOTIONALEXPRESSIONOFACLOSERELATIONSHIPTHELASTPARTISMAINLYTODOSOMESUMMARYANDTHESPIRITOFMUNCHSPAINTINGGIVEOWNSEVERALENLIGHTENMENTMUNCHISAPHILOSOPHICALARTIST。HISARTREFLECTSTHEMENTALOUTLOOKLOFTHEPEOPLEOFEUROPEWHENERAOFHISLIFE，GOODATSPECULATION，ATTACHIMPORTANCETOPERSONALITYANDFEELINGS，ANDDEPRESSIVEPERSONALITYCHARACTERISTICSINMODELINGPURSUITTWISTED，DISTORTEDANDEXAGGERATIONOFBEAUTYINORDERTOEMPHASIZETHEIRFEELINGS；INCONTENT，HEISGOODATEXPOSINGTHEUGLYANDWEAKNESSOFHUMANNATUREANDPHASEWRESTLINGWITHITTHATFORMABSTRACTSPIRITUALSYMB01VISUALARTMEANSTOPORTRAYTHEREALWORLDOFTHEHUMANHEARTHEISAPIONEEROFEXPRESSIONISM，THEGREATMASTERSOFTHESUBJECTIVEEMOTIONALEXPRESSIONRESEARCHMUNCH’SPAINTINGLANGUAGEANDEMOTIONALEXPRESSION，TOUNDERSTANDINGOFTHEESSENCEOFWESTERNPAINTING，TOPROMOTETHEDEVELOPMENTOFPAINTINGINCHINA，THEREISACERTAINPOSITIVESIGNIFICANCEKEYWORDSMUNCH；THEINNERWORLD；PAINTINGLANGUAGE；EMOTIONALEXPRESSION；II

簡介：天津美術(shù)學(xué)院碩士學(xué)位論文論當(dāng)代架上繪畫的多元意義姓名張馳申請學(xué)位級別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師祁海平20070501BYCONTEMPORARYONDRAWINGMANYYUANSIGNIFICANCESCONTENTABSTRACTAPRESENTCHINESEONDRAWINGISBEINGINACOMPLEXCHANGETHEPHASE，THENATIONALITYANDTHEWORLD，THEWESTANDCHINAMELTS，THETRADITIONALFINEARTSANDTHEMODERNFINEARTSISBEINGINTHESTRU991EANDTHEFUSIONTIME．CONTEMPORARYCHINESEONDRAWINGWHATCOURSETOF01LOWBECAUSETHE1INGUISTICENVIRONMENTCOMPLEXCHANGEABLECAUSESOWNSIGNIFICANCEMANYYUAN，CAUSEDANONDRAWINGTODEVELOPBYTHEPASTSOLESIGNIFICANCETOMANYYUANCOMPOUNDSIGNIFICANCES．THISARTICLEATTEMPTSFROMTHE1INGUISTICENVIRONMENT，THESPACE，ESTHETICSMAKINGS，TRADEANDSOONMANYASPECTSDISCUSSESCAUSESONDRAWINGMANYYUANSIGNIFICANCESTHEREASON．THETHISARTICLEMAINCONTENTINCLUDESCHANGE，THECONTEMPORARYONDRAWINGTHECONTEMPORARYONDRAWINGLINGUISTICENVIRONMENTFIELDNATUREANDSPATIAL，ONTHECONTEMPORARYONDRAWINGPOEMANDNOTONTHEDETERMINISM，THEFRAMETHEDRAWINGMODERNAGEANDTHELATTERMODERNAGE，THECONTEMPORARYONDRAWINGTRADEPONDER，THEFRAMETHEDRAWINGINTRINSICISSACREDANDTHEPRODUCTPHOTOCOPYINGANDSOON．KEY_ORDONAFTERFRAMEDRAWINGSPACESCENENOTDETERⅢINISMMANYYUANSIGNIFICANCESMODERNTRADE．

簡介：中國美術(shù)學(xué)院學(xué)位論文原創(chuàng)性聲明本人鄭重聲明所提交的學(xué)位論文是本人在導(dǎo)師的指導(dǎo)下，獨立進行研究工作所取得的研究成果。除文中已經(jīng)加以標(biāo)注引用的內(nèi)容外，本論文不包含其他個人或集體已經(jīng)發(fā)表或撰寫過的研究成果，也不含為獲得中國美術(shù)學(xué)院或其它教育機構(gòu)的學(xué)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標(biāo)明。本人承擔(dān)本聲明的法律責(zé)任。／作者簽名鄉(xiāng)移童軋日期刃島年鄉(xiāng)月多日學(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)校保留并向國家有關(guān)部門或機構(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)中國美術(shù)學(xué)院可以將本學(xué)位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫進行檢索，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1、保密口，在年解密后適用本授權(quán)書。2、不保密臼。請在以上相應(yīng)方框內(nèi)打“4“作者簽名導(dǎo)師簽名日期勱倍年，日期哪年F月力日乙舄中國美術(shù)學(xué)院一一專業(yè)基礎(chǔ)教學(xué)部一一鄭文凱邂逅單純一一淺析中國當(dāng)代具象繪畫中的“單純色”現(xiàn)象邂逅單純淺析中國當(dāng)代具象繪畫中的“單純色”現(xiàn)象