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1、一———————————————————————————————————————一~ 一’原創(chuàng)申明及版權(quán)使用授權(quán)書(shū)中國(guó)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(dú)立進(jìn)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(gè)人或集體已經(jīng)發(fā)表或撰寫(xiě)過(guò)的研究成果,也不含為獲得中國(guó)美術(shù)學(xué)院或其它教育機(jī)構(gòu)的學(xué)位證書(shū)而使用過(guò)的材料。對(duì)本文的研究作出重要貢獻(xiàn)的個(gè)人和集體,均已在文中以明確方式

2、標(biāo)明。本人承擔(dān)本聲明的法律責(zé)任。作者簽名:盧曉峰 日期: 2 0 1 0 年4 月 1 5 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)中國(guó)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(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l 、保密口,在 年解密后適用本授權(quán)書(shū)。

3、/2 、不保密甌( 請(qǐng)?jiān)谝陨舷鄳?yīng)方框內(nèi)打“4 “ )作者簽名:導(dǎo)師簽名:日期: 2 0 1 0 年4 月 1 5 日日期:伊廠。年‘月了日目錄中文摘要························&

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7、#183;····‘‘···。..J正文..,第一章:傳統(tǒng)人物畫(huà)造型體系內(nèi)的圖式與技法演變·······1一、重“骨”的體系··············

8、3;··················一··..“”11 、秀骨清像的圖式特征·············&#

9、183;·····················一·一l( 1 ) 瘦、骨的特征顯現(xiàn)···········&

10、#183;···········一········..··一····1( 2 ) 密體與平面性········

11、···················一·····一·”””””22 、骨的三個(gè)演化階段在六朝繪畫(huà)中的呈現(xiàn)·······

12、·······一··一··”3( 1 ) 骨的喻象階段·········- ·············

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

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

15、183;·································- ··

16、3;·······73 、“以形寫(xiě)神“ 的造型方式··························

17、3;·”·一····1 0( 1 ) 阿睹傳神····························

18、;·············一””””l O( 2 ) 形神兼?zhèn)?#183;···········一········&#

19、183;·“·“一一..一“““..一..一1 24 、白描圖式蘊(yùn)含的新表現(xiàn)力····························

20、83;·······1 5( 1 ) 早期白畫(huà)···························

21、········一········“““1 5( 2 ) 李公麟的白描特征·················&

22、#183;·························1 95 、石恪、梁楷的減筆畫(huà)樣式········

23、····················”“··一2 6 .,( 1 ) 抒胸寫(xiě)意···········

24、83;·······················..·“··”一“·一2 6( 2 ) 筆、象的意化重組·····&

25、#183;····································

26、;·2 86 、骨的夸張式顯現(xiàn)·- ··················- ·············

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

28、;···········3 4( 2 ) 圈墨與線對(duì)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·········

32、83;···························”4 4( 2 ) 秣菟羅樣式對(duì)秀骨清像的再改造·····&

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

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36、······4 8( 1 ) 疏體的圖式特征····························

37、·················4 8( 2 ) 書(shū)畫(huà)同筆的三個(gè)階段················

38、3;··············- ·········5 03 、凹凸法的流變···········

39、·····························“·..·5 5( 1 ) “氣色說(shuō)”與凹凸法的沖突融合·&#

40、183;·····························5 5( 2 ) “體”、“肉“ 與象真性的增強(qiáng)···

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

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

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