簡(jiǎn)介：繪畫語言在水墨人物畫中的運(yùn)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(guó)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(shí)的特定語言符號(hào)，本文將繪畫語言作為重點(diǎn)研究對(duì)象，對(duì)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(duì)，對(duì)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(jìn)行分析，根據(jù)各個(gè)朝代畫論對(duì)繪畫語言進(jìn)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(gè)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(jìn)行研究和探索；其三，由于生存環(huán)境、表現(xiàn)題材、觀念意識(shí)的轉(zhuǎn)變，在當(dāng)今社會(huì)時(shí)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(shí)俱進(jìn)；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(gè)美院獨(dú)特的繪畫風(fēng)格，對(duì)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(zhǎng)的藝術(shù)實(shí)踐中，從最初不重視繪畫語言到逐漸開始意識(shí)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(gè)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(huì)背景，地域劃分

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簡(jiǎn)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(qǐng)學(xué)位級(jí)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(yùn)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(yùn)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(hào)運(yùn)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(diǎn)，其含糊表現(xiàn)為符號(hào)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(duì)圖案及圖式進(jìn)行再設(shè)計(jì)、再創(chuàng)作，作一些觀念和理論上的探索。關(guān)鍵詞符號(hào)性，裝飾性，模糊性，多義

簡(jiǎn)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(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)（中國(guó)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(jiǎn)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(qǐng)學(xué)位級(jí)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(guó)古代女性也有參與到純繪畫創(chuàng)作中去，傳統(tǒng)的中國(guó)繪畫是中國(guó)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(shì)，我們不應(yīng)該通過性別主義一說，把藝術(shù)二元化，并對(duì)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(zhēng)，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(shí)代精神內(nèi)涵的同時(shí)，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(jiǎn)介：廈門大學(xué)碩士學(xué)位論文對(duì)繪畫作品中“笑”的形象分析姓名陳文雷申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師關(guān)紅實(shí)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(jiǎn)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(qǐng)學(xué)位級(jí)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(jiǎn)介：1摘要2ABSTRCT3引言1第一章關(guān)于戰(zhàn)爭(zhēng)題材的定義、背景及意義2一、戰(zhàn)爭(zhēng)題材的定義2二、簡(jiǎn)述現(xiàn)代戰(zhàn)爭(zhēng)題材繪畫創(chuàng)作背景及意義2第二章戰(zhàn)爭(zhēng)題材在當(dāng)今主題畫創(chuàng)作中的體現(xiàn)3一、戰(zhàn)爭(zhēng)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(duì)戰(zhàn)爭(zhēng)題材繪畫的需求4第三章戰(zhàn)爭(zhēng)題材的創(chuàng)作實(shí)踐5一、對(duì)筆墨精神探索5二、對(duì)藝術(shù)的真實(shí)性與歷史的真實(shí)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(xiàn)93ABSTRCTINDISPENSABLETOABSTRACTTHECREATIONOFLARGEHISTICALTHEMESREVOLVEAROUNDAHUGESUBJECTWARITISTHEPEOPLESREPUBLICOFCHINAWASFOUNDEDTOONEOFTHEIMPTANTFACTSHAVINGANINDELIBLEPLACEINHISTYABOUTTHESUBJECTSFWARINPAINTINGCREATIONFMADISTINCTIVEARTISTICACTERISTICSINPARTICULARWITHTHECREATIONOFLARGEHISTICALTHEMESWARISNUMEROUSCOMPLICATEDYIXULIFESHOWBEARINGTHEHISTYAGAINATTHESAMETIMETHEMFROMMULTIFACETEDMULTILEVELCONSTITUTESAMAGNIFICENTLIFEMOVEMENTEXPLICITLYTHEWARTHEMEYIXULIFEINTHELARGEHISTYTHEMECREATIONWITHHUGECREATIONGRSCENESMECOMPLICATEDSTRUCTURETOSHOWTHETHEMETHECREATIONOFTHESUBJECTTHISARTICLEMAINLYTHROUGHTHEIRWARFPENINKSPIRITOFEXPLATIONCREATIONMETHODOFBREAKTHROUGHTRULYACHIEVEBETTERINTEGRATIONSERVICESPIRITMODERNELEMENTSALSOBYWARDRAMAWKSREFLECTTHEHISTYOFYESTERDAYMAKETHEARTWKKEYWDSWARMILITARYTHEMATICSUBJECTSFINKELEMENTFUSION

簡(jiǎn)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(qǐng)學(xué)位級(jí)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(shí)，經(jīng)過認(rèn)真客觀的分析對(duì)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(jìn)化發(fā)展而來。這一點(diǎn)并不如有的學(xué)者尤其國(guó)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(shí)踐深入研究討論。關(guān)鍵詞印象派創(chuàng)新與實(shí)踐藝術(shù)技巧精神意義

簡(jiǎn)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(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師王宏恩200906IVABSTRACTTHISARTICLEPRESENTSADETAILEDINVESTIGATIONOFTHEFRESCOSHUIYUEKWANYININEASTTHOUSBUDDHACAVEGROTTOINGUAZHOUCOUNTYWHICHGETSFROMCOPYINGPAINTINGINPRACTICEMAKEASHTTOTHEPOINTANALYSISONHISTYBACKGROUNDINXIXIAMOTIFACTERISTICSOFSHUIYUEKWANYINASWELLASTHESUBJECTOFGETTINGSUTRABYXUANZANGTOOTHEFRESCOISGREATNEATWHICHDOESNOTLIMITONPRATSOFITINSTEADPAYATTENTIONTOCONSTRUCTINGTHEWHOLECONCEPTIONTHEREARESEVERALARTISTICFEATURESOFTHISFRESCOASFOLLOWTHELSCAPEPAINTINGSASTHEBACKGROUNDOFTHESHUIYUEKWANYINREFLECTSTHESTYLEOFTHEGROUPOFLSCAPEINSOUTHSONGDYNASTYWHOSENUMBERSAREMAYUANXIAGUISOONASFARASTHELINEOFTHEPICTURESISCONCERNEDTHEREARETHECOMPREHENSIVEUSEIMPROVEMENTOFTHELITERARYFIGURESOFTHECENTRALPARTOFCHINAINTHEIRARTISTICACHIEVEMENTTHECOMBINATIONOFTIBETANIRONLINESTYLEINITSSTRENGTHDELICATESMOOTHNESSINCOLOURTHEREARETHEGENTLEBRIEFFEATURESINPICTURESBYTHELITERARYFIGURESOFSINOTHEIRARTISTICSTYLETASTEMEANWHILETHEREAREALSOTHETIBETANSTYLESINITSTHICKSTATELYCOLOURUSETHEARTISTICSTYLEOFXIXIAWHICHHASANINTENSIVEEXPRESSIONTHEQUALITYOFDANGXIANGNATIONALITYARTISINFLUENCEDBYAESTHETICTASTEINTHESINOFIRSTTHENEWSTYLEWHICHISASARESULTOFSEEPINGONBUDDHISMPROPAGATEDBYTIBETANKEYWDSXIXIASHUIYUEKWANYINXUANZANGTHELINEOFTHEPICTURESCOLOURARTISTICACTERISTICS

簡(jiǎn)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(qǐng)學(xué)位級(jí)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(jiǎn)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(qǐng)學(xué)位級(jí)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(jiǎn)介：獨(dú)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(jìn)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(jī)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(duì)本研究所做的任何貢獻(xiàn)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(guó)家有關(guān)部門或機(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。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(jìn)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(hù)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(jiǎn)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(qǐng)學(xué)位級(jí)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(jiǎn)介：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)表或撰寫過的研究成果，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)位證書而使用過的材料。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(guó)家有關(guān)部門或機(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1、保密口，在年解密后適用本授權(quán)書。2、不保密臼。請(qǐng)?jiān)谝陨舷鄳?yīng)方框內(nèi)打“4“作者簽名導(dǎo)師簽名日期勱倍年，日期哪年F月力日乙舄中國(guó)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(guó)當(dāng)代具象繪畫中的“單純色”現(xiàn)象邂逅單純淺析中國(guó)當(dāng)代具象繪畫中的“單純色”現(xiàn)象