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簡(jiǎn)介：、山東人學(xué)碩1學(xué)位論文分類號(hào)J413密級(jí)單位代碼10422學(xué)號(hào)200710961⑧．∥蔡辦‘謄碩士學(xué)位論文S口丹D0NGU以FL，P，SFTYMASTEF’STHESIS論文題目論繪畫語言對(duì)現(xiàn)代商業(yè)人像攝影的影響DRAWINGONTHEROLEOFMODEMCOMMERCIALPORTRAITPHOTOGRAPHY姓名專業(yè)導(dǎo)師合作導(dǎo)師邵曉靜設(shè)計(jì)藝術(shù)學(xué)周峰年月日▲山東人學(xué)壩IJ學(xué)位論文原創(chuàng)性聲明本人鄭重聲明所呈交的學(xué)位論文，是本人在導(dǎo)師的指導(dǎo)下，獨(dú)立進(jìn)行研究所取得的成果。除文中已經(jīng)注明引用的內(nèi)容外，本論文不包含任何其他個(gè)人或集體已經(jīng)發(fā)表或撰寫過的科研成果。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。本聲明的法律責(zé)任由本人承擔(dān)。關(guān)于學(xué)位論文使用授權(quán)的聲明本人完全了解山東大學(xué)有關(guān)保留、使用學(xué)位論文的規(guī)定，同意學(xué)校保留或向國家有關(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)山東大學(xué)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、縮印或其他復(fù)制手段保存論文和匯編本學(xué)位論文。保密論文在解密后應(yīng)遵守此規(guī)定論文作者簽名刪導(dǎo)師簽冬上薊蘭芻日期型蘭

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簡(jiǎn)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(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。作者簽名日期2010年4月28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(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L、保密口，在年解密后適用本授權(quán)書。2、不保密√口。請(qǐng)?jiān)谝陨舷鄳?yīng)方框內(nèi)打“√”篡主戮，導(dǎo)師簽名乏薌BT膨日期2010年日期矽卜年4月28日6月P日摘要“觀看一代替“閱讀”已經(jīng)成為現(xiàn)代人無法回避的信息接收方式。每天媒體拋出的大量視覺產(chǎn)品，加之整個(gè)社會(huì)對(duì)于速度的強(qiáng)調(diào)，使人對(duì)于“看”的感受日漸麻木。面對(duì)不斷翻新的熱點(diǎn)現(xiàn)象，大眾只有瀏覽沒有思索，只有接受沒有質(zhì)疑，只有當(dāng)下沒有歷史，只有新聞沒有記憶，只會(huì)關(guān)注流動(dòng)的現(xiàn)象而無意于持續(xù)恒定的主體，這造就了當(dāng)代生活最深刻的媒體化現(xiàn)實(shí)。對(duì)媒體化現(xiàn)實(shí)的思考，也成為藝術(shù)家創(chuàng)作觀念的要素之一。媒體化現(xiàn)實(shí)必然導(dǎo)致新的影像文化地出現(xiàn)，媒體影像作為媒體化現(xiàn)實(shí)最直接的體現(xiàn)，直接影響著現(xiàn)代人的認(rèn)知心理。藝術(shù)家針對(duì)媒體化現(xiàn)實(shí)所引發(fā)的問題，試圖在繪畫觀念上給出啟示。本文圍繞二十世紀(jì)六十年代一批藝術(shù)家展開分析，對(duì)該時(shí)期藝術(shù)家創(chuàng)作觀念的成因、所針對(duì)的問題以及作品的意義進(jìn)行理論性地梳理。同時(shí)，旨在通過分析這批藝術(shù)家的觀念，獲得理解當(dāng)代媒體化現(xiàn)實(shí)的啟示性意義。本文將從社會(huì)學(xué)和圖像學(xué)兩個(gè)方面展開論述，利用已有傳媒領(lǐng)域的研究成果，發(fā)掘藝術(shù)家在現(xiàn)代傳媒化生活背后的創(chuàng)作動(dòng)機(jī)，揭示他們是如何在不同方面定義繪畫和傳媒“真實(shí)性“的本質(zhì)，如何以傳媒的方式反思傳媒，重新框定社會(huì)歷史。文章的創(chuàng)新點(diǎn)在于，通過對(duì)傳媒現(xiàn)實(shí)的論述，以及對(duì)藝術(shù)家個(gè)案的分析，加深對(duì)藝術(shù)家作品觀念的細(xì)節(jié)性理解，明確藝術(shù)家創(chuàng)作的針對(duì)性問題，同時(shí)，對(duì)理解建立在傳媒影像基礎(chǔ)上的繪畫實(shí)踐，具有啟示性意義，為繪畫參與現(xiàn)實(shí)的可能性找到依據(jù)。關(guān)鍵詞媒體化、媒體化現(xiàn)實(shí)、媒體崇拜、影像文化、繪畫

簡(jiǎn)介：遼寧師范大學(xué)碩士學(xué)位論文康定斯基和蒙得里安的抽象藝術(shù)及其對(duì)具象繪畫的啟示姓名杜洋申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師林曰惠20090401SUMMARYABSTRACTSTUDYOFTHEFUNDAMENTALSIGNIFICANCEOFPAINTINGISTHROUGHTHISUNIQUEARTMOVEMENT，THOUGHTANDIDEASSORTOUTTHEBASICCONTEXTTOSTUDYTHETHEORYANDPRACTICEINTWOLEVELSINPROMOTINGTHETRANSITIONTOAMODERNWESTERNARTHASAGREATVALUE，SOTHATITCANFORTODAY’SCONSTRUCTIONOFCONTEMPORARYCULTUREANDTHEARTSTOPROVIDEPRACTICALEXPERIENCEANDUSEFULLESSONSAMONGTHEM，THEHISTORICCHARACTEROFTHEROLEANDSIGNIFICANCEOFTHESTUDYWASREADANDEXPLAINTHEMODERNARTOFTHEPROBLEMCANNOTBEAVOIDEDABSTRACTARTINTHEWORLDTODAYSTILLOCCUPIESANIMPORTANTPOSITIONINPAINTING，ABSTRACTPAINTINGANDEXCLUSION、IMITATIONOFNATURALREPRODUCTIONITSUSEOFABSTRACTELEMENTSTOEXPRESSTHEFEELINGSOFTHEARTISTSSOULABSTRACTPAINTING，THEREARETWOMAINSYSTEMS，THEFIRSTSYSTEMISBASEDONKANDINSKYWASSILYKANDINSKY，REPRESENTEDBYTHEABSTRACTEXPRESSIONISM，ANDTHESECONDISDEVELOPEDINTHENETHERLANDSTOMONDRIANPIETMONDRIANTEPRESENTTHEGEOMETRYCONSTRUCTIVIST，INTHISPAPER，STUDYKANDINSKYANDMONDRIANCOMPARISONOFTHERELATIONSHIPBETWEENABSTRACTARTTOABSTRACTANDDEALWITHTHEINTEGRATEDVALUEFROMTHEHISTORICALBACKGROUNDOFPHILOSOPHYRELIGIOUSPOINTOFVIEWTOANALYZETHEEMERGENCEOFABSTRACTARTANDABSTRACTARTSTYLEOFTHETWOCHARACTERISTICS，ANDFROMTHEPERSPECTIVEOFTHECHANGINGSTYLEOFABSTRACTARTTOGRASPTHEDIFFERENCEBETWEENTHETWOFROMTHEPAINTING’SBASICELEMENTSPOINT，LINE，SURFACE，COLORANDMUSICOFTHEPICTUREBOTHINTERMSOFABSTRACTARTFORFURTHEREXPLORATIONFROMANAESTHETICPOINTOFVIEWOFTHEVALUEOFABSTRACTPAINTING，ANDKANDINSKYANDMONDRIANINTHEARTTOMAKEATHEORETICALCONTRIBUTIONSLIGHTLYLIGHTON，ANDLIKETOINTRODUCETHEFIELDOFPAINTINGTOEXPLOREABSTRACTARTTOFIGURATIVEPAINTINGANDITSIMPACTONTHEIMPACTOFAPAINTINGASBYTHESIGNIFICANCEOFTHEUSEOFSOCIALANDHISTORICALANALYSISAND1ITERATURESTUDY，STYLISTICSDEPTHSTUDYOFRESEARCHMETHODS，SUCHASKANDINSKYANDMONDRIAN’SABSTRACTPAINTINGPRACTICEANDTHEORYOFWRITING，THEABSTRACTPAINTINGFROMTHECARDINGOFTHEINHERENTLOGICTHINKINGTHROUGHTHEANALYSISANDINTERPRETATIONOFABSTRACTPAINTINGFOCUSEDONTHECONTENTANDMEANING，AFFIRMEDKANDINSKYANDMONDRIANPAINTINGARTTHEORYANDPRACTICEOFMODERNARTINTRANSITIONPLAYINGANIMPORTANTROLEINMODERNARTANDFAR’REACHINGIMPLICATIONSTHEPAPERWILLKANDINSKYANDMONDRIAN’SART，1IKEPAINTINGWITHIDEASAND1INKEDTOITAREDISCUSSEDWITHACADEMICLOOKINGANDPAINTINGTODAY，ASCONSTRUCTIONOFMEANINGANDINSPIRATIONTETURNTOTHECORRECTVIEWOFHISTORY，WITHAFOCUSONTHEFUTURENEWACADEMICPERSPECTIVETHEREFORE，THISARTICLEFOCUSESONKANDINSKYANDMONDRIANCOMDREHENSIVESTUDYDONEOFTHEPAINTINGANDITSCONTEMPORARYCULTURALSIGNIFICANCEWITHTHEDEPTHOFTHINKING，SOTHATTHISPAPERHASAREALISTICANDINNOVATIREKEYWORDSKANDINSKYMONDRIANABSTRACTARTFIGURATIVEART

簡(jiǎn)介：華中師范大學(xué)碩士學(xué)位論文數(shù)字繪畫的特點(diǎn)及創(chuàng)作特征姓名曹先兵申請(qǐng)學(xué)位級(jí)別碩士專業(yè)視覺傳達(dá)設(shè)計(jì)指導(dǎo)教師辛藝華20080501ABSTRACTAL旺10U曲SCIENCEANDTECLLLLOLOGYAILD也EARTSISTOUNDERS鋤D齜W硼D。S咖DI舒玎ENTWAYS，BUTMEARTANDSCI鯽LCEA工LDTEC_HNOLOGYM曲LALPENETRATIONM也EWAYOFTHINMGAILDCREATIVEPROCESSCOMPIUTERDIG眥TECLLILOLOGYT0耐IL仃ATEBT0位COMMUNI母IILEVE巧FIELDSIMILDY，THEARTSBYMEIRNPACTOFD適ITALTECTMOLOGYINEVI協(xié)LEARTDIGITALTECHNOLOGY訪T11EFIELDOFAPPLICATIONOFABROADERUP鏟ADEOFTLLEANPERFBMAILCEDIGITALTECLLILOLOGYFORNLEDEVELOPMENTOF枷STICCREATIONHASPROVIDEDNEWMEALLSANDPOTENTIAL觚ANDDIGITALTCCHNOLOGYISACOMBINATIONOFHUMANITIESAILDSOCIALLSCIENCESARLDNATLLRALSCIENCES，INESSENCE，吐LECOMBILLATIONDIGITALARTCOMPUTERTECLLILOLOGYANDN咖ORKTECHN0109Y’ITISHUMANRATIONAL吐LINLINGAND礬STICINSPI礎(chǔ)ONFORA11IGLLDEGREEOFINTE黟ATIONOFANEWCOMPREHENSIVEARCF0咖DI咖IPA缸INGISSUBJECTT0AN啪BEROF緘CLASSESWITLLMERAPIDDEVELOPMENTOFSCIENCEA11DTECHNOLO烈MOD咖MEDIAIILCHANGINGMENAN鵬OF恤橢OFPAINTILLGAILDPAINTINGARTPRODU嘶0NMEMODS，ITISALSOCHAILGMGTHEVERYBASISOFTLLEPAINTINGDIGITAJPA婦I119HASITSOWN婦TERISTICS，ANDIN也ECREATION0F怕DITIONALPAINTIILGALSOHASASUCCESSIONOFREL蕊ONS1HSISDUETOITSO啪CREATIVETOOLST0讓圮CH磁蛾ERISTICSOFTLLESEMLLISCOMML】NJCATION；INTERACTIVE，CREATIVEEXP嘶ENCE強(qiáng)DPSYCHOLOGICALN塒LETVALUEOFAIIL蟠【VEDI疏RENTCHARACTERISTICSNE昀DITIONAL礬OFPAINTINGHAVEPROFOUILDCULTU】融BA出GROUNDA11D11ISTORICALORIGINSANDDISSEMINATIONOFA翠EATANISTICCHA肌W色FULLY蚰DERS協(xié)NDTLLECHARACTERISTICSOFD磷TALP豳TING，仃ADITIONALPAINTIILGANDCORRECTLYHANDLETHEDIN宅RENCESANDLIIL|笛THROU曲THESE艄OAITFO肌SIILV撕OUSASPECTS，SON域WEUNDERS詡M廿1ETWODI彘FE】毗F10MLSOFARTAND也ECH啦NOF舭IRO姍MODEMTECHNOLOGYANDANISTSTOCREATE恤PE彘CTCOMBINATIO瑪AILDHAVECREATED毗HANISTICINNUENCEANDVITAL時(shí)OF也EWOFKSNISARTICLEDISCUSSES血EDIGITALIMAGECONTENTINT量1EDIGITALPAINTINGANDITSCREATIVEFCATURESNESEFEATURESHE】P廿1E棚STSIILME仃ADITIONALPAINTINGAILDDIGITALPAINTING枷STS塒1LBEABLET0CLEARLYUILDERSTALLDTLLEIRPOSITIONANDCONTIILUET0啦墩OFPA缸ING也EFUTNRE鋤DCREATEMOREANDBE釷ERWOFKSREADSASFOLLOWSCHAPTER1IN噸MLCEDANUMBEROFPAINTINGSANDCHAM啦RISTICSOF出E南RMATIONOF也ESECONDCH印TERDISCUSSES

簡(jiǎn)介：CLASSIFIEDINDEXJ222UDC75SECRECYRATEUNIVERSITYCODEHEBEIUNIVERSITYOFSCIENCEANDTECHNOLOGYDISSERTATIONFORTHEMASTERDEGREEPUBFICIZED10082THEEXPRESSIONOFCLABORATESTYLEPAINTINGCANDIDATESUPERVISORBUSINESSMENTORACADEMICDEGREEAPPLIEDFORSPECIALITYEMPLOYERDATEOFORALEXAMINATIONZHANGWEIXIAOA．P．WANGFANGWANGLIMINGFIRSTCLASSARTISTMASTEROFARTARTACADEMYOFARTJUNE，2016摘要摘要中國傳統(tǒng)工筆繪畫的寫意性來源于中國傳統(tǒng)文化中儒道釋的哲學(xué)思想，尤其是道家“天人合一”的哲學(xué)思想對(duì)中國的繪畫影響最大，奠定了中國繪畫中所特有“寫意精神”的基調(diào)。中國傳統(tǒng)繪畫所蘊(yùn)蘊(yùn)含的“寫意性’’并非僅限于一般意義上的寫意水墨畫，包括工筆畫，它已經(jīng)融入中國的繪畫傳統(tǒng)，成為繪畫觀念中的固有意識(shí)。工筆畫與水墨寫意畫并非兩個(gè)相對(duì)的體系，它們兩者的邊界在一定程度上逐漸隱退，模糊化。在本質(zhì)上，“意”是“工筆”和“意筆”共同的追求。當(dāng)今，中國工筆畫的發(fā)展脈絡(luò)，正在經(jīng)歷著在中西方融合與重構(gòu)的過程，并在努力尋求自身的立足點(diǎn)。在這樣的格局中，“寫意精神’’成為構(gòu)建當(dāng)代工筆畫的現(xiàn)代形態(tài)的關(guān)鍵因素之一。本文通過對(duì)中國傳統(tǒng)工筆畫中“寫意精神”的分析，包括對(duì)工筆畫的構(gòu)成要素線條及線條的“意蘊(yùn)”的闡述和對(duì)色彩的意向性的探討，以及對(duì)工筆畫發(fā)展脈絡(luò)的梳理和分析，論述了在中西融合的時(shí)代背景下，當(dāng)代工筆畫繼續(xù)保持作為其繪畫本體的寫意性表達(dá)的重要性。關(guān)鍵詞工筆畫寫意性；意蘊(yùn)

簡(jiǎn)介：STUDYONBALTHUS1ANDSCAPEPAINTINGSTYLE一一一一，ADISSERTATIONSUBMITTEDTOTHEGRADUATESCHOOLOFHENANNORMALUNIVERSITYINPARTIALFULFILLMENTOFTHEREQUIREMENTSFORTHEDEGREEOFMASTEROFARTSBYSUPERVISORPROF．LIXINSHENGMARCH，2016ABSTRACTWHENWEMARVELEDATTHEWESTA“NCULTUREIMPACTONCHINESETRADITIONALCULTURE，INFACT，TRACEDBACKTHOUSANDSOFYEARS，CHINESEALSOGRADUALLYINTOTHEWESTERNCULTURE．ESPECIALLYINMODERNTIMES，THEEASTERNARTREPRESENTEDBYCHINESE咂HASBGOOMEMOL℃ANDMOREUNDERSTOODBYTHEWESTERNWORLD,ANDTHESPIRITOFCHINESEARTWITHUNIQUECULTURALCONNOTATIONHASGRADUALLYBEGUNTOHAVETHEMEANINGOFTHEWORLD．CHINAISACULTURALCOUNTRYWHICHHASAPROFOUNDCULTURALHERITAGE,CHINESEANDWESTERNARTINTEGRATIONISNOTONLYINTHEFORMOFASIMPLECOMBINATIONOFEXPRESSION，BUTALSOMOREIMPORTANTISTHEBLENDINGOFTHESPIFITOFPAINTING．BALTHUSISONEOFTHEGREATPAINTERSOFTHETWENTIETHCENTURY,HISFIGURATIVEARTISUNIQUEINTHEWORLDPAINTING．HISPAINTINGSNOTONLYINHERITTHETRADITIONOFWESTERNARTSKILLSANDLIFETIMELOVEOFORIENTALART，PAINTINGINARTASSOMETHINGCOMMONTONOURISH．THROUGHTHESTUDYOFBALTHUS’LANDSCAPEPAINTING，WECANEXPLORETHEFUSIONOFBALTHUS’LANDSCAPEPAINTINGOFWESTERNAESTHETICIDEOLOGYANDCHINESETRADITIONALAESTHETICCHARACTERISTICS．BALTHUS’LANDSCAPEPAINTINGUSINGWESTERNOILPAINTINGTECHNIQUES，INTHEWESTERNOUTSTANDINGTRADITIONARTINHERITANCE，ISCOMMITTEDTOTHEINTEGRATIONOFEASTERNANDWESTERNPAINTING，TOEXPRESSTHEFEELINGSOFTHEEASTTOFORMVIVID，BORROWREALDESCRIPTIONISASTATEOFMIND，MEANINGOFTENINVOICEOVER,THOUGHT‘PROVOKING，INTHEFIELDOFWESTERNLANDSCAPEPAINTING．BALTHUSABSORPTIONEASTERNANDWESTERN’SDIFFERENTARTFACTORSANDUNDERSTANDING，THENCREATETHEMINHISOWNWAY,EVENTUALLYBECOMEHISUNIQUEARTISTICSTYLE．BALTHUSCONSTANTLYEXPLORESTHE”TRUTH”O(jiān)FTHEART，ANDINSISTSONHISOWNWAYTOMAKEHISAHMOREANDMOREDEEPANDFIRM，F(xiàn)INALLYHAVEAPROFOUNDMEANING．KEYWORDSBALTHUS，ANDSEAPEPAINTING，STYLE，F(xiàn)USEILL

簡(jiǎn)介：大連理工大學(xué)碩士學(xué)位論文繪畫模糊性語言分析姓名王利申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師王琪20090601繪畫模糊性語言分析THEANALYSISOFFUZZYLANGUAGEINDRAWINGABSTRACT111EPROPOSEDFUZZYTHEORYSOLVESADEALOFPROBLEMSINSCIENCE，LITERATUREANDPSYCHICS，ANDALSOTHEWIDELYUSEOFTHETHEORYCATCHESMOREANDMOREATTENTIONOFARTISTSITCOULDBEUSEDTOSETTLETHEPROBLEMOFWHICHTHERELATIONSHIPBETWEEN‘PSYCHOLOGICALEFFECT’AND‘VISUALPHENOMENON’DUDNGARTISTICCREATIONHOWEVERITALSOARISESMANYPROBLEMSFIRSTLYALOTOFINLANDARTISTSCONSIDER“FUZZINESS”邪ACREATINGSTYLE，WHICHISAMISUNDERSTANDINGSECONDLYTHROUGHREFERENCESITISFOUNDTHATTHESTUDYOF“FUZZINESS”INDRAWINGISLIMITEDTOONLYTWOASPECTSFUZZINESSINCOGNITIONANDEMOTIONBUTFORTHEEMERGENCEANDDEVELOPMENTOFFUZZYPAINTINGANDWHATISFUZZYPAINTINGASWELLASWHATCAUSEDTHEEVOLUTIONOFDRAWINGFROMCLEARTOFUZZYINVOLVESLITTLESTUDYINORDERTOSOLVEPROBLEMSMENTIONEDABOVETHEPAPERSTUDIESAROUNDTHETWOPARTSBELOWFIRSTLY，COMBININGTHEFEATURESOFTRADITIONALCHINESEPAINTINGREALISTICPAINTINGDURINGRENAISSANCEPERIODANDIMPRESSIONISTPAIMINGS，ITISPROPOSEDTHATTHEREAREFUZZYELEMENTSINEVENACCURATEIMAGESOFPAINTINGSTHISISPRECISELYTHEPOINTOFTHEPAPERSECONDLYITISPOINTEDOUTTHATFUZZINESSISNOTTHESTANDARDTODISTINGUISHCONCRETEANDABSTRACTPAINTINGS，ITISACOMPREHENSIVEFACTORINDRAWING，ANDITISBASEDONTHECAUSALRELATIONSHIPBETWEENTHE‘‘FUZZYPSYCHOLOGICALEFFECT’’AND‘‘FUZZYIMAGEOFPICTURE”，ANDALSOITISFOCUSEDONTHEPOINTTHATANYOUTSTANDINGPAINTINGSAREASSOCIATEDWITHFUZZINESSCLOSELYWITHTYPICALEXAMPLESANDCOMPARISON，ITISSPECIFIEDTHATCORRECTUNDERSTANDINGANDREASONABLEUSEOF“FUZZINESS”HAVEGREATSIGNIFICANCEINPROMOTINGTHEARTISTICEXPRESSIONTHEPAPEROPENSWITHTHE“FUZZINESSOFPICTUREIMAGE”，ANDTHENITISEXPLAINEDTHEEMBODIMENTOFFUZZINESSASEXPRESSIONANDANALYZEDTHEREASONSRESULTINGFUZZYIMAGEDURINGTHEEXPLANATIONITISDISCUSSEDWHETHERFUZZINESSEXISTSINPERCEPTIONOFIMAGEBEYONDVISUALS，ANDEMPHASIZEDTHATFUZZINESSCOULDNOTBEVOIDEDINTHEPROGRESSOFARTCREATIVITY嬲THERESULTOFINFLUENCEFROMSOCIALENVIRONMENTOFCOMPLEXITYANDVARIABILITY，ANDTHISISRELATEDTOTHEPSYCHOLOGICALEFFECTOFFUZZINESSTHUS，ASTOTHEFUZZYDRAWINGITISNOTONLYREFERRINGTOTHEEXPRESSION，BUTALSOTHERESULTOFMULTIPLEVARIABLESAFTERITISADMITTED，WECALLUNDERSTANDTHEINTERACTIVERELATIONSHIPBETWEENARTISTANDWORK，ALSOITISHELPFULTOUNDERSTANDTHEINHERENTLAWSOFEVOLUTIONFROMTHERENAISSANCETOMODEM‘PUREVISUAL”STYLEFINALLYITISPROPOSEDTHATFUZZYPAINTINGLANGUAGEEXISTSTHROUGHOUTTHEDRAWINGCREATIVITYBECAUSEOFITSUNIVERSALITY

簡(jiǎn)介：浙江理工大學(xué)碩士學(xué)位論文論繪畫中的“兒童畫”情結(jié)姓名蘇紅申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師劉孟20091130浙江理工人學(xué)碩上學(xué)位論文本章的研究中涉及藝術(shù)家個(gè)人對(duì)章趣風(fēng)格及其形式的喜好，這與藝術(shù)家獨(dú)特的童趣化審美情感和章年經(jīng)驗(yàn)相關(guān)。此外，藝術(shù)家在其藝術(shù)創(chuàng)造中表現(xiàn)出的童心精神和心理模式，源于人的無意識(shí)思維，文中借助弗洛伊德以及榮格的相關(guān)理論進(jìn)行深入探索，這同時(shí)也是本研究的難點(diǎn)和新視點(diǎn)。第三章“兒童畫與一般繪畫視角上的異同“，這一章借助視知覺和心理學(xué)的常識(shí)，分析兒童和成人視角的差異。研究發(fā)現(xiàn)，兒童和藝術(shù)大師有著共性，他們的藝術(shù)創(chuàng)作在情感表現(xiàn)形式上屬于“異質(zhì)同構(gòu)”?！爱愘|(zhì)同構(gòu)”本來是格式塔心理學(xué)上的觀點(diǎn)，本課題結(jié)合該理論的研究成果，嘗試從二者藝術(shù)創(chuàng)作情感表現(xiàn)的相似性方面進(jìn)行新的探索。同時(shí)我們看到，二者藝術(shù)的相似性還表現(xiàn)在，藝術(shù)大師對(duì)兒童畫的造型和色彩的借鑒兩個(gè)方面。第四章“童趣藝術(shù)大師們的偏愛“，這是依據(jù)藝術(shù)大師的作品進(jìn)行具體論證的章節(jié)，研究中選取國內(nèi)外在章趣繪畫方面有典型風(fēng)格特征的著名畫家及其作品進(jìn)行分析。研究中主要涉及亨利盧梭、米羅、夏加爾、克利、豐子愷、齊白石等幾位大藝術(shù)家。通過研究證實(shí)，繪畫中的童趣現(xiàn)象并非是一個(gè)偶然的特殊現(xiàn)象，國內(nèi)外眾多藝術(shù)家的作品中都不同程度的存在章趣風(fēng)格，因此，許多藝術(shù)大師的內(nèi)心中都伴有“兒童畫”的情結(jié)。第五章“童趣繪畫的意義”，兒童畫對(duì)畫家自身心理和繪畫風(fēng)格上有重要啟示，對(duì)審美教育、審美應(yīng)用有重要影響，而“精神慰藉性“則是章趣繪畫的一種特殊心理表現(xiàn)。最后是本課題結(jié)語，童趣現(xiàn)象是一種對(duì)人性的回復(fù)，章趣繪畫是“復(fù)歸與嬰”的藝術(shù)。關(guān)鍵詞童趣繪畫兒童畫情結(jié)探索藝術(shù)大師2

簡(jiǎn)介：分類號(hào)J2J2密級(jí)級(jí)公開公開論文編號(hào)論文編號(hào)Z14009Z14009學(xué)號(hào)20142014120009120009碩士學(xué)位論文碩士學(xué)位論文淺析里希特圖像繪畫方法論對(duì)中國當(dāng)代繪畫的啟示研究生劉金龍劉金龍指導(dǎo)教師師李強(qiáng)李強(qiáng)教授教授一級(jí)學(xué)科科美術(shù)美術(shù)研究方向向當(dāng)代繪畫研究當(dāng)代繪畫研究論文完成時(shí)間論文完成時(shí)間20201717年2月23日論文答辯日期論文答辯日期20201717年6月6日學(xué)位論文原學(xué)位論文原創(chuàng)性聲明創(chuàng)性聲明本人鄭重聲明所呈交的學(xué)位論文淺析里希特圖像繪畫方法論對(duì)中國當(dāng)代繪畫的啟示是本人在導(dǎo)師指導(dǎo)下進(jìn)行的研究工作及取得的研究成果。除了文中特別加以標(biāo)注和致謝的地方外，本論文中不包含其他個(gè)人或集體已經(jīng)發(fā)表或撰寫過的研究成果，也不包含為獲得四川美術(shù)學(xué)院川美術(shù)學(xué)院或其他教育機(jī)構(gòu)的學(xué)位或證書而使用過的成果。與我一同工作的同志對(duì)本研究所做的任何貢獻(xiàn)均已在文中作了明確的標(biāo)識(shí)并表示謝意。本人完全意識(shí)到本聲明的法律后果由本人承擔(dān)。作者簽名日期年月日學(xué)位論文版權(quán)使用授權(quán)書學(xué)位論文版權(quán)使用授權(quán)書本學(xué)位論文淺析里希特圖像繪畫方法論對(duì)中國當(dāng)代繪畫的啟示作者完全了解四川美術(shù)學(xué)院四川美術(shù)學(xué)院有關(guān)保留、使用學(xué)位論文的規(guī)定，四川美術(shù)學(xué)院有權(quán)保留并向國家有關(guān)部門或機(jī)構(gòu)送交本學(xué)位論文的復(fù)印件和電子版，允許本學(xué)位論文被查閱和借閱。本人授權(quán)四川美術(shù)四川美術(shù)學(xué)院學(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、匯編本學(xué)位論文，可以通過網(wǎng)絡(luò)向社會(huì)公眾提供信息服務(wù)。學(xué)位論文作者簽名日期年月日導(dǎo)師簽名日期年月日

簡(jiǎn)介：隨著經(jīng)濟(jì)的發(fā)展和多元文化的融合，人們對(duì)服裝設(shè)計(jì)的關(guān)注度大大提高，對(duì)著裝品位和審美價(jià)值也日趨個(gè)性化，視覺上的愉悅是消費(fèi)者和設(shè)計(jì)師共同追求的，因此服裝設(shè)計(jì)也走上了多元化的道路，從其他藝術(shù)門類中尋求靈感已成為了新的設(shè)計(jì)思路。而抽象繪畫藝術(shù)本身具有的形象的不可辨識(shí)性、形色的自由與和諧的特點(diǎn)，以及抽象繪畫所追求的情感的表達(dá)和新的美感形式，都能為服裝設(shè)計(jì)帶來新的啟示。探求抽象繪畫在服裝設(shè)計(jì)中的應(yīng)用是時(shí)尚流行的趨勢(shì)，有助于引發(fā)我們對(duì)藝術(shù)的關(guān)注，從而啟發(fā)我們的設(shè)計(jì)思維。本文從抽象繪畫的形成及發(fā)展著手，分析了抽象繪畫的觀念及特點(diǎn)。闡述了抽象繪畫與服裝設(shè)計(jì)之間的關(guān)系、抽象繪畫在服裝設(shè)計(jì)中應(yīng)用發(fā)展的外部條件，通過對(duì)抽象繪畫在服裝設(shè)計(jì)中圖案、色彩、構(gòu)成中的表達(dá)方法進(jìn)行分析，結(jié)合服裝的面料、工藝等進(jìn)行創(chuàng)新設(shè)計(jì)研究。把抽象繪畫的抽象美感以服裝為媒介，并結(jié)合當(dāng)今人們的審美形式，總結(jié)出在服裝設(shè)計(jì)中應(yīng)用的形式、方法。

簡(jiǎn)介：林風(fēng)眠先生、關(guān)良先生、丁立人先生，他們從小受中國傳統(tǒng)文化的教育，年少時(shí)學(xué)習(xí)西方繪畫，青年時(shí)期又轉(zhuǎn)向水墨畫的創(chuàng)作，主張不同的藝術(shù)之間要“融合”，真正新穎的藝術(shù)品種的誕生很難。他們?nèi)私?jīng)過畢生的努力與辛勤的創(chuàng)作孕育出適合表達(dá)自我感受的藝術(shù)形式彩墨畫就是誕生的藝術(shù)新品種?；诎严嗨频漠嫾曳旁谝黄鹱鞅容^研究會(huì)更加直觀，從繪畫的角度研究作品本身傳達(dá)的信息，來探索三位畫家在現(xiàn)代革新中國畫的實(shí)踐中創(chuàng)造性的勞動(dòng)及其根源所在。本文從他們的經(jīng)歷開始，然后分析他們各自的繪畫風(fēng)椿，林風(fēng)眠從1、靜物畫方圓相生、剛?cè)嵯酀?jì)的構(gòu)圖思想2、簡(jiǎn)化的力度與色彩的豐富3、明暗與藏露的渲染手法4、技術(shù)與藝術(shù)5、造型與線條這幾點(diǎn)來解析他的特點(diǎn)。關(guān)良的風(fēng)格1、人物畫造型簡(jiǎn)練概括與充滿童趣的變形。2、筆墨運(yùn)用突破傳統(tǒng)方法，用色鮮明3、繪畫構(gòu)思的巧妙與構(gòu)圖的獨(dú)特4、學(xué)養(yǎng)豐厚，融合借鑒，轉(zhuǎn)化吸收。丁立人有他的特點(diǎn)1、隨性地表達(dá)，自由的境界2超凡的想象力、獨(dú)特的感受力和不同尋常的洞察力。然后找出差別所在。林風(fēng)眠、關(guān)良、丁立人繪畫風(fēng)格相同之處在于1、對(duì)本土文化的吸收，對(duì)西方藝術(shù)的借鑒，相同的藝術(shù)主張。2、民間藝術(shù)的影響3、創(chuàng)彩墨畫4、戲曲人物畫

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簡(jiǎn)介：學(xué)位論文獨(dú)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)師指導(dǎo)下進(jìn)行的研究工作和取得的研究成果。本論文中除引文外，所有實(shí)驗(yàn)、數(shù)據(jù)和有關(guān)材料均是真實(shí)的。本論文中除引文和致謝的內(nèi)容外，不包含其他人或其它機(jī)構(gòu)已經(jīng)發(fā)表或撰寫過的研究成果。其他同志對(duì)本研究所做的貢獻(xiàn)均已在論文中作了聲明并表示了謝意。學(xué)位論文作者簽名洶．日期陽，叩每∥叼奶學(xué)位論文使用授權(quán)聲明研究生在校攻讀學(xué)位期間論文工作的知識(shí)產(chǎn)權(quán)單位屬南京師范大學(xué)。學(xué)校有權(quán)保存本學(xué)位論文的電子和紙質(zhì)文檔，可以借閱或上網(wǎng)公布本學(xué)位論文的部分或全部?jī)?nèi)容，可以采用影印、復(fù)印等手段保存、匯編本學(xué)位論文。學(xué)?？梢韵驀矣嘘P(guān)機(jī)關(guān)或機(jī)構(gòu)送交論文的電子和紙質(zhì)文檔，允許論文被查閱和借閱。保密論文在解密后遵守此規(guī)定保密論文注釋本學(xué)位論文屬于保密論文，保密期限為年。學(xué)位論文作者簽名愀指導(dǎo)教師簽名日期砌，咖阿，歹，O日期刀7崎J閂帥、ABSTRACTABSTRACTMODEMANDCONTEMPORARYARTEMPHASIZETHEARTIST’SMOMENTARYSENSITIVITY，ANDTHEYRECKONTHATARTWORKSCANCAUSEAESTHETICEMOTIONWHICHDOESNOTDEPENDONRATIONALJUDGMENT；ITISRATHERANAPPRECIATIONOFITSFORM．THERELATIONSHIPSBETWEENLINES，VOLUME，SPACEANDCOLOR,DECIDETHEFORMANDTHEEXPRESSIVENESSOFTHEPICTURE．ALLTHOSECOINCIDEWITHMANYARTISTICFEATURESINTHECHILDREN’SPAINTINGS．BASEDOILTHECOMPARISONANDTHEANALYSISOFTHECHILDREN’SPAINTINGSANDMODEMARTISTS’PAINTINGS，THISESSAYDISCUSSESANDEXAMINESTHISARTISTICEXPRESSIONINTHEFORMOFORIGINALITYANDPURITY,INORDERTOGAINSOMENEWVISUALDISCOVERIESINTHEARTWORLD，THEREBYTOPROMOTETHECONTEMPORARYARTISTSTOUPDATETHEARTISTICCONCEPTANDMAINTAINTHEYOUNGSTATEOFTHEART．KEYWORDSCHILDREN。SPAINTINGS；SENSITIVITY；FORM；FREEDOM；PRIMITIVENESSII