簡(jiǎn)介：內(nèi)蒙古師范大學(xué)碩士學(xué)位論文丹青大漠、魂落草原包世學(xué)先生繪畫創(chuàng)作解讀姓名格日樂圖申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師張峻德20070605ABSTRACTMRBAOSHIXUEWASDEVOTEDTOARTHALFACENTURYAGOHEGRADUATEDFROMTHEARTDEPARTMENTOFINNERMONGOLIANORMALUNIVERSITYIN1950S，ANDBEGANTOWORKINTHEGREATGRASSLANDOFXILINGUOLEIN1960S，HEAROUSEDGREATATTENTIONOFANFIELDINCHINAWITHTHEWORKSOF“SPRINGOFGRASSLAND““COMINGFROMBEIJING’INHISLONGCAREEROFTARYYEARS，HEINFLUENCEDGENERATIONSOFPEOPLEWITHHISINDIVIDUALSTYLEOFBRUSHWORKTHISARTICLETRIESTOANALYZEBAO’SCAREERINTHREEASPECTSFIRSTLYTRACINGTHEDEVELOPMENTOFHISARTISTICSTYLESECONDLYTHEINFLUENCEOFBAN’SEXPRESSIONONARTCIRCLESININNERMONGOLIATHIRDLYDECODINGTHESTRUCTUREOFHISPAINTINGKEYWORDSBAO’SINDIVIDUALSTYLEOFBRUSHWORKARTISTICSTYLE，INFLUENCE，TRUCTUREOFPAINTINGS

簡(jiǎn)介：馨艿，『2OFI、R801201F901720學(xué)校代6日10209一～～～分類號(hào)J206研究生學(xué)號(hào)2002014密級(jí)去批蓼彬垮院JILINCOLLEGEOFTHEARTS碩士學(xué)位論文MASTERDEGREETHESIS對(duì)繪畫造型幾個(gè)觀念問題的研究作者邰浩然指導(dǎo)教9幣任傳文教授學(xué)科專業(yè)美術(shù)學(xué)研完方向造型基礎(chǔ)研究吉林藝術(shù)學(xué)院學(xué)位評(píng)定委員會(huì)2005年6月翌竺墮絲型些塵翌壘塑璧塑翌塞ABSTRACTDURINGMYGRADUATESTUDY，1FELTTHEBIGCHARMOFPAINTINGPLASTICARTANDITHASCHANGEDGREATLYINTHEDEVELOPMENTOFMODEMANDCONTEMPORARYARTWHICHRAISEMYBIGINTERESTTOEXPLOREANDUNDERSTANDTHEANTINOMY，DIFFERENCEANDDEVELOPMENT．THEIMPORTANTCONTENTSANDCLUESINEACHCHAPTERARETHEDISAPPEARANCEOFTOPIC，TRACINGOFPAINTING，MEANINGFULFORM，EXPRESSIONOFPAINTINGANDTHEEXPLOSIONTOTHETRUEMEANINGOFART，PAINTINGPLASTICARTISTORESEARCHEXISTENTOBJECTS．THERESEARCHONARTBASEDONTHEMATERIALLAY．IMADETHEFIRSTFOURPARTSAS“THINKINGONSPIRITLAY”，ANDTHELASTTHREEPARTSAS“THINKINGONMATERIALLAY”O(jiān)FPAINTINGPLASTIC．THISPAPEREMPHASIZESONTHEINFLUENCEOFIDEAONART，PAINTINGTHEIDEAISEXTENDINGBYART．ITSINCREDIBLEIFWESEPARATETHESETWO．SOIFEELPAINTINGPLASTICARTISTOEXPRESSWHATTHEARTISTSSEEINMINDANDTHEMEETOFSPIRITANDFEELING，ISNATURALFLOWINGOFLIFETRACEINTHEGREATUNIVERSE，ANDLIFELONGSERLEOFARTIST’SHEARTEXPERIENCE．KEYWORDSFEELINGEXPRESSIONPLASTICTRACING2THEDISAPPEARANCEOFTOPICMEANINGFULFORM

簡(jiǎn)介：南京藝術(shù)學(xué)院碩士學(xué)位論文中國(guó)繪畫批評(píng)在宋代的新發(fā)展姓名李天慈申請(qǐng)學(xué)位級(jí)別碩士專業(yè)藝術(shù)批評(píng)指導(dǎo)教師樊波20080520【ABSTRACTLTHECRITIQUETHEORYOFPAINTINGOFSONGDYNASTYWHETHERITSCOMPLETENESSOFCLASSIFICATION，THEINTACTOFTHESYSTEMORDEEPNESSOFTHEPOINTOFVIEWWHICHCANBERECOGNIZEDASTHEMODELCASEOFTHECRITIQUEHISTORYOFCHINESEPAINTINGTHESONGDYNASTYHADTAKENOVERTHECRITIQUETHEORYOFPAINTINGOFTHESOUTHNORTHDYNASTIESTOSUIANDTANGDYNASTIES，WHICHHADUNIFIEDTOANEWONEANDHADNEWDEVELOPMENTTHEPAINTINGCLASSIFICATIONOFSONGDYNASTYFORMEDTHESITUATIONWITHTHREECONTENDERSWHICHINCLUDEFIGURE，LANDSCAPEANDFLOWERANDBIRD，BECAUSEOFTHETHRIVEOFTHELANDSCAPEANDFLOWERANDBIRDPAINTINGSO，ITGIVESRISETOTHEDEVELOPMENTOFTHEFORMOFTHECRITIQUEOFSONGDYNASTYPAINTINGFROMVALUEJUDGMENTTOCLASSIFICATIONWHILETHECIVILESTEEMEDSOCIETYENVIRONMENTSOFSONGDYNASTYMADEASERIESOFCHANGESOVERTHEAPPRECIATIONOFTHEBEAUTYOFTHEPAINTINGCRITICIZERTHENEWCONFUCIANISMANDZENTHENBECOMETHETWOIMPORTANTTHEORIESOFTHECIRTIQUEOFSONGDYNASTYPAINTINGATTHESAMETIME，TWOARTOPTIONSOFPOETRYEXPRESSANDONE’SINNERTRANQUIFITYSHOWEDCLEARLYINRESPECTOFTHESTANDARDSOFPAINTINGCRITIQUE，THECRITICIZEROFSONGDYNASTYPAINTINGBEGANTOEMPHASIZETHESTANDARDSOF“REAL“，‘‘LEISURE’’AND‘‘PERSONALITY’’TEQUESTANDRULETHEPAINTINGANDCRITICIZEDTHEDISADVANTAGESOFTHEPAINTINGTHESEMADESOMEPROFOUNDINFLUENCESTOTHEWORKSOFTHELATTERPAINTINGSANDTHECRITIQUEOFPAINTINGSTHISTHESISMADEADETAILEDDEMONSTRATIONONTHEABOVMENTIONEDASPECTS，WHICHISHOPETOMAKEADEEPGRASPTOTHECRITIQUEOFPAINTINGSINMORDENTIMES，THROUGHTHEANALYSISANDRESEARCHOFTHECRITIQUETHEORYOFPAINTINGOFSONGDYNASTY【KEYWORDS】THECRITIQUEOFSONGDYNASTYPAINTING，THEFORMOFCRITIQUE，THECRITICIZER，THESTANDARDSOFCRITIQUE，NEWDEVELOPMENT

簡(jiǎn)介：首都師范大學(xué)碩士學(xué)位論文走向自由對(duì)坦培拉繪畫技法形式發(fā)展的思考姓名郝峻嶺申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師劉孔喜20080520ABSTRACTTEMPERAARTISONEVERYIMPORTANTANDFARREACHINGPICTUREKINDOFTRADITIONALPAINTINGFRANKLYOFEOURPE，ITISMATERIALANDSYSTEMOFINDEPENDENTSKILLANDTECHNIQUEWHICHISDIFFERENTFROMGLUEDECORATIVEPAINTING,CANVASANDMODEMPROPYLENETOO．ITPROBABLYEVOLVESFROMBYZANTINEOFTHESIXTHCENTURY，PROBABLYINTHE13THCENTURY，F(xiàn)LORENCEPAINTERCONTRACTHORSE．RIDESTEPANGSTROMPROPAGATESTHISKINDOFSKILLANDTECHNIQUETOITALY．BYRENAISSANCEPERIOD，HASFORMEDANDBANKEDUPAPEAKWHICHDRAWSTHEGRAPHICSARTWITHEARTHFRANKLY,EMERGEFRANCISCA,WAVEWITHDRAW,CUTPROFIT,ETC．TOBENUMEROUSTOBANKUPWITHEARTH,DRAWPAINTINGMASTERFRANKLY．THE15THCENTURYLATER,BECAUSETHECANVASMATERIALISUSEDINDEPENDENTLYGRADUALLY，BANKUPTHELEADINGPOSITIONOFDRAWINGPAINTINGANDWITHDRAWINGFROMTHEPAINTINGCIRCLESWITHEARTHFRANKLY,MOVETOWARDSTHEEDGE．TEMPERAANDDRAWTHEUPSANDDOWNSGONETHROUGHINTHEPAINTINGLONGRIVEROFEUROPEFORMORETHAN1,000YEARSINPAINTINGFRANKLY，DURINGTHISLONGYEARS,BECAUSECHUSUCHASDEVELOPMENT,PROGRESSOFSCIENCEANDTECHNOLOGY，ANDCHANGEOFPEOPLE’SAESTHETICNEEDOFTHETIMESAREMULTIFACTOR,BANKUPWITHEARTH,DRAWPAINRINGSKILLANDTECHNIQUETAKEPLACEHEAVYCHANGEVERY，PAINTINGFORMTENDANDSYNTHESIZEDAYBYDAYFRANKLY，THEPAINTINGMEANSBEGINSPROGRESSIVELYTOBEABUNDANT,PAINTINGDISPLAYSANDEMPHASIZESTHEINDIVIDUALCHARACTERFURTHERTOO．刀豫SECHANGES,ITISCONVENIENTTOBANKUPTHECREATIONWHICHDRAWSPAINTING塒MEARTHFRANKLYGREATLY，LETITMEETTHEDEVELOPMENTOFTHETIMESANDPEOPLE’SDEMANDFURTHER．MAKE，TEMPERA，DRAWPAINTINGTHESEOLDGRAPHICSARTCANCONTINUEPASSINGON,DEVELOPFRANKLY．TOBANKUPWITHEARTH,DRAWPAINTINGSKILLANDTECHNIQUESYSTEMTHISDEVELOPMENTANDDEVELOPMENTCREATE,CARRVONSYSTEMANDOVERALLRESEARCHINPAINTINGFRANKLYTHISTEXT,WHATHASGONEONTOTHISSUBIECTMATTERISEXCAVATEDANDEXPANDEDFURTHEFLYEMPHATICALLY，THUSABUNDANTANDGUIDINGONE’SOWNSPECIALIZEDCREATION．KEYWORDTEMPERASKI11ANDTECHNIQUEDEVELOPMENTFREEDOMDEVE1OPMENTⅢ

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簡(jiǎn)介：V11211070分類弓【J1【二密級(jí)學(xué)號(hào)塑南京藝術(shù)學(xué)院碩士學(xué)位論文論繪畫作品中有意味的“非完整性”研究生姓名張奏雪導(dǎo)師姓名陳世寧教授申請(qǐng)學(xué)位級(jí)別亟學(xué)科專業(yè)名稱差苤堂論文提交日期呈嫂笙壘旦Q旦論文答辯臼期2QQZ生曼且旦學(xué)位授單位直塞莖苤堂醫(yī)學(xué)位授予口期Q生旦旦答辯委員會(huì)主席賞主生麴撞評(píng)閱人選短王隨世塑睦塵童曾蟹強(qiáng)ABSTRACTTHEINTENTINCOMDLETENESSINTHEOILPAINTINGWHICHCREATEDBYARTISTS，BYSTUDYTHEVISUALSURFACETHEREARETHREEFACTORSFIRSTISTHEEXTEMPOREOFTHEARTIST’STREATIVITYMAKETHE“INCO丌1D1ETENESS”ARTWORKSECONDISTHECOMPOSITION’SMOBILITY。INPROPORTIONTOTHERENALSSANCEPERIODCOMPOSITIONISBEENIDENTIFIEDASCLASSICALSTYLEWIDELYUSEDINTIME，SO～CALLED“COMPLETE”COMPOSITIONCOMPAREITCOMPOSITIONWITHTHEMODERNPAINTING’SCOMPOSITIONITEASILYTOSEETHEDIFFERENTCONCEPTCOMPOSITIONSTYLEINBETWEEN，“COMPLETE”AND“INCOMPLETENESS”COMPOSITIONTHIRDISTHECREATINGPROCESSOFAPAINTINGITSELFWHICHGIVESROREVISUALEMOTIONALNEEDTHROUGHTHEABORETHREEDESCRIPTIONS，WEREALIZEHUMANMINDCONCEPTCANBEINFLUENCEDBYSYNTHETICPRINCIPLE，ALTHOUGHTHOUGHLOOKINGAT“INCOMPLETE”ARTWORKACTUALLYIS“COMPLETED”THESEKINDOFARTWORKISMUCHIMPORTANTTODESCRIBETHEINNERFELLINGOFTHEARTIST，THEEARLYSTAGESFREEDMENOFTHEARTCREATIVITYONLYBEENRELEASEDJUSTNOWFROMITVALUEPRINCIPLEKEYWORDSINTENTINCOMPLETENESSCOMPLETENESS；EXTEMPORE；COMPOSITION；PAINTINGPROCESSⅡ

簡(jiǎn)介：杭州師范大學(xué)碩士學(xué)位論文論懷斯寫實(shí)繪畫中的“抽象意味”1碩士學(xué)位論文論文題目論文題目論懷斯寫實(shí)繪畫中的“抽象意味”作者姓名作者姓名陳津津指導(dǎo)教師指導(dǎo)教師黃鳴學(xué)科專業(yè)學(xué)科專業(yè)美術(shù)學(xué)所在學(xué)院所在學(xué)院美術(shù)學(xué)院提交日期提交日期2008年5月31日杭州師范大學(xué)碩士學(xué)位論文論懷斯寫實(shí)繪畫中的“抽象意味”3ABSTRACTABSTRACTANDREWWYETHISONEOFTHEGREATESTAMERICANARTISTOFTHETWENTIETHCENTURYWYETHDESCRIBESNATIVEPEOPLEANDNATURETHINGSINTHEOPENCOUNTRYWHICHAROUNDHIMINAEXQUISITEANDRATIONALWAYOFHISREALISMPEOPLEALSODESCRIBESHEASA“NOSTALGICREALISMARTIST”BECAUSEOFTHISINTHEPAST60YEARS,WYETHPERSISTEDHISREALISMWITHASMALLNUMBEROFREPRESENTATIONALARTISTSPEOPLEALWAYSGETAFEELOFPOETRYANDASENTIMENTALEMOTIONINHISWORKSONCONTRARY,THELONELYARTISTICCONCEPTIONISNOTTHEREALMYTHOFWYETH’SWORKSTHEREAREALSOMANYMEANINGSINHISPAINTINGSTHESYMBOLISMWHICHAROSEPEOPLETOFEELMORETHEPURITYANDORIGINALBEAUTYOFAMERICANLANDSCAPETHEUNDERSTANDINGOFLIFEANDDEATHFORMWYETHTHEFREEANDKIDLIKEIMAGINATIONBUTNOTABSURDTHEPAINTERALSOPUTHISMEMORIESINTOHISUNIQUEARTWORKSTHEWAYWYETH’SARTSTYLEISNONCOMMITTALLY,SO,NOTEVERYONECANUNDERSTANDINGHISARTINADEEPLYANDROUNDLYWAYAMERICANPEOPLEWILLALSOMISUNDERSTANDINGTHEMEANINGSOFHISWORKSTHAT’SLARGELYBECAUSETHECONNOTATIONSOFWYETH’SWORKSAREFORMHISOWNEXPERIENCEANDFEELINGSITISAABSTRACTMEANINGFOROTHERONEWYETH’SWORKSALSOHASDEEPINFLUENCEINCHINAANDITAROSEDCHINESESCHOLARSANDARTISTSTOPAYATTENTIONONHISREALISMPEOPLEALWAYSKEENON“THEFEELOFPOETRY”AND“NOSTALGICREALISM”O(jiān)FHIMTHEREARERAREINVESTIGATORDIVEINTOTHEDISCUSSIONOFTHE“ABSTRACTIMPLICATION”O(jiān)FHISARTWORKSTHEINTENTIONOFMYTHESISISTODISCUSSTHE“ABSTRACTIMPLY”O(jiān)FWYETH’ARTBYANALYSESHISARTWORKSANDTHETHEORYOFABSTRACTIONISTSCHOOLINORDERTOPUTFORWARDSOMEHELPFULSUGGESTIONTHEREAREMAINLYTHREEPARTOFMYACADEMICTHESIS1ANALYSESTHE“ABSTRACTIMPLICATION”INWYETH’SARTWORKINHISEARLYTIME2THOUGHALOTOFTEMPERASANDDRYBRUSHPAINTINGSDREWBYWYETHANDTHETHEORYOFWKANDINSKYONEOFTHEMOSTIMPORTANTABSTRACTIONISTSCHOOLARTIST,IANALYSESTHE“ABSTRACTMEANINGS”INWYETH’PAINTINGS3DISCUSSTHE“MISUNDERSTANDINGS”FORMCOMMONPEOPLEONWYETH’WORKS,REDRESSTHESEERRORSTHEREAREALSOSOMEREPRESENTATIONALCONSTANTLYBRINGFORTHNEWIDEASINREALISMINTHISPARTOFMYTHESIS,IWILLANALYSESTHECREATIVENESSOFTHESEARTISTSANDTHEENLIGHTENMENTSWYETHBRINGSUSKEYWORDSWYETH,REALISTICARTWORKS,“ABSTRACTIMPLICATION”

簡(jiǎn)介：?jiǎn)挝淮a單位代碼1047510475學(xué)號(hào)學(xué)號(hào)104753100780104753100780分類號(hào)分類號(hào)J024J024碩士學(xué)位論文碩士學(xué)位論文傳統(tǒng)搜山題材繪畫研究以北京故宮藏搜山圖為中心學(xué)科、專業(yè)藝術(shù)學(xué)研究方向美術(shù)史研究申請(qǐng)學(xué)位類別藝術(shù)學(xué)碩士申請(qǐng)人龐曉博指導(dǎo)教師彭亞教授二〇一三年四月RESEARCHONTRADITIONALSEARCHINGHILLSDRAWINGSONTHECENTEROF“SEARCHINGHILLS“RESERVEDINGUGONGPALACEADISSERTATIONSUBMITTEDTOTHEGRADUATESCHOOLOFHENANUNIVERSITYINPARTIALFULFILLMENTOFTHEREQUIREMENTSFTHEDEGREEOFMASTEROFARTSBYPANGXIAOBOSUPERVISPROFPENGYAMAY2013

簡(jiǎn)介：西安美術(shù)學(xué)院碩士學(xué)位論文歷史題材繪畫中的群體性價(jià)值觀念呈現(xiàn)姓名肖劍波申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師潘曉東20090301歷史題材繪畫中的群體性價(jià)值觀念呈現(xiàn)歷史題材繪畫對(duì)社會(huì)進(jìn)程的推動(dòng)作用。其次，歷史題材繪畫維護(hù)了地域群體的和諧共存。1歷史題材繪畫體現(xiàn)地域群體價(jià)值。2歷史題材繪畫體現(xiàn)出的人文關(guān)懷。第四部分，是對(duì)當(dāng)代歷史題材繪畫創(chuàng)作的意義作以論述。當(dāng)代歷史題材繪畫創(chuàng)作的意義在于以史為鑒，對(duì)人類選擇未來有指導(dǎo)意義。另外從地域群體意義來說。包括三個(gè)方面1是對(duì)民族凝聚力的喚起意義。2是對(duì)民族歷史感的激發(fā)意義。3當(dāng)代歷史題材繪畫中的現(xiàn)實(shí)意義在于弘揚(yáng)國(guó)家精神。關(guān)鍵詞地域群體性審美價(jià)值社會(huì)價(jià)值人類歷史研究類型理論研究LL

簡(jiǎn)介：上海大學(xué)碩士學(xué)位論文茶緣墨趣中國(guó)繪畫中茶題材探微姓名高緒群申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)（水墨畫研究）指導(dǎo)教師王孟奇20090401上海大學(xué)碩士學(xué)位論文ABSTRACTASTHEWITNESSOFCHINESECULTUREANDTHECARRIEROFARTEXPRESSION，CHINESEPAINTINGHADACENTURIESOLDHISTORYANDALSO鷦ALLIMPORTANTPORTIONOFCHINESETRADITIONALCIVILIZATION，THETEACULTUREHADDEVELOPEDFORSEVERALTHOUSANDSYEARSANDFORMEDPROFOUNDCOLORFULANDPOLISHEDCONNOTATIONNOMATTEREMPERORANDMINISTER，LITERATORANDSCHOLARORORDINARYCIVILIANTTLEYALLHADDRANKTHETEA，TALKEDABOUTANDRECORDEDTHETEA，SORICHANDGENEROUSTEACULTUREWASFORMEDTHEPAINTINGOFTEATHEMEREPRESENTEDCHINESETRADITIONALCIVILIZATIONANDTHEVARIOUSSTYLESOFTEADRINKINGINDIFFERENTTIME，ANDTHECULTURECONNOTATIONANDAESTHETICSPIRITCOULDBEREFLECTEDTHROUGHTHEMITWASKNOWNTHATTHEREWEREMANYPAINTINGOFTEATHEMECOMEDOWNEVERYDYNASTYFROMTANG，ESPECIALLYFORTHEMING，HOWEVER，THEREWEL“EFEWDEDICATEDSTUDYANDRESEARCHABOUTTHECHINESEPAINTINGOFTEATHEMEANDITSSTYLEEVOLVEMENTANDARTCONNOTATIONINTHISDISSERTATIONTHROUGHTHECLASSIFICATIONANDCLEANINGUPOFTHEPAINTINGSOFTEATHEME，SOMEPAINTINGSOFTEATHEMEFROMBOTHOLDENANDMODEMTIMESHADBEENANALYZEDDETAILEDTHESTYLEEVOLVEMENT，REPRESENTEDCULTUREANDARTCONNOTATIONHADBEENUNDERSTOODBASEDONTHEPAINTINGEXPERIENCEANDRELATEDSTUDY，SOMESIMPLEDISCUSSIONWASMADEINTHISDISSERTATIONTHEINTENTIONWASTOMORECOMPREHENSIVEATTENTIONANDDEEPLYRESEARCHKEYWORDSCHINESEPAINTING，TEA，THESUBJECTMATTERSTYLEVI

簡(jiǎn)介：分類號(hào)J2學(xué)校單位代碼10446碩士學(xué)位論文論文題目論文題目懷斯與艾軒、何多苓繪畫之關(guān)系懷斯與艾軒、何多苓繪畫之關(guān)系兼論“懷斯風(fēng)”現(xiàn)象兼論“懷斯風(fēng)”現(xiàn)象研究生姓名楊婷學(xué)科、專業(yè)美術(shù)學(xué)研究方向西方繪畫技法與理論研究導(dǎo)師姓名、職稱霍緒德副教授論文完成時(shí)間2014年04月摘要摘要20世紀(jì)70年代末80年代初以描寫鄉(xiāng)村生活為題材的鄉(xiāng)土寫實(shí)主義繪畫思潮在國(guó)內(nèi)一度盛行，在這期間安德魯懷斯作為美國(guó)寫實(shí)主義繪畫的代表畫家之一，其作品對(duì)一些中國(guó)畫家產(chǎn)生了重要的影響。其中有很多畫家借鑒了懷斯的藝術(shù)形式并試圖模仿他。本篇論文以懷斯的藝術(shù)在中國(guó)的影響為主要的研究對(duì)象，以受懷斯影響較深的艾軒、何多苓為例，探討由他們所代表的“懷斯風(fēng)”創(chuàng)作風(fēng)格的特點(diǎn)，與懷斯的關(guān)聯(lián)等問題，同時(shí)兼論“懷斯風(fēng)”現(xiàn)象在國(guó)內(nèi)盛行的原因。主要從艾軒、何多苓兩位畫家的作品與懷斯作品的對(duì)比入手，結(jié)合國(guó)內(nèi)的時(shí)代背景和主觀因素，繼而深入的了解“懷斯風(fēng)”現(xiàn)象的實(shí)質(zhì)，探討“懷斯風(fēng)”現(xiàn)象在國(guó)內(nèi)產(chǎn)生的原因。本文分為四個(gè)部分進(jìn)行闡述，第一部分主要介紹當(dāng)時(shí)中國(guó)美術(shù)界與懷斯有關(guān)的出版物和展覽現(xiàn)象以及受懷斯影響的中國(guó)油畫界。主要列舉現(xiàn)象，用現(xiàn)象說明懷斯熱的程度。第二部分和第三部分是本篇論文的重點(diǎn)，主要以艾軒與何多苓為例論述懷斯對(duì)中國(guó)畫家產(chǎn)生的影響以及他們是如何將他人的藝術(shù)風(fēng)格融入自己繪畫的過程。從艾軒與何多苓藝術(shù)的特征、藝術(shù)作品中的懷斯圖示和與懷斯作品的異同等方面來闡釋艾軒與何多苓對(duì)懷斯藝術(shù)的演繹。第四部分試圖探討“懷斯風(fēng)”現(xiàn)象在中國(guó)興起的原因，結(jié)合國(guó)內(nèi)特定時(shí)代背景等客觀因素，從情感的共鳴和獨(dú)特的表現(xiàn)形式這兩個(gè)角度進(jìn)行探討。關(guān)鍵詞“懷斯風(fēng)”，影響，艾軒，何多苓，原因

簡(jiǎn)介：浙江大學(xué)人文學(xué)院博士學(xué)位論文20世紀(jì)中國(guó)繪畫史學(xué)中的“蘇聯(lián)模式”研究姓名李小汾申請(qǐng)學(xué)位級(jí)別博士專業(yè)中國(guó)古典文獻(xiàn)學(xué)指導(dǎo)教師陳振濂20090601浙江大學(xué)博士學(xué)位論文ABSTRACTCHINA，INTHE20MCENTURY，WASMUCHINFLUENCEDPOLITICALLY，ECONOMICALLY，ANDCULTURALLYBYTHEFORMERUSSRIT’STHESAMEINTHEFIELDOFPAINTINGHISTORYTHISPAPERMAINLYDISCUSSESTHE‘‘USSRMODE”INTHESTUDYOFCHINESEPAINTINGHISTORY，IEAMODETHATHASFORMEDASTEADYORGANICSTRUCTUREINHISTORIOGRAPHICVIEWPOINT，METHODOLOGYANDNARRATIONMODE，ETCWITHOUTTHELIMITATIONOFTIMEANDSPACEANDPLAYEDAMAJORROLEINTHEUSSRTIMESANDWASGREATLYINFLUENCEDBYMARXISTPHILOSOPHYANDPLUTONOMY，RUSSIANUSSRLITERATUREANDAESTHETICSTHISPAPERSTUDIESTHESHAPINGBACKGROUND，EXHIBITION，F(xiàn)EATURESANDINFLUENCEONCONTEMPORARYPAINTINGFINEARTSHISTORIOGRAPHYOFTHEUSSRMODEINHISTORIOGRAPHYOFTHE20也CENTURYCHINESEPAINTINGINDIFFERENTPERIODSITISDIVIDEDINTOFIVEPARTSOFWHICHTHEINTRODUCTIONPARTGIVESADEFINITIONOFTHEUSSRMODEINTHEASPECTOFFEATURESWI也THEMETHODOLOGYOFDEMONSTRATIONANDCONTRASTTHEFIRSTTHREECHAPTERSOFTHEBODYPARTOBJECTIVELYSCANSTHEHISTORYOFTHEUSSRMODEINPAINTINGHISTORIOGRAPHYANDPOINTSOUTTHESHAPINGBACKGROUND，EXHIBITIONANDFEATURESINDIFFERENTPERIODSAFTEREXPLORINGONTHEUSSRMODEACADEMICALLYANDASUMUPONTHEDEVELOPMENTOFTHEMODE，THELASTCHAPTERPUTSFORWARDTHEPOSSIBLEINFLUENCEOFTHEMODEONTHEPRESENTPAINTINGFINEARTSHISTORIOGRAPHYKEYWORDSTHE20也CENTURY；CHINESEPAINTINGHISTORY；‘USSRMODE’；REFLECTIONⅡ

簡(jiǎn)介：學(xué)校代碼幽分類號(hào)Q墨Q壘Q墨⑧研究生學(xué)號(hào)星QQZ星Q旦墼密級(jí)玉東北JIF予葒大莩碩士學(xué)位論文論中國(guó)當(dāng)代女性繪畫中的“性“ONTHECHINESECONTEMPORARYPAINTINGSOFWOMENINTHESEX作者紀(jì)林林指導(dǎo)教師學(xué)科專業(yè)研究方向?qū)W位類型樸承浩教授美術(shù)學(xué)油畫學(xué)歷碩士東北師范大學(xué)學(xué)位評(píng)定委員會(huì)2010年5月ILIIB曩量■曩J■■冒譬II『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，論文中不包含其他人已經(jīng)發(fā)表或撰寫過的研究成果，也不包含為獲得東IIIII范大學(xué)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)位論文作者簽名壘型莖圭墊日期少P、中矽學(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東北師范大學(xué)有關(guān)保留、使用學(xué)位論文的規(guī)定，即東北師范大學(xué)有權(quán)保留并向國(guó)家有關(guān)部門或機(jī)構(gòu)送交學(xué)位論文的復(fù)印件和磁盤，允許論文被查閱和借閱。本人授權(quán)東北師范大學(xué)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(kù)進(jìn)行檢索，可以采用影印、縮印或其它復(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)位論文作者簽名刪楮指導(dǎo)教師簽名玄逖EL期翟坦步弦日III型里壘迦學(xué)位論文作者畢業(yè)后去向工作單位通訊地址電話郵編

簡(jiǎn)介：山東建筑大學(xué)碩士學(xué)位論文從里希特看中國(guó)當(dāng)代架上繪畫的圖像元素運(yùn)用姓名劉楠申請(qǐng)學(xué)位級(jí)別碩士專業(yè)油畫創(chuàng)作及其理論研究指導(dǎo)教師張志強(qiáng)20100401山東建筑大學(xué)碩士學(xué)位論文使用以致當(dāng)今藝術(shù)領(lǐng)域的邊界及其內(nèi)涵被日漸模糊和美學(xué)語言不斷被削弱的當(dāng)代藝術(shù)如何重新給自己定位如何重新激發(fā)出新的動(dòng)力和活力的問題。關(guān)鍵字架上繪畫；模糊；當(dāng)代藝術(shù)照片繪畫；風(fēng)格繼承II

簡(jiǎn)介：上海師范大學(xué)碩士學(xué)位論文過去現(xiàn)代未來審美體驗(yàn)三層次與繪畫創(chuàng)作姓名何振浩申請(qǐng)學(xué)位級(jí)別碩士專業(yè)美術(shù)學(xué)指導(dǎo)教師徐茫耀20050501AESTHETICAPPRECIATIONISASPECIALPERSONALEXPERIENCEITHASTHREEINTEGRALFACETSTHEREFLECTIONOFPASTEXPERIENCETHESOPHISTICATEDREALTIMEFEELINGANDTHEPROJECTEDEXPECTATIONFORTHEFUTURETHEREFLECTIVEFACETISTHEACCUMULATIONOFPASTSOCIALWELLASTHEACCUMULATIONOFSOCIALEXPERIENCEITSELFEINSIDEINDIVIDUALSASTHEFEELINGFACETWORLDAROUNDHISTHESYMBOLOFTHEEXISTENCEOFTHEINDIVIDUALSWHOAPPRECIATETHEISMOREIHANOFEXPERIENCEANDBREAKTHROUGHWHERESUBJECTOBJECTOFAESTHETIC叩PRECIATEISAMAJOR川EETANDCOMMUNICATEWITHEACHOTHERTHEPROJECTEDFACETFORESEESFUTUREACTIVITIESITSHOWSTHEDISSATISFACTIONOFTHECURRENTSITUATIONTHEEXPECTATIONOFABETERFUTUREANDTHEPULSEFORCREATIVITYKEYWORDAESTHETICAPPRECIATIONTHEREFLECTIVEFACETTHEFEELINGFACETTHEPROJECTEDFACET2