梨園風(fēng)骨寄丹青——論戲曲題材中國(guó)畫人物造型表現(xiàn)的“寫意性”.pdf

1、ho一##南京藝術(shù)學(xué)院學(xué)位論文梨園風(fēng)骨寄丹青——論戲曲題材中國(guó)畫人物造型表現(xiàn)的“寫意性”陳龔。一，|，一_蹲師：霸j再教藉，I|i喈粵!h一’、。，’j、，jjft一_，j#，_|、’審麓學(xué)誣：碩士、’：。學(xué)’‘。一y，1j。：。‘‘i學(xué)嶄專業(yè)：受術(shù)學(xué)(中自人鈁畫)■0’二^、。，7‘，rt、。‘善?！帧?、∥讒穩(wěn)瞎日氍：j學(xué)姆“伊’，”、、，pt“、，‘“論支魯辯目秈：》鯽；卓，2月、；，、二一t，‘二，。i、r、t71。：。。孝鳥野

2、鴨。南褰尊木學(xué)院一。一、_j，≯0嘻嶄委員會(huì)主席：、孚友善教授∥、‘=蟄t”』?！诿禅哶i、《；。、；4憊黼霎麓㈧瓣[Abstract]ImpressionisminfiguremodelingshowsbydifferentwaysinChinesepaintingsaccordingtodifferentthemesThereasonisthatthoughtherearesimilarities，therearedifferenc

3、esshowedbyartlanguage，stylesandcontentsTheaimofthisarticleistotrytoanalyzetheperformancelanguageofimpressionisminfiguremodelingofopera—themedChinesepaintingsandtodiscusstheexcellenttraditionandachievementsbystudyingsomec

4、asesandthroughmyownexperienceThiscanhelpUSfindoutthecontentwhichtheimpressionisticlanguageistryingtoimpressandthestylethatwecanlearnfromtostatetheextremelybroadquality，thechangeablemeaningandthespecialexpressingspaceofim