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甲骨文與書法藝術. / Jia gu wen yu shu fa yi shu.January 1990 (has links)
黃孕祺. / 稿本(電腦打印本) / Thesis (M.A.)--香港中文大學藝術學部. / Gao ben (dian nao da yin ben) / Includes bibliographical references. / Huang Yunqi. / Thesis (M.A.)--Xianggang Zhong wen da xue yi shu xue bu. / Chapter 第一章 --- 緒言 --- p.1 / Chapter 一 --- 甲骨學九十年 / Chapter 二 --- 回顧甲骨文書法研究 / Chapter 三 --- 本文旨要 / Chapter 第二章 --- 商殷文字 --- p.22 / Chapter 一 --- 漢字起源的臆說 / Chapter 二 --- 甲骨文與陶符 / Chapter 三 --- 甲骨文與玉文、金文 / Chapter 第三章 --- 占卜文化 --- p.48 / Chapter 一 --- 用龜、骨卜、龜卜與甲骨文字 / Chapter 二 --- 殷卜程序與甲骨文字 / Chapter 三 --- 甲骨書契的本質 / Chapter 第四章 --- 殷禮格局 --- p.78 / Chapter 一 --- 宗教的政治化 / Chapter 二 --- 宗教的道德化 / Chapter 三 --- 殷禮的「兩重」 / Chapter 第五章 --- 因形見意 --- p.113 / Chapter 一 --- 書寫構形的表意 / Chapter 二 --- 字體構造的表意 / Chapter 三 --- 視覺元素的表意 / Chapter 第六章 --- 書契筆法 --- p.146 / Chapter 一 --- 毛筆與刀筆 / Chapter 二 --- 執筆與用筆 / Chapter 三 --- 書寫與契刻 / Chapter 第七章 --- 結體章法 --- p.178 / Chapter 一 --- 字形異寫多體 / Chapter 二 --- 結體守常知變 / Chapter 三 --- 章法放中有矩 / Chapter 第八章 --- 書體研究 --- p.213 / Chapter 一 --- 甲骨斷代研究的「書體」 / Chapter 二 --- 「書體」的斷代功能 / Chapter 三 --- 甲骨學「書體J與藝術風格 / Chapter 第九章 --- 筆意風神 --- p.246 / Chapter 一 --- 一代書體 / Chapter 二 --- 書風範式 / Chapter 三 --- 地域風格 / Chapter 第十章 --- 結語 --- p.282 / Chapter 一 --- 從殷墟到周原 / Chapter 二 --- 從殷禮到儒、道 / Chapter 三 --- 從甲骨文字到書法藝術 / 徵引著錄簡稱表 --- p.309 / 主要參考書目 --- p.311 / 附圖 --- p.315 / 【圖二 . 1】新石器時代至商代陶符概覽 --- p.315 / 【圖二 . 2】商代玉文 --- p.316 / Chapter A --- 契刻玉文 / Chapter B --- 朱書玉文 / 【圖二 . 3】商代金文 --- p.317 / 【圖三.1】賈湖遣址之刻符龜甲 --- p.318 / 【圖四.1】鑽灼現兆記數刻辭的對稱關連 --- p.319 / 【圖五.1】小屯丙組基址全貌 --- p.320 / 【圖五.2】潤澤光亮的龜版 --- p.321 / 【圖五.3】龜腹甲部位、齒縫、盾紋圔 ´ؤ´ؤ --- p.322 / 【圖五.4】塗朱(《海》八) --- p.323 / 【圖五.5】塗黃(《海》二六) --- p.324 / 【圖五.6】「圖畫文字」 1、2 --- p.325 / 【圖五.7】「圖畫文字」3、4、5 --- p.326 / 【圖五.8】「圖畫文字」6、7 --- p.327 / 【圖六.1】「祀」字之陶片墨書與骨販刻字 --- p.328 / 【圖六.2】殷代刻刀 --- p.329 / 【圖六.3】殷代刻刀鋒刃的推測 --- p.330 / 【圖六.4】執刀法 --- p.331 / Chapter A --- 斜執法 / Chapter B --- 直執法 / 【圖六.5】甲骨文毛筆筆法 --- p.332 / Chapter A --- 筆順次第 / Chapter B --- 硃書 / Chapter C --- 墨書 / 【圖六.6】甲骨文契刀刀法 --- p.333 / Chapter A --- 雙刀施刻次第 / Chapter B --- 雙刀字溝 / Chapter C --- 圓底、平底字溝 / Chapter D --- 單刀字溝 / 【圖六.7】甲骨文契刻筆法示例 --- p.334 / Chapter A --- 「牢」 / Chapter B --- 「午」 / Chapter C --- 「七一六七六六貞吉」 / Chapter D --- 「亦」 / 【圖六.8】缺刻橫劃與先書後契例 --- p.335 / Chapter A --- 《粹》一一四 / Chapter B --- 《乙》六六六七 / 【圖六.9】甲骨文筆劃粗肥圓潤例 --- p.336 / 【圖七.1】結體蹙展變化例 --- p.337 / 【圖七.2】字筆M蹙展變化例 --- p.338 / 【圖七.3】字縱向蹙展變化例 --- p.339 / 【圖七.4】字橫向蹙展變化例 --- p.340 / 【圖七.5】字斜向蹙展變化例 --- p.341 / 【圖七.6】結體疏密變化例 --- p.342 / 【圖七.7】單體、兩部結構敧倒變化例 --- p.343 / 【圖七´Ø8】三部、包裹結構敧側變化例 --- p.344 / 【圖七.9】軸對稱、部份對稱敧側變化例 --- p.345 / 【圖七.10】重文結構敧側變化例 --- p.346 / 【圖七.11】開篇管領例 --- p.347 / 【圖七.12】行氣例 --- p.348 / 【圖七.13】行氣與物料關傺例 --- p.349 / 【圖七.14】鑽鑿、兆紋方向示意圖 --- p.350 / 【圖七.15】甲骨對稱卜用圖 --- p.351 / 【圖七.16】牛胛骨行文款式 --- p.352 / 【圖七.17】牛胛骨反面之整治與鑽鑿 --- p.353 / 【圖七.18】腹甲刻辭之先後關係 --- p.354 / 【圖七.19】腹甲同一事刻辭之相對關係 --- p.355 / 【圖七.20】腹甲刻辭行文方向 --- p.356 / 【圖八.1】董作賓「五期書體」舉例 --- p.357 / 【圖九.1】書風範式:宏放文雅 --- p.358 / 【圖九.2】書風範式:宏放野逸 --- p.359 / 【圖九.3】書風範式:謹嚴輕細 --- p.360 / 【圖九.4】書風範式:謹嚴重厚 --- p.361 / 【圖九.5】書風範式 --- p.362 / 【圖九.6】之書風類型 --- p.363 / 【圖九.7】之書風類型 --- p.364 / 【圖九.8】一版三種書風之例 --- p.365 / 【圖十.1】周原龜腹甲 --- p.366 / 【圖十.2】周原牛胛骨 --- p.367 / 【圖十.3】周原甲骨微刻及橫刻例 --- p.368 / Chapter A --- 放大約17倍甲片 / Chapter B --- 橫向縱行刻辭 / 【圖十.4】周原甲骨書風例 --- p.369 / 附表 --- p.370 / 【表一】殷代先公先王世条表 --- p.370 / 【表二】商周八卦符號登記表 --- p.371 / 【表三】甲骨文對稱字例 --- p.372 / 【表四】干支字早晚變化略表 --- p.377
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明中葉吳中地區書法鑑藏與文徵明書法之關係 =: Connoisseurship of calligraphy in Suzhou during mid-Ming and its relationship with Wen Zhengming's calligraphy. / Connoisseurship of calligraphy in Suzhou during mid-Ming and its relationship with Wen Zhengming's calligraphy / Ming zhong ye Wu zhong di qu shu fa jian cang yu Wen Zhengming shu fa zhi guan xi =: Connoisseurship of calligraphy in Suzhou during mid-Ming and its relationship with Wen Zhengming's calligraphy.January 1995 (has links)
鄧民亮. / 論文(碩士) -- 香港中文大學硏究院藝術學部,1995. / 參考文獻: leaves [1-9] (2nd group) / Deng Minliang. / 前言 --- p.2 / Chapter 第一章 --- 吳中地區的復興對書法好¯‘ة之影響 --- p.4 / Chapter 第二章 --- 文徵明的交遊與吳中文苑 --- p.22 / Chapter 第三章 --- 吳中地區的書法收藏槪況與 文徵明的鑑藏活動 --- p.72 / Chapter 第四章 --- 文徵明的書學 --- p.103 / Chapter 第五章 --- 文徵明的書法風格與所見藏品之關係 --- p.122 / 總結 --- p.157 / 參考書目 / 附錄一文徵明家藏及題跋書法名蹟 / 附錄二著錄所見及傳世文徵明所書《千字文》 / 附錄三文徵明題跋所見引用書目 / 附錄四吳寬《匏翁家藏集》所載書法題跋 / 附錄五都穆《寓意編》所載書法收藏 / 附錄六華夏所藏書法 / 附錄七《珊瑚網》所載王世貞書法收藏 / 附錄八《珊瑚網》所載王世貞收藏碑帖 / 附錄九《珊瑚網》所載王世懋收藏書法 / 附錄十項元汴所藏書法 / 附錄十一《鈐山堂書畫記》所載書法收藏 / 附錄十二《珊瑚網》著錄書法收藏 / 附錄十三詹景鳳《東圖玄覽編》所載書法收藏 / 圖版
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Hanzi + architecture: an urban landscape intervention. / Hanzi plus architectureJanuary 1999 (has links)
prepared by Lie Ning Gung. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1998-99, design report." / Includes bibliographical references. / Introduction / Chapter Book I --- Hypothesis / Chapter ---- --- Genesis of Hanzi / Chapter ---- --- Esthetics of Hanzi / Chapter ---- --- A Living Being / Chapter ---- --- On Architecture / Chapter Book II --- Concepts / Chapter ---- --- Dynamics / Chapter ---- --- Action / Chapter ---- --- Experience / Chapter ---- --- Program / Chapter ---- --- Site / Chapter Book III --- Trials / Chapter ---- --- Conceptual Model / Chapter ---- --- Site / Chapter ---- --- Study Model / Chapter ---- --- Program / Chapter ---- --- The Project / Chapter ---- --- Epilogue / Appendices / Chapter I- --- Project Background / Chapter ---- --- Social & Political Context --- p.1-4 / Chapter ---- --- Historical & Cultural Context --- p.5-7 / Chapter ---- --- The Issue --- p.8-9 / Chapter ---- --- The Proposal --- p.10 / Chapter ---- --- Client Profile --- p.11 / Chapter ---- --- Mission --- p.12-13 / Chapter II- --- Site / Chapter ---- --- History --- p.1-2 / Chapter ---- --- Land Use --- p.3 / Chapter ---- --- Circulation Studies --- p.4-8 / Chapter ---- --- Site Features --- p.9 / Chapter ---- --- Topology --- p.10 / Chapter ---- --- Site Constrains --- p.11 / Chapter ---- --- Potential & Cost --- p.12 / Chapter ---- --- Goals & PR --- p.13-18 / Chapter III- --- Precedents studies / Chapter IV- --- Interviews / Acknowledgements / Bibliography
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Recherches sur la calligraphie sous les derniers Mamlouks : inscriptions monumentales et mobilières / Research on Calligraphy under the Late Mamluks : Inscriptions on Monuments and ObjectsJuvin, Carine 09 December 2017 (has links)
La calligraphie en Égypte et en Syrie à la période mamlouke en général, et singulièrement l’aspect formel des inscriptions monumentales et mobilières, extrêmement nombreuses pour cette période, demeurent sous étudiés. En se concentrant sur la fin du sultanat mamlouk (1468-1517), qui offre un corpus important et diversifié d'inscriptions monumentales et mobilières (principalement des objets et équipements militaires en métal) de qualité calligraphique, cette recherche vise à replacer ce corpus dans le contexte de la pratique et de la théorie calligraphique de la période mamlouke circassienne. Il s'agit donc d'une étude à la fois socio-historique et philologique, autant que morphologique et stylistique, s’appuyant sur une étude des différentes sources disponibles : historiques, biographiques, manuels de chancellerie, traités de calligraphie, documents de waqf, permettant de renouveler la vision de cette tradition calligraphique mamlouke. Un premier chapitre s’intéresse au milieu des calligraphes et au cadre de la pratique et de la transmission calligraphique au 15e siècle. La question de la théorie et de la terminologie des écritures est abordée dans un second chapitre. Les deux chapitres suivants sont consacrés à une étude morphologique et stylistique générale des inscriptions, puis à un cas d’étude : le complexe du sultan Qāniṣawh al-Ghawrī au Caire. Enfin, un catalogue du corpus des inscriptions sur lesquelles repose cette étude a été établi qui constitue une base de références pour l’étude de la production artistique à cette période. / Calligraphy in Egypt and Syria in the Mamluk period, generally speaking, and especially the formal aspect of the inscriptions on monuments and portable objects, quite numerous for this period, remain under-studied. Focusing on the late Mamluk period (1468-1517), which offers a large and diverse corpus of inscriptions on monuments and objects (mainly objects and military equipment made of metal), of calligraphic quality, this thesis aims at replacing this corpus in the context of calligraphic practice and theory in the Circassian Mamluk period. Thus, it is intended as both a socio-historical and philological study, and a morphological and stylistic study. It relies on the different sources available: historical and biographical sources, chancery manuals, calligraphic treatises, and waqf documents, allowing to reconsider our vision of the Mamluk calligraphic tradition. A first chapter presents the calligraphers’ milieu and the frame of the calligraphic practice and transmission around the 15th century. The issues of theoretical views and terminology of scripts is addressed in a second chapter. Then the following two chapters are dedicated to a stylistic general study of inscriptions, and to a case study: the complex of sultan Qāniṣawh al-Ghawrī in Cairo. Finally, a catalogue of the corpus of inscriptions used for this study is established which provides a referential basis for the study of art production during this period.
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從書法臨摹到書法創作: 以王鐸草書為例. / From imitation to creation: with reference to Wang Duo's cursive scripts / Cong shu fa lin mo dao shu fa chuang zuo: yi Wang Duo cao shu wei li.January 2011 (has links)
陶淑慧. / "2011年8月". / "2011 nian 8 yue". / Thesis (M.F.A.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 46-50). / Abstract in Chinese and English. / Tao Shuhui. / 引言 --- p.1 / Chapter 第一章: --- 臨摹和創作的概念 / Chapter (一) --- 臨摹的概念 --- p.3 / Chapter (二) --- 臨摹的種類 --- p.3 / Chapter (三) --- 創作的概念 --- p.6 / Chapter (四) --- 創作的種類 --- p.6 / Chapter 第二章: --- 王鐸以前書家的臨摹 / Chapter (一) --- 王鐸以前書家的臨摹觀念 --- p.7 / Chapter (二) --- 王鐸以前書家的臨摹方法 --- p.8 / Chapter 第三章: --- 王鐸的草書臨摹 / Chapter (一) --- 王鐸的臨摹觀念 --- p.11 / Chapter (二) --- 王鐸草書的臨摹方法 --- p.13 / Chapter (三) --- 影響王鐸草書臨摹的因素 --- p.21 / Chapter (四) --- 王鐸的草書臨摹對其草書風格的影響 --- p.25 / Chapter 第四章: --- 王鐸習古對於當代書法學習的意義 / Chapter (一) --- 當代書壇習古反思 --- p.28 / Chapter (二) --- 王鐸習古對於筆者的啟示 --- p.29 / 結語 --- p.30 / 圖版目錄 --- p.31 / 參考書目 --- p.46
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沈曾植書法硏究. / Shen Zengzhi shu fa yan jiu.January 1997 (has links)
張惠儀. / 論文(碩士) -- 香港中文大學硏究院藝朮學部, 1997. / 參考文獻: leaves [1-11] (3rd group) / Zhang Huiyi. / 緒言 --- p.1 / Chapter 第一章 --- 生平及藝苑交遊 / Chapter 第一節 --- 生平 / Chapter 一、 --- 困苦中成長至典型的士人生涯 --- p.3 / Chapter 二、 --- 宦海浮沉三十年 --- p.9 / Chapter 1. --- 保守中求革新的政治觀 --- p.9 / Chapter 2. --- 經世致用與蹊徑獨闢的治學態度 --- p.13 / Chapter 三、 --- 政壇失意與藝術生命的眞正展開 --- p.20 / Chapter 四、 --- 復辟的幻滅,無奈的選擇? --- p.25 / Chapter 第二節 --- 藝苑交遊 --- p.27 / Chapter 第二章 --- 書學思想 / Chapter 第一節 --- 書史觀 / Chapter 一、 --- 窮源竟流 --- p.58 / Chapter 二、 --- 南北融合 --- p.63 / Chapter 三、 --- 「因時變易」 --- p.65 / Chapter 四、 --- 「土風」說 --- p.67 / Chapter 第二節 --- 創作論 / Chapter 一、 --- 「悟境」說 --- p.69 / Chapter 二、 --- 參伍相變 --- p.70 / Chapter 三、 --- ¯‘ة古求變 --- p.73 / Chapter 四、 --- 「書唯求生」 --- p.75 / Chapter 第三節 --- 實踐論 / Chapter 一、 --- 筆法論 --- p.77 / Chapter 二、 --- 結體論 --- p.86 / Chapter 三、 --- 墨法論 --- p.87 / Chapter 第四節 --- 鑒藏觀 --- p.88 / Chapter 第三章 --- 書法藝術 / Chapter 第一節 --- 學書淵源與書風分期 --- p.99 / Chapter 一、 --- 學帖時期(1881前-1910 ) --- p.99 / Chapter 二、 --- 融碑入帖(19 1 1 -1920 ) --- p.111 / Chapter 三、 --- 「博取眾長化爲我用」(1921-1922 ) --- p.119 / Chapter 第二節 --- 書法藝術特徵 --- p.122 / Chapter 一、 --- 行草 --- p.122 / Chapter 二、 --- 楷書 --- p.127 / Chapter 三、 --- 隸書 --- p.127 / Chapter 四、 --- 篆書 --- p.128 / Chapter 第四章 --- 書壇地位與影響 / Chapter 第一節 --- 淸末民初書壇新機運 --- p.132 / Chapter 第二節 --- 沈曾植的書法歷史地位及影響 / Chapter 一、 --- 「碑帖融和」的拓展 --- p.134 / Chapter 二、 --- 草書的復興 --- p.138 / Chapter 三、 --- 書學的承先啓後 --- p.141 / Chapter 四、 --- 筆法上的開創 --- p.144 / Chapter 五、 --- 影響後學 --- p.144 / Chapter 第三節 --- 曲高「和寡」與大眾化的矛盾 --- p.148 / Chapter 第四節 --- 七十年後的再次定位? --- p.151 / Chapter 附錄一 --- 參考書目 --- p.1.1 / Chapter 附錄二 --- 沈曾植年譜 --- p.2.1 / Chapter 附錄三 --- 沈曾植書法作品目錄 --- p.3.1 / Chapter 附錄四 --- 沈曾植所藏及所見碑帖、書蹟目錄 --- p.4.1 / Chapter 附錄五 --- 沈曾植印輯 --- p.5.1 / Chapter 附錄六 --- 圖版 --- p.6.1 / 沈曾植書法作品目錄圖版 / 插圖 / 沈曾植生活照
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淸代隸書與伊秉綬. / Qing clerical scritp and Yi Bingshou / Qing dai li shu yu Yi Bingshou.January 2001 (has links)
何碧琪. / "2001年8月" / 論文 (哲學碩士)--香港中文大學, 2001. / 參考文獻 (leaves 126-144) / 附中英文摘要. / "2001 nian 8 yue" / He Biqi. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves 126-144) / Fu Zhong Ying wen zhai yao. / 緒言 --- p.1 -3 / 目錄 --- p.4-5 / Chapter 上卷: --- 宋以來隸書觀念的建立與變遷 / Chapter 第一章: --- 宋至晚明的隸書發展與觀念 --- p.6 -17 / Chapter 第一節: --- 金石文字硏究與鑑古之風熾熱下之宋元隸書 / Chapter 第二節: --- 帖學盛行下之明代隸書 / Chapter 第二章: --- 明末淸初有利於淸代隸書發展的文化社會氛圍 --- p.18-30 / Chapter 第一節: --- 傅山等書論及書評導致審美觀的轉變 / Chapter 第二節: --- 金石學之復興及影響 / Chapter 第三節: --- 康熙時代博學鴻詞科促進南北書學交流 / 小結 / Chapter 第三章: --- 康熙雍正年間(1662-1735)書家流派的雛形 --- p.31 -54 / Chapter 第一節: --- 明代正統的餘韻 / Chapter 第二節: --- 明季遺民書家復古革新傳統的拓展 / Chapter 第三節: --- 金石學者書家的先導 / Chapter 第四節: --- 碑學書家的學碑原則 / 小結 / Chapter 下卷: --- 淸代隸書的確立 / Chapter 第四章: --- 乾隆嘉慶時代(1736-1820)江浙地區的隸書發展 --- p.55-95 / Chapter 第一節: --- “¯‘ة個性´ح畫家及篆刻家書家的發展及地方特色 / Chapter 1. --- 乾隆前半期江蘇的揚州畫家書家 / Chapter 2. --- 乾隆後半期至嘉慶時期的浙江篆刻家書家 / Chapter 第二節: --- “重學問´ح學者書家的發展 / 小結 / Chapter 第五章: --- 伊秉綬的隸書風格與時代意義 --- p.96-125 / Chapter 第一節: --- “重學問´ح與“¯‘ة個性´ح書家的相繼薰陶 / Chapter 第二節: --- 伊秉綬書法的師承及金石學興盛對其隸書的影響 / Chapter 第三節: --- 伊秉綬隸書反映的文化特徵 / 參考書目 --- p.126-144 / 附錄一 明代以前至淸中期漢隸碑刻出土年表 --- p.1-1-10 / 附錄二 淸代隸書傳世作品目錄及收藏表 --- p.2-1-42 / 附錄三 順治至嘉慶隸書書家簡介 --- p.3-1-9 / 附錄四 伊秉綬年表 --- p.4-1-8 / 附錄五 伊秉綬隸書作品目錄 --- p.5-1-11 / 附錄六 正文附圖(圖版l.l-5.40b) --- p.6-1-79 / 伊秉綬隸書作品(圖版1 - 97)及印輯 --- p.6 -80-102
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走馬樓三國吳簡書法硏究: 以嘉禾吏民田家莂為對象. / Study of the calligraphy of the Wu Wooden tablets from Zoumalou: the "bie" tablets of the Jiahe period / "Bie" tablets of the Jiahe period / Zoumalou san guo Wu jian shu fa yan jiu: yi jia he li min tian jia bie wei dui xiang.January 2001 (has links)
洪娟. / "2001年6月" / 論文 (哲學碩士)--香港中文大學, 2001. / 參考文獻 (leaves [65-71]) / 附中英文摘要. / "2001 nian 6 yue" / Hong Juan. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves [65-71]) / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 緒言 / Chapter 第一節 --- 簡牘硏究槪況 / Chapter 一 --- 出土情況 --- p.1 / Chapter 二 --- 簡牘書法硏究成果 / Chapter (一) --- 中國學者的簡牘書法研究 / Chapter 1. --- 八十年代及以前的硏究 --- p.2 / Chapter 2. --- 九十年代及以後的硏究 --- p.7 / Chapter (二) --- 曰本及西方學者的簡牘書法研究 --- p.10 / Chapter 第二節 --- 走馬樓吳簡書法硏究前瞻 / Chapter 一 --- 走馬樓吳簡的性質 --- p.14 / Chapter 二 --- 吳簡書法的研究方法 --- p.15 / Chapter 第二章 --- 走馬樓吳簡書法硏究 / Chapter 第一節 --- 三國書體發展槪況 --- p.22 / Chapter 第二節 --- 從偏旁分析探討吳簡的書體 / Chapter 一 --- 篆書 --- p.25 / Chapter 二 --- 隸書 --- p.26 / Chapter (一) --- 受碑別字影響的寫法 --- p.27 / Chapter (二) --- 相對於碑別字較統一的字形 --- p.30 / Chapter (三) --- 對於字形的改造 --- p.31 / Chapter 三 --- 楷書 / Chapter (一) --- 改造隸書字形 --- p.32 / Chapter (二) --- 對於隸書筆法的改造 --- p.33 / Chapter 四 --- 草書 --- p.36 / Chapter 第三章 --- 從吳簡看三國書風 / Chapter 第一節 --- 與鍾繇書跡的比較 / Chapter 一 --- 鍾繇書風 --- p.40 / Chapter 二 --- 吳簡的書手 --- p.41 / Chapter 三 --- 吳簡與鍾書比較 --- p.43 / Chapter 第二節 --- 三國書風的展現 / Chapter 一 --- 三國書風綜述 --- p.47 / Chapter 二 --- 吳簡對於三國書法面貌的展現 --- p.51 / 結語 / Chapter 一 --- 走馬樓吳簡書法研究的意義 --- p.58 / Chapter 二 --- 相關問題的探討 --- p.60 / Chapter 三 --- 硏究展望 --- p.61 / 參考書目 / 附錄一:近世簡牘帛書出土年表 / 附錄二:吳簡對照字形表 / 圖版
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Martin Heidegger: art and technologyBlackwell, Kerry J., University of Western Sydney, Faculty of Visual and Performing Arts January 1997 (has links)
An artists's approach to studio practice reflects knowledge acquired from a variety of source. Various methods are tried, modified, and re-interpreted, culmination in a studio practice that reflects one's own understanding of process and work ethic. This process is the work and the work practice concealed in the artwork, is rarely framed in verbal language. Martin Heidegger offers a particular philosophy of work practice that is clarified in words, allowing me to place my present understanding of studio practice within the notion of Greek techne. This essay is an explication of two works by the German philosopher Martin Heidegger, namely 'The Question Concerning Technology' and 'The origin of the Work of Art.' Heidegger's notion of authentic production and truth in art, provide a contextual framework within which I place my own understanding of studio practice and creative process. This method of work practice positions the artist as facilitator, co-dependent and co-responsible with the materials and form. The artist responds to the needs of the work allowing the materials and form to interact and ultimately reveal the work's true identity. Inherent in this work practice is the artist's knowledge, technical skill and commitment to process rather than outcome. This method of work practice is used in many cultures, from eastern calligraphy to western action painting, and has influenced contemporary artists too numerous to name individually. I am indebted to them all / Master of Arts (Hons) Visual Arts
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Relações entre percepção de fala e ortografia de crianças em ensino fundamental : características fonológicas /Lopes, Ana Cândida Schier Martins. January 2017 (has links)
Orientador: Lourenço Chacon Juradio Filho / Banca: Jáima Pinheiro de Oliveira / Banca: Larissa Cristina Berti / Banca: Manoel Luiz Gonçalves Corrêa / Banca: Ana Ruth Moresco Miranda / Resumo: O Grupo de Pesquisa Estudos sobre a Linguagem - GPEL/CNPq reúne linguistas, fonoaudiólogos e educadores para a produção conjunta de estudos sobre a escrita infantil, sobretudo a partir de três aspectos: a segmentação de palavras, a pontuação e a ortografia - especialmente acerca das relações entre aspectos fonológicos e flutuações ortográficas na escrita infantil, nas quais os erros ortográficos - eventos característicos da escrita em aquisição - permitiriam distinguir caminhos ou, mais especificamente, seleções e arranjos feitos pelos aprendizes na tarefa de escrever. Fruto das investigações do GPEL, o presente trabalho objetiva, de maneira geral, relacionar o conhecimento fonológico em nível perceptual-auditivo e o desempenho ortográfico de crianças, com base na identificação de contrastes entre as consoantes do Português Brasileiro. Buscamos, mais especialmente, compreender de que modo a ortografia das crianças manifesta sua intuição e/ou conhecimento dos contrastes fonológicos do Português Brasileiro em ataque silábico para as consoantes. A coleta de dados de percepção auditiva foi feita com o uso do software Perceval, a partir de uma tarefa de identificação (também chamada de tarefa de escolha forçada) com base no Instrumento de Avaliação da Percepção de Fala - PERCEFAL (BERTI, 2011). O experimento é dividido em três subconjuntos: (a) PERCOcl (que avalia a identificação de contrastes fônicos entre oclusivas); (b) PERCFric (que avalia a identificação de contrastes... / Abstract: The Group for Research on Language Studies (GPEL/CNPq)) brings together linguists, speech-language therapists and educators for the joint production of studies on children's writing, mainly from three aspects: word segmentation, punctuation and orthography - especially about relations between phonological aspects and orthographic fluctuations in children's writing, in which orthographic errors - characteristic events of the acquisition of writing skill- would allow to distinguish paths or, more specifically, selections and arrangements made by learners in the task of writing. As a result of the GPEL investigations, the present work aims, in a general way, to connect phonological knowledge at the perceptualauditory level and the orthographic performance made by the children, based on the identification of contrasts in Brazilian Portuguese consonants. We especially seek to understand how the children's orthography expresses its intuition and/or knowledge of the Brazilian Portuguese phonological contrasts in syllabic onset for the consonants. The data collection about auditory perception was performed using the Perceval software from an identification task (also called forced choice task) based on the Assessment Tool in Speech Perception - PERCEFAL (BERTI, 2011). The experiment is divided into three subsets: (a) PERCOcl (which assesses the identification of phonic contrast between plosive consonants); (B) PERCFric (which evaluates the identification of phonic contrasts between fricatives); and (c) PERCSon (which assesses the identification of phonic contrast between sonorants). The data collection of orthography was made by means of a dictation based on pictures of the same words that make up the PERCEFAL instrument. As main results, we observed a gradual progression in the perceptual-auditory and orthographic accuracy as the advances occurred in the years of schooling and we also ... / Doutor
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