中國傳統繪畫的詩性表現，可以說是東方特有的審美意趣。就花鳥畫而言，這種表現特質似乎從未被中斷過，直到當代，畫家依然透過對生活細膩的感悟，以各種表現形式，彰顯著這一審美理想，向觀賞者展現其內心的詩意世界。 / 本文將首先分析詩與畫的傳統關係，對於意境的共同追求和表現，透過重新認知中國繪畫傳統這一詩性審美特質，找尋花鳥畫創作的藝術價值和理論依據。 / 再針對詩意表達特質，列舉當代花鳥畫家的作品，看看他們如何透過繪畫語言和內容表現其內在的詩意世界，又是如何傳承審美傳統，如何創新演進。 / 最後思考當下的生活形態和自身的創作路向，希望從日常生活當中，尋找詩意所在，將之變為源源不絶的創作靈感。 / The poetic expression of traditional Chinese painting is said to be the unique aesthetics of the East. In terms of Chinese flower-and-bird painting, this trait has never been disappeared. Until modern times, painters still highlight this aesthetic ideal, by expressing their delicate sentiment of life in various manifestations, showing viewers the poetic world in their inner minds. / This essay will first analyze the traditional relationship of poetry and painting, the common pursuit and expression of the artistic conception. Through recognizing the poetic aesthetics trait of Chinese traditional painting, it will seek the artistic value and theoretical basis of creating Chinese flower-and-bird painting, / Focusing the trait of poetic expression, it will cite the works of contemporary Chinese flower-and-bird painters, and find out their ways to express the poetic world in their inner minds via painting language and content, in order to inherit aesthetics tradition, bringing innovation and evolution. / Finally, the present life form and my own creation path will be considered. The poetic meanings of daily life will then be identified and transformed into endless creative inspiration. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 梁依廷. / "2012年8月". / "2012 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 30-31). / Abstract in Chinese and English. / Liang Yiting. / Chapter （一） --- 序言 --- p.1 / Chapter （二） --- 詩與畫的傳統關係 --- p.3 / Chapter 2.1 --- 詩與畫的特質 / Chapter 2.2 --- 詩與畫的相似性 / Chapter 2.3 --- 超越藝術形式本位 / Chapter （三） --- 花鳥畫的詩性表現特質 --- p.7 / Chapter 3.1 --- 情景交融，物我兩忘 / Chapter 3.2 --- 意境的追求 / Chapter 3.3 --- 隠喻與象徵 / Chapter （四） --- 當代花鳥畫對詩意表達的傳承與演變 --- p.15 / Chapter 4.1 --- 從繪畫語言分析 / Chapter 4.2 --- 從繪畫內容分析 / Chapter （五） --- 發掘生活的詩意所在 --- p.26 / Chapter （六） --- 結語 --- p.29 / 參考書目 --- p.30 / 圖版目錄 --- p.32 / 附錄 --- p.33

Thesis (MFA)--Rochester Institute of Technology, 1989. / Includes bibliographical references (leaf 37).

Thesis (M.F.A.)--Rochester Institute of Technology, 1987. / Typescript. Includes bibliographical references (leaf 62).

This thesis includes the work of Vicki L. Clarke for a Masters in Fine Arts.

This creative project will culminate in a show of twenty-five pieces of metalwork, both wearable and sculptural, using as source material the rich tradition the floral imagery found in Islamic arts. Specifically the pieces will be based on the art of the Persian Gulf area. sources will be floral images as expressed in architectural elements, fabric, tiles, and other related arts or crafts. / Department of Art

The primary objective of this thesis is to identify patterns of appearance among the flora and fauna of selected eighteenth-century New Spanish casta paintings. The objectives of the thesis are to determine what types of flora and fauna are present within selected casta paintings, whether the flora and fauna's provenance is Spanish or Mexican and whether there are any potential associations of particular flora and fauna with the races being depicted in the same composition. I focus my flora and fauna research on three sets of casta paintings produced between 1750 and 1800: Miguel Cabrera's 1763 series, José Joaquín Magón's 1770 casta paintings, and Andrés de Islas' 1774 sequence. Although the paintings fall into the same genre and within a period of a little over a decade, they nevertheless offer different visions of New Spain's natural bounty and include objects designed to satisfy Europe's interest in the exotic.

The following three chapters identify influences of the Imagist movement and the avant garde painters on the early poetry of Williams, and particularly on those poems that deal with flowers. This study is restricted to the earlier poems for several reasons, the most obvious being that Williams simply does not employ floral imagery to any extent in The Collected Later Poems. For instance, of the almost three hundred poems in The Collected Earlier Poems nearly sixty take flowers as their title or rely on floral imagery for part of their power. Nearly half that many use arboreal imagery, another prominent and important "object" in Williams' poetry, and, of course, many more use other images from the natural world. On the other hand, in The Collected Later Poems only three poems have flowers in their titles. Even in these three Williams was more interested in depicting sociological situations than in description, for his conception of poetry changed radically after the 1930's. He became convinced at that time that poetry should be serious rather than entertaining. Further, he became a staunch advocate of the "anti-poetic" theory of beauty whose chief tenet was that beauty and ugliness were part of a single whole. Nothing beautiful, like a flower, could exist without its soil of ugly, drab antecedents. James Guimond believes that this is the reason why Williams ceased presenting "his beautiful objects in splendid, static isolation from time and the world around them" (1, p. 50). Possibly 14 for these reasons the nature imagery is not nearly so dominant in these poems as in those written before 1940. Nor has the poetry of Paterson or Pictures from Breugel been included in this study. Because of the tremendous attention given them in the last five years, their nature imagery has been well covered. However, of the nature, and especially floral, imagery of the earlier poetry little has been said. Hopefully, this study will show that Williams made extensive and successful use of flowers in his poetry because they were the particular objects of the concrete world which best lent themselves to the related techniques and goals of first the Imagistic movement in poetry and later the Stieglitz school in painting.