Thesis--Halle-Wittenberg. / Vita. Includes bibliographical references (p. [76]).

Thesis (Ph. D.)--Princeton University, 1978. / Typescript. Includes bibliographical references (leaves 388-405).

The landscape in Venetian Renaissance painting makes its first important appearance in the Sketch-books of Jacopo Bellini. These landscapes depend little on the observation of nature. They are not drawings done from life, but imaginary landscapes which show that Jacopo was far more interested in creating form and space than in giving the landscape a particular mood. The landscapes of Giovanni Bellini are far more dependent on the observation of natural phenomena than those of Jacopo. Giovanni's landscapes usually depict the undulating and broken topography of the Veneto, but he did not paint particular views of this area. There is always much evidence of man's activity in Giovanni's landscapes. In these paintings the human figures are sometimes small, but never insignificant. The relationship of figures to the landscape is of great importance to the formal design, the emotional appeal and the spiritual significance of the whole. The dominant mood of Giovanni Bellini's landscapes is that of quiet religosity. From whom Giovanni learnt the use of the oil technique could not be accurately determined, but the fact that he did adopt the oil medium was of great importance to the development of Venetian landscape painting, as it enabled painters to capture the subtleties of light, colour and texture in their paintings. The landscapes of Giorgione are dependent upon the technical achievements of Giovanni Bellini, but while Bellini's landscapes are predominantly religious in character, those of Giorgione were closely connected with the new humanist culture of early sixteenth century Venice. Giorgione sought a direct and sensuous portrayal of man and nature in gentle and harmonious union. His landscapes appear to be physically softer than those of Bellini and he devoted greater attention to atmosphere. The forms in a Giorgione landscape are less precisely defined than those of a Bellini work, and contours are often blurred as Giorgione was concerned with painting a general visual impression. Nature in a Giorgione landscape is tamed and ordered, but seldom cultivated as his landscapes are primarily Arcadian. Despite the fact that Titian came from a mountainous region, his early landscapes are not mountainous but Giorgionesque. While Titian's early frescoes in Padua show a more active and dramatic relationship between man and nature, than was shown by either Giovanni Bellini or Giorgione, they are unlike his other early landscapes. After Giorgione's death Titian painted many bucolic landscapes in the manner of Giorgione. With the mythological paintings done for Alfonso, Duke of Ferrara, Titian's forms become more plastic and assertive, and his landscapes more joyous and Pandean in mood. While Titian made less use of landforms as a compositional device, he exploited clouds and foliage to a far greater degree. His use of foliage as a means of expression, to amplify and intensify the human action of the painting, reached its fullest development in the Murder of St. Peter Martyr. Titian's mountain landscapes, wilder than anything in previous Venetian painting, represent one climax in the development of Venetian landscape painting, at the same time that he was reworking idyllic Giorgionesque motifs in his Venus del Pardo. As far as is known, not one of the Venetian Renaissance painters painted a landscape as an end in itself. That development took place in the seventeenth century. It was the Venetian Renaissance painters who played the major role in the process which led to its acceptance as a legitimate mode of artistic expression. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

劉秀菁. / "2006年8月" / 論文(碩士)--香港中文大學, 2006. / 參考文獻(leaves 37-39). / 附光碟規格: CD-ROM. / "2006 nian 8 yue" / Abstracts in Chinese and English. / Liu Xiujing. / Lun wen (shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 37-39). / Fu guang die gui ge: CD-ROM. / 引旨 --- p.5 / Chapter 第一節 --- 國畫寫生 / Chapter 一 --- 傳統國畫的寫生觀念 --- p.7 / Chapter 二 --- 寫生在二十世紀的時代意義 --- p.11 / Chapter 第二節 --- 香港山水寫生 / Chapter 一 --- 傳統蛻變 --- p.14 / Chapter 二 --- 中西融合 --- p.24 / 結語 --- p.32 / 附錄一參考資料 --- p.37 / 附錄二 圖版 --- p.40

Thesis (Ph. D.)--Princeton University, 1990. / Photocopy does not include plates. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 349-376).

published_or_final_version / Fine Arts / Doctoral / Doctor of Philosophy

published_or_final_version / abstract / Humanities / Master / Master of Philosophy

青綠山水在中國繪畫史上歷史悠久，可追溯到魏晉時期（220-420），甚至更早，可謂中國山水畫科之始。然而，在經歷隋唐（581-907）的成熟和兩宋（960-1279）的高峰後，隨著水墨繪畫的興起，文人趣味的改變，加上材料技術的失傳，青綠山水在元代開始衰落。儘管這樣，還是有人致力於青綠創作，理想世界成為作品中時常表達的憧憬。 / 本文包含四個部分：「緒論」闡述青綠山水的定義，並回顧傳統青綠山水的沿革。第一章梳理傳統青綠山水對理想世界的描繪，把它分成「隱逸」、「桃源」和「仙境」三類，從技法和主題來分析作品背後的意涵。第二章先以近代畫壇大師為例，指出他們對青綠山水創作的重視既在於表達理想世界，更在於對傳統技法的保存和延續。而現當代的青綠創作雖形式繁雜，但至少有五種面貌。第三章則闡述個人如何參考傳統技法和風格為創作元素，展現對傳統和當下的思考。文章期能對青綠山水這一古老畫科與理想世界的關係作一探討，並為當代青綠山水的創作再添註釋。 / Regarded as the origin of the genre of landscape painting, blue-and-green landscape painting has a long history in China, dating from the Wei and Jin periods (220-420) and even earlier. It was developed in the Sui and Tang dynasties (581-907) and was at its glorious status in the Song dynasty (960-1279). However, a change in the taste of the literati class and the loss of the related techniques and materials gave rise to monochrome ink painting, and as a result, the blue-and-green tradition declined in the Yuan dynasty (1271-1368). Despite the prevailing trend of Chinese landscape painting, there are still people who devote themselves to the blue-and-green style and use it to depict an ideal world. / This thesis consists of four sections. In the Introduction, I formulate a definition for blue-and-green landscape painting and trace its development in the narratives of Chinese art. Chapter One straightens out the depictions of an ideal world in the blue-and-green tradition, dividing them into ‘recluse’, ‘peach blossom spring’ and ‘immortal land’, and deciphers the meaning of the works regarding their techniques and subjects. Chapter Two studies the masters of the modern and contemporary art world and their landscape views. The value of blue-and-green landscape painting is still highly regarded not only because it is used to depict an ideal world, but also seen as a means to preserve and continue the traditional painting techniques. The contemporary blue-and-green landscape paintings come in a variety of styles and yet there are at least five categories from my observation. The final chapter is my reflection on the Chinese tradition and on the presence as I express these by making reference to the traditional techniques and styles. In studying the close relationship between the primitive genre of blue-and-green landscape painting and an ideal world, this thesis intends to offer a new perspective in painting blue-and-green landscape in a modern context. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 蔡德怡. / Parallel title from English abstract. / Thesis (M.Phil.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 84-90). / Abstracts in English and Chinese. / Cai Deyi.

I investigate the lived experience, the actuality of responding to land as a painter. This thesis consists of intensive investigations in the field and further exploration in the studio, resulting in a body of paintings and drawings which form the exhibition. The exegesis explores theories and ideas surrounding the work. The psychological engagement between people, land and art is of major concern. The choice of place selected to paint and the subject matter of rocks is discussed. Painters who work outside or have painted at the same site are considered for comparison with my working methods or concerns. The selective view is intimate. The format of the image and the composition are discussed in terms of proximity and space. Consideration of the psychology of engagement with land and landscape painting, either as an observer or painter, is a major component of the research. This examination of human psychological development illuminates the origin of our sense of self and how we relate to the land on which we live. The premise of this enquiry is the idea that art and culture could reflect human psychological development. Do art objects contribute to cultural understanding of the relationship of person to environment? A phenomenological perspective is incorporated in this exploration of the interrelation of vision, perception and attention. Can the reality of experience be transferred into the art work? The deep attention to the landscape of Australian Aboriginal people serves as a cultural reference for these investigations. This study concludes that sentient consciousness involving responsibility for land is an open, effective way of perceiving and depicting landscape. Responsibility for land can be encouraged by the development of cultural ideas based around landscape and can be the result of feeling connected to land. Art can contribute to changes in attitudes to land.

Thesis (Ph.D.)--Princeton University, 2005. / Includes bibliographical references (p. 282-286).