Thesis--New York University. / Includes bibliographical references (leaves [7]-[22] (3rd group)).

Thesis (M.A.)--Guo li Taiwan da xue. / Reproduced from typescript. Includes bibliographical references (p. 139-157).

Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2006. / Includes bibliographical references (leaves 331-350). Also available in electronic version.

This study is directed at the problem of an apparent contradiction within the theory of Chinese painting, between insistence on the importance of individuality in painting on the one hand, by Chinese critics, and on the other their veneration of traditional ways and means, subjects, styles, and the criteria used in judging excellence. Since this dichotomy is clearly embodied in the single most important document within the theory of Chinese painting, Hsieh Ho's Six Principles (the First and Sixth in particular), I have structured the first three parts of the thesis around an evaluation of Hsieh Ho's reputation, and the literal meaning of the First and Sixth principles, respectively. The method is essentially that of literary criticism, tempered, hopefully, by a familiarity with many of the great masterpieces of Chinese painting. In the last two sections I moved from an evaluation of the values and customs of the social class which supported the art of painting, back to the theory itself. Within the scholar-official class, as a social entity, a similar apparent contradiction exists between the importance placed on individual freedom and talent in living, and the recognized authority of fixed tradition. Since this dichotomy is embodied within the apparently conflicting ways of Confucianism and Taoism, I have built my argument around these two socio-religious traditions. The method used is one of socio-philosophical analysis and interpretation. From a consideration of Confucianism and Taoism a set of relatively a-historical constants emerges: for Confucianism a moral imperative and the practice of calligraphy; for Taoism a metaphysical imperative and the practice of meditation. In the great literary and artistic tradition of China, a fifth constant exists, shared by the Confucian and the Taoist mind alike. My formulation of these constants and evaluation of their inter-relationships, and interdependence, is almost completely philosophical--the intuitive and deductive construction of a resolution which seems to adequately explain all of the important issues. My actual presupposition that the conflict (between the individual talent and tradition) is illusory comes, foremost, from my sense of complete unity in the painting, and, secondly, from the fact that the Chinese themselves were never particularly aware of any such threat to the production of masterpieces of uncompromised spiritual significance. In the "Introduction" I suggest that the illusion of conflict or compromising conflict within the field-theory of Chinese painting is, very likely, based on a defensive Western cultural-egotism, and the superstition that the Orient has always negated the individual spirit while we in the new West alone know its true value. Once we emphathize with the Chinese scholar-painters, the illusion melts away. The conclusion I reach is that the apparently opposing and conflicting elements are in fact complimentary and supportive, within the overall unity of the Chinese spirit. However, a certain irony must be admitted in that an a-historical, or universal level of being is a necessary postulate in order to consumate the resolution. That the Chinese themselves were convinced of the reality of such a metaphysical level, I have substantiated with quotations; and it is on this level that the result of Taoist meditation emerges as the supporting basis of the Confucian moral commitment to the essential goodness of man. In a similar way the Confucian practice of calligraphy provides the essential technical equipment of the painter, and a ready-made audience of experts in brush work, while the final criteria for judging the excellence of painting is closely related to the experience of the Taoist mystic. Moralizing on the Confucian side of the coin takes the form of transmission of ideal types and subjects in painting, while the Taoist commitment to spontaneous use of the brush, on the other side, leads toward the unconscious lodging of individual moral character--and, conceivably, all within the same painting. Individual talent finds its freedom to live in expression primarily through the function of negative capability, while tradition, the authority of the sages, in strictly governing the artist's positive invention ironically preserves the ideal conditions under which the painter's negative capability may be activated. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

方鳳婷. / "2009年8月". / "2009 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 64-69). / Abstracts in Chinese and English. / Fang Fengting. / 鳴謝 / 論文提要 --- p.i / 圖版目錄 --- p.iv / 引言 --- p.1 / Chapter 第一章 --- 博古畫緣起 --- p.5 / Chapter 一. --- 歷史中的「博古」 --- p.5 / Chapter 二. --- 全形拓技術與拓片入畫的傳統 --- p.8 / Chapter 三. --- 混合槪念´ؤ´ؤ「博古」與「清供」 --- p.11 / Chapter 第二章 --- 鄦叀鼎´ؤ´ؤ個案硏究 --- p.17 / Chapter 一. --- 焦山寺與古鼎 --- p.18 / Chapter 二. --- 全形拓片的其他來源 --- p.23 / Chapter 三. --- 鄦叀鼎的意涵及畫家筆下的鄦叀鼎 --- p.26 / Chapter 第三章 --- 磚甓博古畫 --- p.31 / Chapter 一. --- 以古磚作「清供」 --- p.32 / Chapter 二. --- 磚甓文字的角色 --- p.35 / Chapter 三. --- 改製古物以爲今用 --- p.40 / Chapter 第四章 --- 博古畫的變奏 --- p.44 / Chapter ´ؤ. --- 黃士陵的博古畫 --- p.44 / Chapter 二. --- 以筆墨仿拓片效果 --- p.50 / 結語 --- p.55 / 附錄一鄦叀鼎全形拓片 --- p.60 / 附錄二陶陵鼎全形拓片 --- p.62 / 參考書目 --- p.64 / 圖版 第一章圖版 --- p.70 / 第二章圖版 --- p.82 / 第三章圖版 --- p.99 / 第四章圖版 --- p.112 / 結語圖版 --- p.134

published_or_final_version / Chinese Historical Studies / Master / Master of Arts

馬桂順. / Thesis (M.A.)--香港中文大學, 1991. / Reprint of manuscript. / Includes bibliographical references (leaves 444-459). / Ma Guishun. / Thesis (M.A.)--Xianggang Zhong wen da xue, 1991. / Chapter 一 --- 「金陵八家」的稱謂問題 --- p.1 / Chapter 二 --- 「金陵八家」的時代背景 --- p.23 / Chapter 三 --- 龔賢： / Chapter (1) --- 龔賢的生平 --- p.39 / Chapter (2) --- 龔賢的繪畫淵源 --- p.63 / Chapter (i) --- 當代畫家的影響 --- p.68 / Chapter (ii) --- 前代畫家的影響　 --- p.118 / Chapter (iii) --- 師心與師自然 --- p.152 / Chapter (iv) --- 總結：龔賢對創作的要求及畫風特點 --- p.182 / Chapter 四 --- 樊圻： / Chapter (1) --- 樊圻的生平 --- p.234 / Chapter (2) --- 樊圻的繪畫淵源 --- p.236 / Chapter 五 --- 吳宏： / Chapter (1) --- 吳宏的生平 --- p.276 / Chapter (2) --- 吳宏的繪畫淵源　 --- p.287 / Chapter 六 --- 高岑： / Chapter (1) --- 高岑的生平 --- p.312 / Chapter (2) --- 高岑的繪畫淵源 --- p.324 / Chapter 七 --- 葉欣： / Chapter (1) --- 葉欣的生平 --- p.347 / Chapter (2) --- 葉欣的繪畫淵源　 --- p.357 / Chapter 八 --- 鄒喆： / Chapter (1) --- 鄒喆的生平 --- p.382 / Chapter (2) --- 鄒喆的繪畫淵源 --- p.388 / Chapter 九 --- 胡慥： / Chapter (1) --- 胡慥的生平 --- p.407 / Chapter (2) --- 胡慥的繪畫淵源 --- p.412 / Chapter 十 --- 謝蓀： / Chapter (1) --- 謝蓀的生平 --- p.424 / Chapter (2) --- 謝蓀的繪畫淵源 --- p.428 / Chapter 十一 --- 結語 --- p.435 / 參考書目 --- p.444

吳秀華. / "2004年8月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 116-127). / 附中英文摘要. / "2004 nian 8 yue". / Wu Xiuhua. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 116-127). / Fu Zhong Ying wen zhai yao. / 論文提要 --- p.i´ؤiii / 緒論 --- p.1´ؤ13 / Chapter 第一章 --- 滿族形象與意識的建構 --- p.14 一41 / Chapter 第一節 --- 滿族源流 --- p.14-18 / Chapter 第二節 --- 滿族特色及意識的定義 --- p.18´ؤ20 / Chapter 一. --- 何謂滿族特色 --- p.18-19 / Chapter 二. --- 何謂滿族意識 --- p.19一20 / Chapter 第三節 --- 滿族形象 --- p.20´ؤ41 / Chapter 一. --- 髮式、首飾及服飾 --- p.20-23 / Chapter 二. --- 民俗 --- p.23-24 / Chapter 三. --- 語言文字 --- p.24´ؤ25 / Chapter 四. --- 宗教信仰 --- p.25-28 / Chapter 1. --- 祖先崇拜´ؤ´ؤ滿洲“三仙女´ح始祖神話 --- p.25´ؤ26 / Chapter 2. --- 圖騰崇拜´ؤ´ؤ鴉鵲敬奉習俗 --- p.26´ؤ27 / Chapter 3. --- 原始宗教信仰´ؤ´ؤ薩滿教 --- p.27´ؤ28 / Chapter 五. --- 民族性格 --- p.28-30 / Chapter 1. --- 基本含義 --- p.28´ؤ29 / Chapter 2. --- 性格特徵´ؤ´ؤ驍勇¯‘ة武、海納百川 --- p.29´ؤ30 / Chapter 第四節 --- 滿族意識的建構 --- p.30-41 / Chapter 一. --- 八旗制度的形成及特色 --- p.31-32 / Chapter 二. --- 維護滿族意識的政策 --- p.33´ؤ34 / Chapter 第二章 --- 滿族特色®t畫中的體現 --- p.42´ؤ65 / Chapter 第一節 --- 題材內容 --- p.42´ؤ45 / Chapter ´ؤ. --- 一.塞外山川、花鳥走獸 --- p.42-43 / Chapter 二. --- 人物事件、風俗 --- p.43-45 / Chapter 第二節 --- 宗教思想 --- p.45´ؤ54 / Chapter 一. --- 原始宗教 --- p.45´ؤ49 / Chapter 二. --- 儒道釋 --- p.49一54 / Chapter 第三節 --- 滿族元素 --- p.54´ؤ57 / Chapter 一. --- 服飾 --- p.54´ؤ55 / Chapter 二. --- 款識 --- p.55一56 / Chapter 三. --- 民族性格 --- p.56-57 / Chapter 第四節 --- 審美意趣 --- p.58-61 / Chapter 第三章 --- 滿族意識在繪畫中的體現 --- p.66-104 / Chapter 第一節 --- 畫家身分 --- p.67-68 / Chapter 一. --- 旗人 --- p.68-75 / Chapter 1. --- 滿洲八旗 --- p.68-73 / Chapter 2. --- 蒙古八旗 --- p.73´ؤ74 / Chapter 3. --- 漢軍八旗 --- p.74-75 / Chapter 二. --- 非旗人 --- p.76 / Chapter 1. --- 宮廷畫師 --- p.76´ؤ78 / Chapter 2. --- 詞臣畫家 --- p.78´ؤ80 / Chapter 第二節 --- 紀實畫 --- p.80´ؤ88 / Chapter 一. --- 記事 --- p.81 / Chapter 1. --- 出巡迴鑾 --- p.81-82 / Chapter 2. --- 戰爭 --- p.82´ؤ83 / Chapter 3. --- 祭祀 --- p.83 / Chapter 4. --- 筵宴 --- p.83´ؤ84 / Chapter 5. --- 典禮 --- p.84 / Chapter 6. --- 其他 --- p.84 / Chapter 二. --- 記人 --- p.84 / Chapter 1. --- 御容畫 --- p.85 / Chapter 2. --- 皇子公主像 --- p.85 / Chapter 3. --- 后妃像 --- p.85´ؤ87 / Chapter 4. --- 文武功臣像 --- p.87 / Chapter 5. --- 太監內官像 --- p.87 / Chapter 第三節 --- 繪畫功能 --- p.89´ؤ95 / Chapter 一. --- 歌功頌德 --- p.89-90 / Chapter 二. --- 教化 --- p.91一94 / Chapter 三. --- 裝飾宮廷或自娛 --- p.94 / Chapter 四. --- 保存 --- p.94-95 / 結語 --- p.105´ؤ107 / 附錄 附錄一清代宮廷繪畫的相關展覽及著作一覽表 --- p.108´ؤ111 / 附錄二滿族源流表 --- p.112 / 附錄三西方學者在滿族史硏究上不同觀點和硏究成果簡表 --- p.113-115 / 參考書目 --- p.116´ؤ127 / 圖版目錄 --- p.128´ؤ133 / 圖版 --- p.1´ؤ104 / 緒論圖版 / 第一章圖版 / 第二章圖版 / 第三章圖版 / 第四章圖版 / 結語圖版

賴筠婷. / "2011年9月". / "2011 nian 9 yue". / Thesis (M.F.A.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 28-33). / Abstracts in Chinese and English. / Lai Yunting. / 論文摘要 --- p.i / 鳴謝 --- p.iii / 目錄 --- p.iv / 引言 --- p.1 / Chapter 第一章 --- 家庭題材的中國人物畫 / Chapter 甲、 --- 1911-1949年的中國畫壇狀況 --- p.2-4 / Chapter 乙、 --- 1949-1965年的相關作品 --- p.5-6 / Chapter 丙、 --- 1966-1976年的相關作品 --- p.7 / Chapter 丁、 --- 1977-2009年的相關作品 --- p.8-11 / Chapter 第二章 --- 家庭題材人物畫內容分析 / Chapter 甲、 --- 人物的組合 --- p.12-13 / Chapter 乙、 --- 人物的活動 --- p.14-17 / Chapter 丙、 --- 作品表現手法 --- p.18-19 / Chapter 第三章 --- 總結 --- p.20-21 / Chapter 附錄I --- 個人創作探討 --- p.22-23 / Chapter 附錄II --- 畢業作品圖錄 --- p.24-27 / 參考書目 --- p.28-31 / 版圖目錄 --- p.32-33 / 版圖 --- p.34-44

Thesis (Ph.D.)--Stanford University, 1996. / Adviser: Richard Vinograd. Includes bibliographical references.