published_or_final_version / Fine Arts / Doctoral / Doctor of Philosophy

published_or_final_version / Fine Arts / Doctoral / Doctor of Philosophy

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

楊晶. / "2004年6月". / 論文(藝術碩士)--香港中文大學, 2004. / 參考文獻 (leaves 32-34). / 附中英文摘要. / "2004 nian 6 yue". / Yang Jing. / Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 32-34). / Fu Zhong Ying wen zhai yao. / 前言 --- p.1-2 / Chapter 第一章 --- 歷史中的色彩回顧 --- p.3-11 / Chapter (一) --- 開創時期 --- p.3-6 / Chapter (二) --- 發展時期 --- p.6-9 / Chapter (三) --- 衰落時期 --- p.10-11 / Chapter 第二章 --- 二十世紀中的「創新」課題 --- p.12-18 / Chapter (一) --- 以古開今 --- p.13-14 / Chapter (二) --- 中外融合 --- p.15-18 / Chapter 第三章 --- 色彩創新與自我探索 --- p.19-31 / Chapter (一) --- 用色觀念 --- p.20-25 / Chapter (二) --- 著色技巧 --- p.25-27 / Chapter (三) --- 顏料運用 --- p.27-31 / 後記 --- p.32 / 附錄一參考書目 / 附錄二圖版

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

published_or_final_version / Fine Arts / Master / Master of Philosophy

本文環繞1892至1996中國歷史背景，以「晚期風格」概念為樞紐，藉以探討當代水墨畫家朱屺瞻（1892-1996）晚期創作的形成原因和特色，並提出「遊戲身心觀」以思考現今水墨繪畫藝術的歷史轉變。 / 朱氏早年專攻油畫，曾東渡日本學習，晚年以水墨為主要創作媒介，文革時專注臨摹古畫，其後風格大變，是為「衰年變法」。本文分析形成朱屺瞻晚期繪畫的歷史與人文因素，風格分期與特色，對比上海畫派的風格流變，探討朱氏作品的繼承與出新之處，並指出朱氏《癖斯居畫譚》與現代畫論的關係，綜觀朱氏繪畫的藝術史意義與人文價值。 / 引言部分縷述中國書畫藝術古代文獻中的「風格」意涵，提出個人風格與時代風格結合研究的方法，重視在歷史事實和創作者思想發展歷程中探尋「畫意」的根源，並說明「晚期風格」的定義。第一章陳述朱屺瞻早年學習油畫和水墨繪畫的經驗，及至日本進修所受到同儕影響，藉以探討留日藝術界對畫史問題的認識狀況。另外，朱屺瞻藉由早期書畫活動建立起國族意識，此意識在其晚年繪畫中得以深化。第二章分析五、十年代中朱屺瞻回應繪畫政治化與去政治化的問題，以及在寫生中參考古人技法，並運用不同的社會題材抒發個人的感思。第三章提出「勞動性」的概念分析六、七十年代中朱屺瞻如何運用老人身體顛覆英雄化的肖像繪畫，並在六法論與個人風格的繪畫研究史上，進一步深化繪畫理論的思考，為《癖斯居畫譚》的背景。另外，本文從風格上分析朱屺瞻在寫生活動中發展出運用對比色、黃藍綠合色呼應楊升沒骨山水傳統、重視日光與季節的表現，及運用文學題材。在七十年代時臨習古畫奠下晚年變法的根基，其後探索哲理題材，使格調一新。八十年代的新藝術環境底下，圖與史有了新的定義，而朱屺瞻以悼念國族的方式來抒寫戰時感懷。他於晚年通過與社會各階層的互動，確立了海派畫家的地位。本文探討賀壽活動在中國水墨繪畫中特殊文化意義。第四章評說朱氏與海派繪畫的關係與繼承，並分析朱氏的書法學習過程，紀錄他與收藏家的交流，曾到訪的美術館等文化活動。其於美國、英國、香港及新加坡等地的事蹟更促進中西繪畫的融合及國族間的文化互動，可見他在水墨繪畫「現代化」過程中的貢獻。第五章分析朱氏畫論《癖斯居畫譚》的緣起、內容和評價，審視他於晚年對「風格」概念的總結，從其理論中提出「遊戲身心觀」來分析當今水墨繪畫的精神內涵。 / 由「西畫」走向「中畫」，朱氏的創作歷程，反映八十年代，中國新藝術誕生的轉捩點，藝術家對「真實」的重構是其中一大命題。朱氏晚年創作，承載着傳統中哪些藝術觀？怎樣從現實環境中發掘內心的「真實」，開創水墨繪畫的新道路？本文嘗試縷述分析。 / By examining the historical background from 1892 to 1996 in China, this paper adopts the concept of "later style" to discuss the artistic development and characteristics of the pictures created by the contemporary painter Zhu Qizhan. The author also proposes the idea of "playfulness in body and mind" as a vision to reflect the historical change of modern ink paintings. / Zhu Qizhan studied oil painting in Japan in his early years and returned to ink painting in his old age. During the period of Cultural Revolution, he put a lot of effort on analyzing and studying traditional paintings. He successfully established his personal style after 1980s. This paper describes the historical and cultural aspects on Zhu’s late year paintings. With comparison to various creation periods, the problem of how Zhu succeeded and broke through traditional painting techniques, the reflection of stylistic change of the Shanghai School and the relationship between Zhu’s painting theory with the modern one are being elaborated. The author tried to give an account for Zhu’s contributions to the Chinese art history and cultural value. / The preface tries to explain "style" in terms of ancient texts of Chinese painting and calligraphy, and proposes to combine the analytic method of individual style and period style. It stresses on tracing the historical fact and the mind development of the artist in order to define "later period style". Chapter one describes Zhu’s experience on learning oil painting and ink painting in his early years, and the influence of peer during his study in Japan so as to explore the common concerns and general problems on painting history at that time. Besides, Zhu Qizhan established the concept of nationality during his early writing and drawing activities and reinforced this concept in his late years paintings. Chapter two analyzes Zhu’s response to the politicalization and depoliticalization during 50s and 60s period. He interested in the techniques from the ancient paintings, and applied them to various social themes in order to express his personal feeling. Chapter three proposes the concept of "labour" to explain how Zhu Qizhan used the body of old man to redefine heroism in figure paintings. He developed his own painting theory on the basis of theory of six principles of painting and the research of painting history of individual style. The publication of Pi Si Ju Hua Tan summarized his thoughts. Moreover, this article analyses the aspects of using contrast color, the combination of yellow, blue and green colors as the echo of Yang Sheng’s "mo-ku" landscape tradition, the emphasis of light and season and the use of literal theme in Zhu Qizhan’s life paintings. During the 1970s, Zhu built up a firm foundation for late year’s reform by imitating ancient paintings, after that, he tried to develop a new style through his exploration based on philosophical themes. In the 1980s, the new definition of picture and history arose, Zhu Qizhan expressed his grieve of war period and mourn for the nation under the new artistic environment. He interacted with different social stratum and established his position as a Shanghai School painter. This article discussed the cultural significance of birth celebration activities in the circle of Chinese ink painters. Chapter four comments on the relationship and succession of Zhu and Shanghai School by analyzing the learning process of Zhu’s calligraphy and recording his interaction with collectors and the experiences gained from visiting museums. His visit to America, Britain, Hong Kong and Singapore accelerated the integration of Eastern and Western paintings and the cultural interaction between different nations. This was part of his contribution during the process of "modernization" of ink painting. Chapter Five analyses the background of Zhu’s painting theory Pi Si Ju Hua Tan and introduces its content and comment. It summarizes Zhu’s viewpoint on "style" in his late years, and uses the concept of "playfulness of body and mind" to analyze the possible spirit inside contemporary ink paintings. / Zhu’s creation experience reflects the turning point of Chinese art in the 80s. The struggle of Western and Eastern art has never been stopped. The definition of "reality" is one of the prominent propositions. In Zhu’s later paintings, what are the elements constituting the traditional art value? How did he express the "reality" in his mind and engaging in the new path of ink paintings? This paper tries to solve these problems by focusing on the modern historical context. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 戴淑芳 = Study of Zhu Qizhan's (1892-1996) late years paintings / Tai Suk Fong. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 293-332). / Abstracts also in English. / Dai Shufang = Study of Zhu Qizhan's (1892-1996) late years paintings / Tai Suk Fong.

黃綺琪. / "2013年9月". / "2013 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Huang Qiqi.

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

陳蓓. / "2002年12月". / 論文(哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 256-273). / 附中英文摘要. / "2002 nian 12 yue". / Chen Bei. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 256-273). / Fu Zhong Ying wen zhai yao. / 論文提要 --- p.i / 圖版目錄 --- p.vii / 緒論 --- p.1 / Chapter 第一章 --- 生平及藝術活動 --- p.8 / Chapter 第一節 --- 蘇州時期（1894-1924) --- p.8 / Chapter 一、 --- 家學淵源 --- p.8 / Chapter 二、 --- 從私塾到學堂 --- p.12 / Chapter 三、 --- 望族結合 --- p.14 / Chapter 第二節 --- 藝壇地位的確立(1924-1949) --- p.15 / Chapter 一、 --- 藝術活動與交遊 --- p.16 / Chapter 二、 --- 收藏與鑑定 --- p.21 / Chapter 三、 --- 藝術教育 --- p.24 / Chapter 第三節 --- 藝壇地位的下沉（1949-1968 ) --- p.28 / Chapter 一、 --- 文藝方針 --- p.28 / Chapter 二、 --- 藝術活動 --- p.33 / Chapter 三、 --- 政治運動 --- p.38 / Chapter 第二章 --- 藝術歷程´ؤ´ؤ山水畫分期 --- p.54 / Chapter 第一期 --- 兼收並蓄（一九一零年代至二十年代中期） --- p.55 / Chapter 一、 --- 清末民初藝術潮流 --- p.55 / Chapter 二、 --- 師承江南山水畫傳統 --- p.58 / Chapter 第二期 --- 追綜正統（二十年代中期至三十年代中期） --- p.60 / Chapter 一、 --- 追宗董其昌 --- p.62 / Chapter 二、 --- 上溯元四家 --- p.63 / Chapter 第三期 --- 南北融合（三十年代中期至五十年代） --- p.65 / Chapter 一、 --- 初探北宗 --- p.66 / Chapter 二、 --- 南北結合、借古開今 --- p.67 / Chapter 第四期 --- 政治藝術（五十年代以後） --- p.70 / Chapter 一、 --- 集古的延續 --- p.71 / Chapter 二、 --- “標準´ح藝術 --- p.72 / Chapter 第三章 --- 吳湖帆山水畫的特色 --- p.80 / Chapter 第一節 --- 筆筆入古 --- p.81 / Chapter 一、 --- 山水畫“仿古´ح的傳統 --- p.81 / Chapter 二、 --- 母題的運用 --- p.83 / Chapter 三、 --- 筆法的結合 --- p.85 / Chapter 第二節 --- 色籠墨染 --- p.89 / Chapter 一、 --- 設色山水的傳統 --- p.89 / Chapter 一、 --- 重現唐宋青綠 --- p.90 / Chapter 二、 --- 色墨交融 --- p.92 / Chapter 第三節 --- 煙雲供養 --- p.95 / Chapter 一、 --- 傳統山水畫中的煙雲 --- p.95 / Chapter 二、 --- 煙雲山水 --- p.98 / Chapter 第四節 --- 詞意山水 --- p.100 / Chapter 一、 --- 詞與畫 --- p.100 / Chapter 二、 --- 詞意山水 --- p.101 / Chapter 第四章 --- 緊守傳統´ؤ´ؤ吳湖帆的畫學思想 --- p.112 / Chapter 第一節 --- 傳統文化的守護 --- p.112 / Chapter 一、 --- 傳統文化的守護 --- p.112 / Chapter 二、 --- 傳統藝術的守護 --- p.116 / Chapter 第二節 --- 吳湖帆的畫學思想 --- p.120 / Chapter 一、 --- 畫史觀 --- p.121 / Chapter i. --- 追本溯源 --- p.121 / Chapter ii. --- 正統觀念 --- p.124 / Chapter iii. --- 南北宗論 --- p.125 / Chapter iv. --- 文人畫觀 --- p.128 / Chapter 二、 --- 創作觀 --- p.132 / Chapter i. --- 工具、功夫 --- p.132 / Chapter ii. --- 緊守系統 --- p.134 / Chapter iii. --- 筆精墨妙 --- p.136 / Chapter 第三節 --- 對時代藝術潮流的回應 --- p.138 / Chapter 一、 --- 檢視傳統的利弊 --- p.139 / Chapter 二、 --- 當下畫壇的評論 --- p.141 / Chapter 三、 --- 現代中國畫的路向 --- p.143 / 結語 --- p.150 / 附錄一吳湖帆生平年表 --- p.159 / 附錄二吳湖帆山水畫作品著錄 --- p.179 / 參考書目 --- p.256 / 圖版第一章圖版 --- p.274 / 第二章圖版 --- p.280 / 第三章圖版 --- p.312 / 結語圖版 --- p.339