Thesis (Ph. D.)--University of California, Berkeley. 1976. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 207-223).

Thesis (Ph. D.)--Princeton University, 1984. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 303-320).

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

As the most important city in the Far East after the Opium War in terms of physical capital and western civilization importation, Shanghai, with an unprecedented openness, created a hybrid environment of domestic and foreign immigrants. Furthermore, its location advantage at the meeting point of the South-North major transportation routes and within the most economically developed regions of Jiangsu and Zhejiang produced an unparalleled social tolerance and cultural context, thus providing new room for revival and innovation of then declining figure paintings. / As the most popular Shanghai-based artist in the 20th century, Ren Bonian's life spanned Late Qing's most critical 50 years that were full of external challenges. Under then Shanghai's complex historical and cultural background, his figure paintings, especially women story paintings, demonstrated the significance of multi-referential. His women paintings were so welcomed also have other reasons: such as the influences from other Shanghai artists of women paintings; his reference to and evolution of classical image in his paintings; his absorption and creation of folk image; and his understanding and interpretation of Japanese image. Ren Bonian's rewriting and re-reading of women's images in his diversified women paintings showed the abundance of women-related topics in late Qing. / This thesis is to show that a unique path of women paintings in the development of figure paintings can be reflected in the work of Ren Bonian, the most creative figure-painting artist in 19th century. Moreover, via the artist himself and the vertical and horizontal axis constructed from his figure paintings, I investigate the reference to and digging of women paintings, the supply of the most active nutrient for innovations by figure paintings of women-related topics to Shanghai arts, and the borrowing and conversion of women image, consumption representation and visual desire in the diversified old and new, Chinese and foreign culture. I hope this thesis can fill the gap of study on Women paintings in Ren Bonian's figure paintings, and playa role in the promotion of research on Qing's women paintings. / 周越. / Adviser: Harold Kar-Leung Mok. / Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 199-208). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Zhou Yue.

石家豪. / "2001年6月" / 論文 (藝術碩士)--香港中文大學, 2001. / 參考文獻 (leaves 16-17) / 附中英文摘要. / "2001 nian 6 yue" / Shi Jiahao. / Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves 16-17) / Fu Zhong Ying wen zhai yao. / 圖片 --- p.i -vi / 序言 --- p.1 / Chapter 上部 --- 古典與復古 --- p.2 / Chapter 中部 --- 藝術性與職業性 --- p.6 / Chapter 下部 --- 現代化與後現代 --- p.10 / 結語 --- p.14 / 註釋 --- p.15 / 參考書目 --- p.16 / 附錄：藝術碩士畢業展（研究生：石家豪）作品

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

張惠文. / "2011年2月". / "2011 nian 2 yue". / Thesis (M.F.A.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 64-68). / Abstract in Chinese and English. / Zhang Huiwen. / Chapter (一） --- 引 言 --- p.1 / Chapter (二） --- 古代中國動物畫 --- p.4 / Chapter 2.1 --- 被觀賞者與觀賞者的關係 --- p.4 / Chapter 2.2 --- 動物作爲人的陪伴和工具 --- p.13 / Chapter 2.3 --- 寄情寓意的媒介 --- p.16 / Chapter (三） --- 二十世紀至當代中國動物畫 --- p.23 / Chapter 3.1 --- 承接傳統，在技巧上創新 --- p.23 / Chapter 3.2 --- 政治愛國的投射 --- p.29 / Chapter 3.3 --- 當代畫家的動物世界 / Chapter i. --- 人類與歷史文明、自然關係的失落 --- p.37 / Chapter ii. --- 個人欲望投射 --- p.40 / Chapter iii. --- 保育的對象 --- p.43 / Chapter iv. --- 寵物的關係 --- p.46 / Chapter (四） --- 結論 --- p.48 / Chapter (五) --- 個人作品分析 / Chapter 5.1 --- 動物家庭系列 --- p.49 / Chapter 5.2 --- 《皮草秀》系列 --- p.51 / Chapter 5.3 --- 《京城棉花糖》系列 --- p.54 / Chapter 5.4 --- 《給我一杯水》系列 --- p.60 / Chapter 5.5 --- 反思和展望 --- p.63 / 參考書目 --- p.64

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

Thesis (Ph. D.)--New York University, 1991. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 528-555).

Thesis (Ph. D.)--Yale University, 1989. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 510-533).