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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4843

    Title: 梁鼎銘(1898-1959)大陸時期西畫創作研究;A Research of Liang DingMing's Western Painting in the Period of MainLand China.
    Authors: 陳佩佩;Pei-Pei Chen
    Contributors: 藝術學研究所
    Keywords: 血刃圖;宣傳畫;環形全景;戰史畫;天化藝術會;月份牌;梁鼎銘;藝術與政治;propaganda;panorama;war painting;Tiang Hua Yi Shu Hui;calendar advertising pictures;Liang Dingming;Xiue Ren Tu;art and politics
    Date: 2006-05-05
    Issue Date: 2009-09-22 09:34:00 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 梁鼎銘(1898-1959)在中國北伐期間獻身革命事業並因繪有戰史畫而聞名。祖籍廣東卻出生於上海的梁氏,其西畫的訓練在二十世紀初西畫風氣鼎盛的上海獲得滋養並在軍中得以開展。本文搜羅梁氏的月份牌廣告和部分散佚的早期西畫作品,及其曾經主持「天化藝術會」等史料,回顧梁氏在大陸時期的西畫創作歷程與成果。從肖像畫、月份牌美人圖、人體寫生、宣傳漫畫、大型油畫等多樣類型的西畫創作,說明梁鼎銘的藝術發展與時代密不可分。梁鼎銘因緣際會地跨入政治的領域而得以創作「戰史畫」,其戰史畫有宣傳的實用性,同時,也保有梁氏創作美學的自主性。梁氏藝術在特殊的年代裡和政治達成密不可分的共生關係,但基於畫家對個人藝術理念的堅持,梁鼎銘的藝術與政治的實質關係又是疏離的。如今,梁鼎銘留傳的西畫作品《血刃圖》雖然未臻完美,但他融入時代的政治氛圍而堅持藝術創發的毅力與成果,證明他在中國西畫萌芽期間仍曾經受到重視,且製作了當時其他畫家都未曾嘗試的大型戰史畫。因此,在還原二十世紀初期西畫界的全貌時,梁鼎銘仍是個不可缺席的畫家。 Liang Dingming (1898-1959 ) joined the army during China's Northern Expedition, and was well-known for war painting. Liang’s ancestral home is in Guangdong , however, he was born in Shanghai. His western painting was nourished in Shanghai where of the atmosphere great prosperity of the western painting at the early 20th century , and was launched in the army. This thesis collects Liang’s calendar advertising pictures(Yue Fen Pai)and distributes his lost early western painting works partly, also the historical datas such as he presided over “ Tian Hua Yi Shu Hui ” once , to review the initiation and achievement of Liang’s western painting in the period of MainLand China. The western painting of the various type of painting from portraiture , calendar advertising pictures , sketching from life , propagata cartoon and war painting etc. were created , proves that Liang Dingming's artistic development was closely related to era. It happened that Liang strode into the field of politics, and had an opportunity to draw the war paintings. Liang Dingming's war painting was decorated with the practicability propagated, meanwhile , kept the independence with his personal aesthetics too. Reaches the dense integral intergrowth relation with politics during special times in Liang Dingming's painting , howerver , to the insistance of the personal artistic idea on the basis of the painter, Liang Dingming's essence relation between art and politics is estranged. Nowadays, the western painting work Xiue Ren Tu that Liang Dingming handed down to posterity is not perfect, but he incorporated the political atmospheres of the times, and adhered to the personal artistic ideal, proves that he was still once paid attention to by the Kuomindang at time when China's western painting sprouted , and had made the large-scale war paintings which other artists had not tried at that time to draw. So, while reducing the overall picture of the western painting circle of the early 20th century China, Liang Dingming is still a painter that can't be absent.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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