Outline of fine arts professional papers

Outline of fine arts professional papers

The outline of the paper should check the position and function of each part in the paper as a whole. See if the proportion of each part is appropriate and the length of the space is appropriate. The following is the outline of my collected art papers to share with you.

Chapter one: Overview of the thesis.

Thesis title: Research on aesthetic feeling of coarse pottery materials.

Modern rough pottery art is a branch of ceramic art, and it is a new art form derived from ceramic art. The biggest difference between modern rough pottery art and traditional pottery art lies in getting rid of the shackles of the practicality of traditional pottery art, denying the absoluteness of traditional crafts, and breaking the standard that traditional aesthetic habits have long dominated the evaluation of works. There are many ethnic minority villages near kilns in Jilin Province, which are rich in ethnic cultural heritage and artistic resources. Multi-ethnic cultural forms provide us with rich creative inspiration. The artistic characteristics of rough pottery in cylinder kiln are rough, bold and wild, and the characteristics of its materials are in line with the performance of this artistic form. The aesthetic feeling of coarse pottery materials is to achieve different performance effects through different proportions of clay, so that the texture of their works presents different textures. Is it simple, primitive or rough? Thus presenting a kind of aesthetic feeling different from traditional ceramics. The art of rough pottery has natural attributes, it uses the most convenient, oldest and most primitive materials of human beings, and the natural and accidental characteristics of kiln firing make rough pottery have some primitive mysterious characteristics. Today, with the strengthening of the consciousness of artistic return, coarse pottery is becoming more and more valuable in today's society with its unique affinity and profound historical and traditional charm.

Abstract 3-4

Abstract 4-7

Chapter 1 Introduction 7-8

The reason of topic 7 in the first section

Section II Research Object and Scope 7-8

Chapter II Overview of Modern Ceramic Art 8- 10

Section 1 Research Status of Modern Ceramic Art Abroad 8-9

Section 2 Research Status of Modern Ceramic Art in China 9- 10

Chapter III Embodiment of Aesthetic Feeling of Coarse Pottery Materials in Jilin 10- 15

Section 1 Modeling Features and Decorative Language of Jilin Coarse Pottery 10- 12

First, the modeling characteristics of Jilin coarse pottery 10- 1 1

Second, the material expression of Jilin coarse pottery is 1 1- 12.

In the second quarter, the characteristics and performance effects of Jilin coarse pottery materials 12- 15

I. Characteristics of Coarse Pottery Materials in Jilin 12- 13

Second, the performance effect of Jilin coarse pottery materials 13- 15

Conclusion 15- 16

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Chapter two: Overview of the thesis.

Topic: Mohism evolution caused by the development of flower-and-bird painting media in Ming and Qing Dynasties

As a traditional artistic expression, China's painting art has its own characteristics in its inheritance, and the media, as an important carrier of Chinese painting, has also experienced a long development process. The development and change of media in different periods will lead to the changes of pen and ink techniques, painting styles and aesthetic tastes in Chinese painting in different periods. Starting with the evolution of paper, pigments and other media, this paper focuses on the evolution of painting expression language in Ming and Qing Dynasties. Through the analysis of the development of pen and ink language in this period, it reflects the close relationship between painting style and media evolution. The full text is divided into three parts. The first part expounds the influence of media on the formation of painting style and aesthetic taste. Combined with silk painting, rock painting, painted pottery pattern, bronze decoration, portrait masonry and other paintings and artistic styles in different periods, it shows that the change of media will change the artistic characteristics in different periods. The second part, through the analysis of flower-and-bird painting in Ming and Qing Dynasties, proves the influence of the change of media on painting style and aesthetic taste. The third part, combined with the transformation and development of traditional media and artistic techniques, puts forward my own views on the utilization and development of existing Chinese painting media. At present, it is very important to pay attention to the development of media for the innovation and breakthrough of Chinese painting.

Abstract 4-5

Abstract 5-7

Introduction 7-8

Chapter 1 The Influence of Painting Media on Artistic Style 8- 16

Section 1 Evolution of Media 8- 10

I media as a carrier 8-9

Second, the color of Chinese painting pigments 9

Three. The evolution of ink 9- 10

Section 2 Artistic Expression Characteristics of Different Media 10- 16

I. Rock paintings 10- 1 1

Second, the pottery pattern 1 1- 12

Three. Bronze decoration 12- 13

Four. Silk painting 13- 14

V. Han Stone Relief 14- 16

Chapter II The Development of Media and the Change of Ink and Wash Interest Flower and Bird Painting 16-27

Section 1 Interest in Paper and Pen 16- 18

The influence of the application of plant pigments on painting style in the second quarter 18-20

I. Application of Plant Pigments: 18-20

Second, what are the colors in the flower-and-bird paintings in the Qing Dynasty? Qing? With what? Light? 20

The third section analyzes flower-and-bird painting to see its pen and ink techniques 20-27

I. Flower and Bird Painting in Ming Dynasty 20-25

Second, the Qing dynasty flower-and-bird painting 25-27 pages

Chapter III My Opinions on the Development of Modern Chinese Painting Media 27-28

Conclusions 28-29

References 29-30

Confirmation 30

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Chapter III: Overview of the thesis.

Thesis title: Analysis of modeling features and decorative semantics of Manchu folk paper-cuts.

As a primitive art, Manchu folk paper-cutting not only has the characteristics of various regions, but also maintains the characteristics of primitive culture. It is a simple and free ideographic form created by our ancestors to meet the needs of spiritual life after production, labor and social activities. This paper reveals the decorative semantic features of paper-cutting through the investigation of Manchu paper-cutting art forms. Manchu paper-cutting has its unique symbol system and image charm. These symbols come from the people and have universal social recognition. The thread should be firm and elastic; Deep and round; Rigorous and dexterous, vigorous and childish. Decentralized perspective is adopted in composition, which breaks the limitation of time, space and proportion, highlights the principles of frontality, symmetry and composition integrity, and unifies the picture with the formal rules of primary and secondary images, symmetry and balance. There are many kinds of Manchu folk paper-cuts, with rich forms of expression, and image modeling is its main decorative form.

Abstract 4-5

Abstract 5-7

Introduction 7-8

The first chapter is the modeling characteristics of Manchu folk paper-cutting 8- 13.

Section 1 Historical and Cultural Origins of Manchu Paper-cutting 8- 10

Section 2 Modeling Features of Manchu Paper-cutting 10- 13

I. Image Modeling 10

Second, the unique symbol system 10- 12

Iii. Delicate lines and vigorous techniques 12

Fourth, subjective image, balanced and rigorous composition 12- 13

Chapter II Decorative Semantics of Manchu Folk Paper-cutting 13-22

Section 1 Image Modeling 13- 16

1. Exaggerated modeling 14- 15

Second, the spatial dislocation 15- 16

Image composition in the second quarter 16- 18

I. Central Composition 16- 17

Second, the tension in the structure 17- 18

Section 3 Image Color 18-22

First, the ancient concept of five colors 18- 19

Second, the symbol and understanding of color 19-20

Iii. Image color of plane decoration 20-2 1

4. Simple and quaint image color 2 1-22

Conclusions 22-23

References 23-25

P.S. 25

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