Please use this identifier to cite or link to this item: http://hdl.handle.net/11455/73168
DC FieldValueLanguage
dc.contributor.advisor劉瑞寬zh_TW
dc.contributor.author劉瑞寬zh_TW
dc.contributor.other國立中興大學歷史學系zh_TW
dc.date1999-06zh_TW
dc.date.accessioned2014-06-12T08:34:46Z-
dc.date.available2014-06-12T08:34:46Z-
dc.identifier.urihttp://hdl.handle.net/11455/73168-
dc.description.abstractDuring the early days of the Republic of China, there is a debate on the innovation of Chinese painting in North painting circle due to a specific social context in which coexist both tradition and modernization. Among all the artists at that time, Len_US
dc.language.isozh_TWzh_TW
dc.publisher臺中市:國立中興大學歷史學系zh_TW
dc.relation興大歷史學報, Volume 9, Page(s) 67-101.zh_TW
dc.subject畫學zh_TW
dc.subject變革zh_TW
dc.subject延續zh_TW
dc.subject北方畫壇zh_TW
dc.title民初北方畫壇對國畫傳統之變革與延續zh_TW
dc.typeJournal Articlezh_TW
item.languageiso639-1zh_TW-
item.openairecristypehttp://purl.org/coar/resource_type/c_18cf-
item.cerifentitytypePublications-
item.openairetypeJournal Article-
item.fulltextno fulltext-
item.grantfulltextnone-
Appears in Collections:第09期
歷史學系所
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