西方

基本解释 (translations)

occident  ·  west  ·  westward  ·  Occident  ·  Occ

词组短语

the west · the Occident · the West

与西方相关的网络例句 [注：此内容来源于网络，仅供参考]

Farther, this chapter tries to hold a dialogue between the native and the West on a new level of Sino-western mutual understanding, thus, the chapter, with the basic idea of"comparison equals dialogue", launches a discussion focusing on four features: the widely-ranged introduction from anti-alienation spirit, modern humanitarianism and individualism in Western modern art to the anti-Confucianism in Chinese cultural tradition; the seek for the essence of Western modern abstractionist art in Chinese traditional intellectual art atmosphere; the decoding of Western modern non-rationalism based on native cultural tradition; and the discussion on relations between"The Harmony Between Heaven and Man"and Western postmodernism.

于是本章基于"比较即对话"的观念，围绕四个问题展开了讨论：从西方现代艺术的反异化精神、现代人道主义、个人主义说到中国的"反儒文化"传统；在中国传统文人艺术境界中寻找西方现代抽象艺术的真谛；对西方现代非理性主义进行基于本土文化传统的解读；探讨天人合一精神与西方后现代主义的联系。

Actually, if we want to seriously discuss about 'Modernity', we'll find out that this issue has an awkward situation in China. Let's forget about the sociological issues and let's simply start from visual arts. The old generation of artists who brought western arts to China, actually brought along western classic arts academism that is just small part of western classic art, and it's far of being exhaustive. Furthermore, what they brought along went through many changes due to the contact with revolutionary realism and local culture. The result of this process was what was called "Modern Art" in China. After having arrived in China, a part of the western artistic academicism became "Chinese Modern Arts" and this misplacement still exists. Perhaps it comes from a creative misreading, however whether it has the capability of becoming an independent system or not, still remains uncertain.

事实上，当我们想认真的讨论"现代性"时，就会发现这一问题在中国有着极其尴尬的处境，且不谈社会学角度，从视觉艺术这个很小的角度切入，将西方艺术带入中国本土的老一代艺术家们带来的其实是西方学院派的艺术，是西方古典艺术的尾巴或被革命现实主义化了的西方古典艺术，而被带入中国本土后却被称为"现代艺术"，直至今日当代艺术在西方的学理支撑到了中国本土变成了被断章取义的只言片语，这其间"错位"一直存在着，或许这是一种有创造性的误读，但误读的主体是否具有独立消化能力的系统值得商榷。

Early introduction of Western painting, has started over 300 years ago, the main channels: first, the missionaries brought a copy of Western painting; Second, the Western artists to China to teach Western painting techniques; Third, with the advertising and mass merchandise into our country's cigarette brands, brand cloth, cake box above picture of the ocean, photographic film set of King; the establishment of four new art education; Fifth, a limited number of students.

西方绘画传入很早，三百多年前已经开始，其主要渠道有：一是传教士带来的西方绘画的复制品；二是西方画家到中国传授西方绘画技法；三是随商品广告而传入我国的香烟牌子、布牌子、糕点盒子上面的洋画片、照相布景的景片；四是新兴办的美术教育；五是数量有限的留学生。

Westerner emphasize ethics value with ontology, epistemology relative meaning, it's the congenital defect of" value question" when western traditional philosophy thinking; Though among China traditional philosophies, originated places to embody, but, going with enervation trend of traditional culture and the impacts of western culture, especially, affected by Russian textbook of Marxism, we do not only realize the value natural instinct of China"s traditional philosophy as consciously, and philosophy is studied and comes from the west to think" value question" instead, even in order to coming and study people"s" value problem" western traditional the thinking frames. This is what cause contemporary people and historical origin of the double predicament of philosophy, also is the realism meaning of the animadvert on the present philosophy view.

西方人在与本体论、认识论相对的意义上强调伦理价值，这是西方传统哲学思考"价值问题"的先天性缺陷；虽然在中国传统哲学中，起始处就是体现为以"内求诸己"的方式把握人"生命之道"的价值性的思想，但由于近代以来伴随传统文化的衰弱趋势和西方文化的冲击，使我们一味效仿西方哲学的范式去研究哲学，尤其是受前苏联马克思主义教科书体系的影响，我们非但没有自觉意识到中国传统哲学的"价值问题"指向，反而认为对"价值问题"的哲学研究源于西方，甚至在被马克思终结了的西方传统形而上学的思维框架中来研究人的"价值问题"，这是造成当代人与哲学双重生存困境的历史根源，亦是当代哲学观批判的现实意义。

This has deeply influenced the western academia and news field, they judge China in many different ways and they have different emotions, China and the west need to get adapted to each other, which requires a long period full of resistance, adjustment and tensity.

自从向西方开放以来，中国一直被西方看作是一个令人困惑的民族，神秘和深奥超乎西方想象，这给西方的学术界和新闻界带来深刻影响，他们对中国的判断十分复杂，充满各种情绪，中国和西方需要彼此适应，这要有一个较长的时期，其间充满抗争、调整和紧张。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的"表现"观念的历史考察着手，归纳出西方现代"表现"观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在"表现"观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的"否定性物象"来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

The writer however never explains who constructed this problem and the perpetrators behind it...western ideas, western lifestyles, western eating habits, western industrial models, western agricultural models, western commerce model ...western culture, encroaching like cancer cells on China. It is a pity that even the West has already swallowed its own bitter fruit, and also knew what the problems were, yet, many have come to China with a drive of profit, practice cheatingly those business conducts which are even banned in their own countries. The situation is just like the illegal opium trade about 200 years ago. It has caused China a new poisonous addition.

但作者并没有说明制造这个问题的幕后黑手…西方的思维、西方的生活方式、西方的饮食习惯、西方的工业模式、西方的农业模式、西方的商业模式…西方文化如癌细胞似的在侵害著中国；可恨的是西方已偿到苦果，亦知问题所在，很多甚至在其国家被禁的行为，但在利益推使下都跑来中国，或哄或骗的在中国发展起来，有如二百年前的鸦片一样，令中国中毒上瘾。

Western scientists have for the most part been culture blind to the ways in which their science and they themselves have been occidentalized, and doubly blind to how the occidentalisms infecting science have been shaped by the West's role in world political economy, and the political economy of the West 'itself'.

西方的科学家已经在绝大部分程度上对科学以及他们自己西方化的方式中的文化视而不见，更是双重地对受到西方论感染的科学是如何被西方在世界政治经济体系中的角色，以及西方自身的政治经济角色所塑造，视而不见。

The Disseminating of western aesthetical trend in China originated from the spreading of culture by the priests; developed by Chinese intellectuals' initiative translation of western psychology, educational psychology and philosophy; thrived by Chinese intellectuals' great translation of the outstanding aesthetes' ideal and wrote aesthetical books by themselves.

西方美学思想在近现代中国的译介始于西方传教士的向中国传播西方文化的活动，发展于中国知识者对西方心理学、教育学、哲学思想的主动译介，兴盛于中国知识界大量而系统地译介著名西方美学家的美学思想，以及中国美学家写出的一系列自成理论体系的美学论著。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的&表现&观念的历史考察着手，归纳出西方现代&表现&观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在&表现&观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的&否定性物象&来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

与西方相关的网络解释 [注：此内容来源于网络，仅供参考]

occidental carnelian：西方红玉髓

occidental amethyst 西方紫水晶 | occidental carnelian 西方红玉髓 | occidental cat's eye 西方猫眼石

occidental chalcedony：西方玉髓

occidental cat's eye 西方猫眼石 | occidental chalcedony 西方玉髓 | occidental diamond 西方钻石

Hesperian：西方的/西方国家的/西方人

Hertz /赫兹/ | Hesperian /西方的/西方国家的/西方人/ | Hesperus /黄昏星/金星/

in the West：在西方,在西方国家

in the sun 在阳光下 7B – 6 | in the West 在西方,在西方国家 7A – 3 | in the wild 在野外 8A – 4

occidental topaz：西方黄宝石

occidental pearl 西方珍珠 | occidental topaz 西方黄宝石 | occidental turquoise 骨绿松石,齿松石,西方绿松石 同bone turquoise

occidental topaz：西方黄玉

"西方钻石","Occidental Diamond" | "西方黄玉","Occidental Topaz" | "西方绿松石;骨绿松石","Occidental Turquoise"

occidental diamond：西方钻石

occidental chalcedony 西方玉髓 | occidental diamond 西方钻石 | occidental emerald 西方祖母绿

occidental amethyst：西方紫水晶

occidental agate 西方玛瑙 | occidental amethyst 西方紫水晶 | occidental carnelian 西方红玉髓

Occidentalism：西方主义

Said,1935-2003)在他著名的>Orientalism中所揭示的西方殖民主义及其文化对东方的想象、建构以及刻板印象(stereotype)一样,东方对西方或洋鬼子的想象,也具有"西方主义"(Occidentalism)倾向.

West：西方

"西方"(West)和"其他地区'(Rest)的对偶概念出自亨廷顿(1993,1994). 西方世界到处都有"东方"研究及其机构. 巴勒斯坦裔美国学者爱德华赛义德在1978年发表的著作<<东方学冲对这种西方意识形态的表现做了鞭辟入里的出色分析.