趣味高雅的

基本解释 (translations)

tasteful

与趣味高雅的相关的网络例句 [注：此内容来源于网络，仅供参考]

But people with multifarious tastes and pursuits and interests tend to desire congeniality in their partners, and to feel dissatisfied when they find that they have secured less of it than they might have obtained.

而品味、追求和趣味多样的人则要求伴侣也要品味高雅兴趣广泛，否则当他们感到没有获得本该获得的东西时，便会生出不满足感。

There has always been, however, a critical tension between Sontag's aesthetic ideas and popular culture as she never allows herself to follow the trend in a blind way. For example, she defined the "camp" style as a marginalized cultural phenomenon between high culture and avant-garde culture, which aimed at maintaining the "dandified" and "defamiliarized" aesthetic taste in avant-garde and popular arts, in order to counter "automation" and long-standing binary opposites of elite and popular cultures.

桑塔格的美学思想并非是随波逐流，而是与流行文化始终保持着一种批判性的张力，如她把"矫饰"风格定义为高雅艺术与前卫艺术之间的"边缘"文化现象，其作用是在前卫艺术中保持"花花公子"的审美趣味，在大众文化中凸显反常化的姿态以抗拒"自动化"，从而消弭精英文化与大众文化的长期二元对立的格局。

Her tastes are very refined.

她的趣味十分高雅。

Clash between them are the following: on the one hand, there is certain contradiction between "enlightenment" of elite culture and "secularly" of common culture; On the other hand, as to taste interest, there is also clash between elite culture's pursuit of elegance and common culture's pursuit of popularity.(3) It is possible for them to form combination, including three aspects: control of mainstream culture, relationship with each other coexisted and transformed, the development of modern media technology.

两者之间的冲突具体表现在：一方面，精英文化的&启蒙&性与大众文化的&世俗&性之间存在着一定的矛盾；另一方面，在审美趣味上，精英文化的高雅追求与大众文化的通俗追求也存在冲突。

This "importation" of the individual consciousness of the creator must however remain controlled. This is of the utmost importance, without constraints or measures we would fall either into the aesthetics of popular taste or into an escalation of elitist vocabulary that would weaken the language. If I myself no longer dare to use oil paints, to revisit or augment, it is due to its intrinsic overabundance of culture; having barely touched the palate, there is an immediate return to the domain of noble art. I would be too scared of creating some useless work while loosing the intensity afforded to a more direct language. Fluctuations in our cultural structure have resulted in vernacular embodying the new norm while I, in the domain of artistic language, have opted for the mode and techniques of traditional embroidery. A long while ago, during the time of the Yuan Ming Yuan artist village, I was convinced that I would run into problems if I applied myself to oil paint. I had produced next to nothing up until the day when, by coincidence, I noticed the many works of embroidery being sold at the entrance to the Summer Palace. I felt like I had finally found my mode of expression, my own personal artistic language. Due to the fact that embroidery belongs to the pre-industrial age, there is a "folkie" quality to it, rural and natural. This ill-defined modern world in which we live must also respond to the demands of "common people", the "lowly" and the "nouveau riche". In some sense, the re-appropriation of this folkloric technique was a necessity, much as it was during the time of the shift from "prose to spoken language" [1], an unavoidable consequence of social upheaval. It was not limited to a mere question of the stylistic signification of the semantic form. What embroidery embodies is a structural modification of society at its most basic level.

虽然它注入了艺术家的个人意识，但关键就是分寸感的把握，不然，或者伦为真的大众趣味，或者切入过多的经英语词汇，而使语言虚弱，就我而言，我不敢重操油画，或是改造扩充，就是由于它本身太文化了，一出手就高雅了，怕弄个不伦不类而失掉语言直接性的强度，文化结构的改变，艺术的俗语是一种趋势，从艺术语言上，我是用传统刺绣方式和手法的，早在圆明园画家村时，我几乎没有画出什么东西，油画肯定觉得使用起来有问题，在当时偶然在颐和园门前，看到很多刺绣的艺术品，一下子感到找到了方法，因为刺绣这种手段属于工业文明之前的东西，它有种土色和平民的感觉，这种也对应了时下的&平常人&、&小人物&、&暴发户&对现代化的消费趣味的追求，那种不伦不类的现代性，正好我的家乡唐山有一个很有名的刺绣厂，找师傅做作品可能更方便，有了这个想法之后，也得到朋友的鼓励，刺绣这一传统民间资源的再利用，在某种意义上说就像&白话文&始于当时社会巨大的转型出现的必然，它不单单是语言风格样式上的意义，它体现的是深层的社会文化结构改变的宣示。