查询词典 Chinese painting

Through traditional Chinese painting study in the period of University and oil painting art study in the period of graduate student for 3 years, I seriously compared and studied the colouration between traditional Chinese painting and oil painting, I think, no matter what tradition Chinese painting is or oil painting, colouration as an art form in Chinese-the West culture systems has many difference in different history stages, their painting concept is different.

通过在大学时的中国画学习和三年研究生阶段对油画技法及创作艺术的研习，对中西绘画的色彩观进行了认真的比较研究，我认为在色彩上无论是中国画还是油画，作为中西两种不同文化体系中的艺术形式，其色彩观念上有许多不同之处，在不同的绘画历史阶段，他们的绘画色彩观念也并不一样。

Some of his works are selected in Works of Famous Chinese Painters, Painting and Calligraphy Works of Modern Artists, Opusculum Paintings by Famous Chinese Artists, Paintings of Chinese in Unison, Painting and Calligraphy Works of Central and National Organizations, China's Gold Prize Winning Works, Painting and Calligraphy Works of CCTV, Paintings for the Fighting against SARS, Painting and Calligraphy Works for China ' s Cymbidium Festival, National Painting and Calligraphy Works for the Summer in Qinhuangdao, National Painting and Calligraphy Works Dedicated to the Yellow River, National Painting and Calligraphy Works for 21st Century and so on.

部分作品选入《中国画名家作品集》、《当代艺术家书画集》、《中国书画名家小品画集》、《中华儿女众志成城画集》、《中央国家机关书画家作品集》、《中国美术金彩奖作品集》、《中央电视台书画展作品集》、《翰墨丹青战非典作品集》、《中国兰花节书画作品集》、《秦皇岛之夏全国书画展作品集》、《黄河情全国书画展作品集》《二十一世纪全国书画展作品集》等。2001年举办个人画展。2002年与李春海、赵占东、王玉良、孙志钧等举办联展。2003年举办谷福海百扇诗书画展。2005年举办谷福海、郑绍敏、柴京津书画联展。

However, during New Trend '85, Gu Wenda differentiated himself from most artists of Chinese Painting of the time and showed his contemporary consciousness by experimenting on traditional ink painting materials and techniques. This brought out a new possibility for the contemporaneity of Chinese Painting. Since then, unremitting efforts have been made to "modernize" Chinese Painting through traditional abstract elements like ink-wash and Calligraphy. These efforts streamed into a new trend called "modern ink"(or "abstract ink","experimental ink") in late 1980's, though seemed not widely acknowledged for its resemblance to Abstract Expressionism of 1960's and 1970's American art. What is interesting is that while some artists are endeavoring to "westernize" their art, a new trend grouped as "Neo-literati Painting" appears with very traditional form and mood. This can be explained as a group of people's resistance to the reformation of traditional culture as well as their nostalgia to traditional ideals. However, this school tends to be artificial for the absence of the particular context, and the expression with traditional brushwork is also regionally limited. Of all the efforts of reformation, Chinese Painting that accordingly adopts the tradition heads the list because of the cultural identification of the big number of population and greater market as a result of the economic growth of China. Meanwhile, the immense conservative inertia of traditional Chinese culture can also be detected.

在"现代艺术"风起云涌的"85新潮"中，谷文达以传统水墨的材料和方法表达出不同于当时大多数中国画艺术家们这种文化心态和文化认知的现代意识，为中国画的现代性提供了一种方案；以水墨、还有选择中国传统书法的抽象因素等可能来进行现代性探索，一直是中国画连绵的努力，在80年代后期汇聚成"现代水墨"（又或曰"抽象水墨"、"实验水墨"），是中国画的又一流向，但是不是没有脱离60、70年代美国的"抽象主义"意义，反而还有了拾人牙慧之嫌，所以始终难以获得更大的认可和成功；很有趣的是，与此"西化"流向同时的，还有以非常传统的方式出现的"新文人画"潮流，或许可以把这看着是部分中国文化人在中国以西方为参照的新文化背景下对之的抵制，对传统理想的怀念和诉求，但由于已经失去了其语境和环境，"新文人画"显得娇情和造作，而且这种以非常地域化的传统笔墨语言来表现的方式也失去了更为普遍化的可能；反而是延续传统一脉的国画，由于有巨大的人数基础的本土文化的认同，在中国经济发展后有了更大的市场，所以还是蔚然为中国画的一大潮向，从这也可以看到中国文化承传的保守性的力量。

They indicated that the culture intension of traditional Chinese painting and the good points and function in Chinese knowledge education. The traditional Chinese painting pay attention to the traditional Chinese culture. It combimes firmly with poems and calligraphy and seal cutting. Chinese painting with other three greatest art Chinese zither, chesses, poems of Chinese classic four greatest arts combine extremely close. The traditional Chinese painting take a great part in knowledge education system .

第二，三章是全文的重点，主要论述了中国画的文化内涵以及中国画在知识教育体系中的优势以及作用，中国画重视与中国传统文化的结合，重视与诗文书印的结合，中国画还和中国古典四大艺术的其他三大艺术琴、棋、书结合得极为紧密，中国画教育是中国特色的知识教育体系的重要组成部分。

Go to two 00 three years drive successively the international artist unite meeting, Chinese people calligraphy and painting in the world the expert teach an art to promote the alliance, Belgium China calligraphy and painting art institute for research, the east of Macau international painting would, Singapore lion city calligraphy and painting the Zhuan engrave meeting, the Chinese culture expand center etc.16 international art think factory consociations give to "calligraphy and painting art in the world person","contemporary calligraphy and painting person", the glorious title of the certificate interleaf of"20 centuries international rt expert professor achievement big prize".

一九九五年至二00三年先后被国际美术家联合会、世界华人书画专家教授艺术促进联盟、比利时华夏书画艺术研究院、澳门东方国际画会、新加坡狮城书画篆刻会、中国文化拓展中心等十六家国际艺术研究机构联合授予"世界书画艺术名人"、"当代书画名人"、"20世纪国际艺术名家教授成就大奖"证书等的光荣称号。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城"2000中国古典音乐系列音乐会"委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城&2000中国古典音乐系列音乐会&委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

The poem phrase painting participate the formation of the park thing elephant view;Poem phrase painting to the body of park artistic conception now;The poem phrase painting openned widely content and outside of park artistic conception to postpone;Manifestation the region the scenery can't mean of person, thing or cordiality;The poem phrase, horizontal tablet, scrolls...etc. in the park literature delineate to exaggerate artistic conception;Poem phrase, horizontal tablet, scrolls, painting in the timespace idea the top the park art of artistic conception and park literature of mutually and dissimilitude;The park art establish the material entity of material painting to compare with poem phrase, on the form view more elephant,on the establish of artistic conception more of thorough;The expression of artistic conception of the park art painting to compare with poem phrase, on the timespace more direct, thorough.

诗词绘画参与园林物象景观的形成；诗词绘画对园林意境的体现；诗词绘画拓宽了园林意境的内涵和外延；显示当地景物所不能表示的人、物或情意；园林文学中的诗词、匾额、对联等勾勒渲染意境；在时空观念上园林艺术的意境和园林文学中诗词、匾额、对联、绘画的相通和相异；园林艺术的创设素材的物质实体性较诗词绘画在表观上更具象、在意境的创设上更加的深入；在时空上园林艺术意境的表达较诗词绘画更直接、深入。

This article is closely focus on the development and inditement of the classical realistic oil painting in China, it expatiate the concept and category of the " classical realistic oil painting in China", and make a brief review of the spread and sprout of the earlier period European classical oil painting in China, it also analyze the status which realistic painting predominate the whole condition of painting for a long period, it had an impact on the inditement of classic realistic oil painting in China over a long period of time.

本文紧紧围绕中国古典写实油画的发展与创作这一中心，阐述了"中国古典写实油画"的概念与范畴，并简要回顾欧洲古典油画在中国的早期传播、早期萌芽，分析了写实性绘画长期占主导地位的状况对中国古典写实油画产生的重要作用。

The author apply a new way to analyze calligraphy and painting market, which according to creativity or reprography of a calligraphy or painting work, not by the old way of cataloguing the market into Chinese painting, Chinese calligraphy, oil painting, board-craving painting etc.

发展书画市场就要研究书画市场，笔者一改国内对于书画市场研究分中国画、油画、版画等门类的方法，打破具体书画艺术门类的界限，对书画市场进行调查后，按照书画的创意性和是否可复制的特性进行分类、研究。

The shaping method of noncircular part and the tool holder's radial motion characters in noncircular turning process are discussed in detail in the thesis.

论文详细研究了非圆零件的成型方法和加工过程中刀架的径向运动规律。

I have not really liked him,I do not like his this kind of disposition.

我没有真的喜欢他，我不喜欢他的这种性格。