查询词典 Chinese painting

Thirdly,the paper compares and analyses their identities and differences and finds out their crossing points,on the basis of analysing the rules of separate form beauty of the Chinese painting methodicalness and plane composition. And at last ,the paper spreads the change and unchanged in the creation of Chinese painting methodicalness and relates the reference value of plane composition from modern Chinese painting methodicalness .

第三部分是整篇论文的重点，在对中国画章法及平面构成各自形式美规律探索的基础上，通过对具体作品的分析找出中国画章法与平面构成在指导绘画创作上有异曲同工之妙，之后阐述两者虽有相通点，但在文化理念等方面存在诸多不同，不能简单替代，最后展开对中国画创作中常与变以及平面构成对当代国画章法的借鉴价值的论述。

The question Feng Bin and his postgraduates raise in Morphosis is how to push forward the development of Chinese Painting and open up the new possibilities of it in contemporary times. As a result, they face up to the challenge or risk that their art be questioned if it is still Chinese Painting as they introduce to their works the visual experience of images for the purpose of deviating from the established forms, methods and concepts of Chinese Painting since the 20th century.

冯斌及其研究生的"图变"所提出的问题，所面临的挑战和危险主要表现在：引进图像的视觉感受的目的，就是为了要偏离20世纪以来已经建构起来的中国画的形态和方式，以及因此而形成的中国画的观念，所以，他们的艺术就会受到人们的质疑：它还属于中国画吗？

Qian Songyan\'s artworks of important places of revolution paved a new path for Chinese landscape painting, and influenced Chinese landscape painting scene in the mid-and-late 20th century. His work and artistic journey reflected the relationship between art and its time, and greatly impacted the studies on contemporary Chinese Painting.

钱松喦关于革命圣地主题的创作为新中国山水画的发展，开辟了一条新的道路，同时也影响了20世纪中后期中国山水画的面貌，其具体作品和艺术经历印证了艺术与时代的关系，对于研究当代中国画的发展也具有特别的意义。

Group Exhibitions: in 2006, Process and Expression, The Scale of Picture Determines Attitude: the 1st 5x7 Photo Biennale, Direction, Mixture of Clear and Obscure: Chinese Contemporary Arts Exhibition; in 2005, Fan Shou Wei Yun Fu Shou Wei Yu: the 1st Exhibition of Beijing TS1 Contemporary Art Center, Skin of City—Research on the Possibility of Contemporary City Image (Tap Seac Gallery of Macao, Shenzhen Art Museum), Transparent Box, Untitled—Self-Project:'05 China Pingyao International Photograph Exhibition, Ten Points and Ten Colors (Soka Contemporary Space, Beijing), Tian An Men (Amsterdam Photo Museum, Holland), The 2nd Chengdu Biennale, Tomorrow without Glancing Back: Chinese Contemporary Art Exhibition (Kuandu Museum of Fine Arts, Taipei); in 2004, Meet by Chance, One to One: Their Sight (Chambers Fine Arts, New York, USA), Chinese Photo and Image Fine Arts, Times of Imitating Images; in 2003, Distance—Contemporary Art Invitational Exhibition of Guangdong Museum of Art (Guangdong Museum of Art, Guangdong), Left Hand and Right Hand: China and Germany Contemporary Art United Exhibition (Beijing 798 Space), Expression and Condition, Chinese Photo and Image Fine Arts (Art Museum of Beijing Normal University), Blue Sky without Defense; in 2002, Speak to Oneself, Chinese New Photo and Image Exhibition, Bridge: Contemporary Art Invitational Exhibition, Legend-Fabrication-Copy, Phenomenon, Chuang Ku Exhibition (Shanghai Dongdaming Chuang Ku Exhibition); in 2001, Knowledge is Power; in 1999, Contemporary Chinese Art Exhibition; in 1998, Surprise to Existence, In the City: Opening Oneself; in 1997, Chinese Art General Exhibition: Contemporary Oil Painting Exhibition.

联 展：2006年Process And Expression。&画幅决定态度&首届5x7照相双年展方向、虚虚实实—中国当代艺术展；2005年&翻手为云，覆手为雨&—北京 TS1当代艺术中心第一回展、城市的皮肤—当代都市影像的可能性研究（澳门塔石艺文馆、深圳美术馆）、透明的盒子北京SOHOU现代城）无题—自我投射2005中国平遥国际摄影大展、士点十色、天安门（荷兰阿姆斯特丹摄影博物馆）、第二届成都双年展、明日，不回眸—中国当代艺术展；2004年邂逅、&一对一&他们的目光、中国影像绘画、拟像时代；2003年&左手与右手&中、德当代艺术联展、表情与状态、中国影像绘画展、距离·广东美术馆当代艺术邀请展、蓝天不设防；2002年自言自语、中国新影像展、桥·当代艺术邀请展、演义·捏造·复制、现象、创库展；2001年知识就是力量；1999年当代中国艺术展；1998年对于存在的惊奇、在城市中—开放的自我；1997年中国艺术大展·当代油画艺术展·当代油画艺术展。

As to his painting contribution, accomplishment and influence, I have made three conclusions according to my research results and various allegations from others. 1. He actively promoted art of the aquarelle; raised the position of aquarelle in the painting circle.2. He insisted on taking local subject as the core of painting, therefore, he has left the precious historical records of the native scenery .3. He actively endeavored to hold painting exhibitions, encouraged the international cultural interchange and expanded the vision of the painters and the public at southern Taiwan.

有关其贡献、成就及影响，笔者就各家所论及个人研究所得提出三项论点：一为积极推展水彩画艺术，提高水彩画於画坛的地位；二为坚持以乡土题材为其创作主轴，不仅引领出一股乡土写实风，更为逐渐消逝的乡土景物留下珍贵的历史纪录；三为积极推展画会活动，促进国际文化交流，扩展南台湾画家及一般民众的视野。

During the recent years, I have given up the secular factors in painting, and have emphasized the complanation and essential characteristics of painting. I pursue the perpetuity of painting and the enhancing of spiritual life and I try my best to give painting a more powerful and spiritual strength.

我在近年的艺术追求中，摒弃了绘画的世俗化因素，强调了绘画的平面感和某种绘画的本质特征，我寻求绘画的永恒性以及内心的升华感，并且使绘画努力具有更强的精神力量。

Their common vision is to release painting from the obsession of the virtual 3D dimension created by perspective and from the dependence on formula with an aim to clarify the identity of contemporary art of painting. Their effort helps painting restore to the painting process and to the effective presentation of simple and unique material and idiosyncracy.

他们有着一个共同的目标就是想通过自己的角度来澄清当代绘画艺术的本体论问题，使绘画摆脱对图式的依赖和借助透视法制造虚拟的三维空间的执迷，使绘画回到了绘画的"过程"之中、回到对朴素而又极具个性的材料特质的有效表现之中。

Therefore, what I try to concentrate on is producing works, based on traditional Korean subject matters, India ink painting techniques and the five primary colors mentioned above, that contain both the flexible spiritual depth and dynamic structural scales of India ink painting, and is acquiring the aesthetic grandeur of the traditional styles of painting and what a modern painting should be.

因此，我试图在我的创作中，以韩国的传统题材为基础，将东方的水墨画技巧和上述5种主要色彩融合，使得作品即包含水墨画灵动深广的气韵，又富有传统绘画的华丽风格，还包含现代绘画应有的审美元素。

Gui-Chuan Dou plastic painting is a completely hand-made arts and crafts, its production process is relatively complicated, there are roughly the following links: Work design, painting at the end of an inscription painted →→ pressure flat painting, bean moth treatment → selection → put beans beans →→ paste bean grinders, painting Accessories → Accessories → paste cut accessories, thrush eyes beard, mount.

妫川豆塑画是一种完全手工制作的工艺品，其制作过程比较复杂，大致有以下几个环节：作品设计，画底画→题词→压平底画，豆子防蛀处理→选豆→摆豆→磨豆→贴豆，画配饰→剪配饰→贴配饰，画眉眼胡须，装裱。

The performance of film images can be divided into the performance of static painting lattice and the PHI phenomenon of painting lattices.As for the research on the performance of static painting lattice, it should make reference of the relationship between the sun, and the main body of paternity, the main background of the relations between viewers and painting, the main characters include the size, shape, color, sense of space and so on.

在对静态画格的表现力研究时，根据画框与主体的关系，主体与陪体的关系、主体与背景的关系以及观众与画格的关系，主体本身的性质：大小、形状、色彩、空间感等因素，分别对画格的构图的表现力、景别的表现力、角度的表现力进行研究，把运动镜头整合为两个大的类别，分析了这两类运动镜头的表现性；最后，建立一个模型来论证，一部影片的表现性是在大量的具有表现力画格感应出一个表现力场的过程中完成的。

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。