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Over the year most of his time is dedicated to round about 12 artistic projects with these ensembles. Besides he regularly works with the Chamber Philharmonic Bremen, the String Academy Bozen and the World Youth Choir of Jeunesses Musicales.

这些年来，他除将大半心力投注於旗下团体的十二项演艺计划上之外，亦定期与布莱梅室内爱乐、波查诺弦乐协会以及青少年音乐协会所属的世界青少年合唱团计划等团体合作。

Short telefilm contains TV works of non-new and message and non- pure literature and art in 30- minute length, with artistic characteristics of obvious column , socialization , era , and comprehension etc.

电视短片涵盖了长度在30分钟之内的非新闻消息、非纯文艺的电视作品，具有明显的栏目化、社会化、时代性、综合性等艺术特色。

It is the center of this article that how to put the costumes art of china's ethnic groups to good use in the modern character design. The writer expounds and proves the inevitability and necessary of the combination of external works and china's costumes art of traditional ethnic groups, according to which the writer chose several characters from famous classical novel ?The Creation Of Chinese Gods and recreated them with interrelated knowledge. These recreative examples and: Nvwa Sudaji nine-tailed Fox Denchanyu and Longji princess. Their vivid creative images and design prove the superiority of the two combinations. Meanwhile, some good relative suggestions have been put forward and a theory has been concluded in which modern character design is "skeleton", the comprehensive artistic display of the costumes art of china's ethnic groups is "blood and flesh".In addition, the topic is discussed according to higher practical field. Through the tentative analyses of productive economy and social development in china, the writer applies the costumes art of china's ethnic groups to modern character design, which will be good for the development and improvement of products' economic results, the improve and perfect of educational system, the standard of continuing cultural tradition and the resist of foreign culture invasion.

本文围绕中国传统民族服饰艺术在角色设计中的运用这一论题进行论述和研究，通过国外角色作品对中国传统民族服饰艺术的运用，论证了两者结合的必然性和必要性，并以服饰是角色灵魂设计的重点作为切入点，结合了融会贯通的中国传统民族服饰艺术知识进行了对名著《封神演义》人物：女娲、苏妲己、九尾狐、邓蝉玉及龙吉公主的实例创作，以生动的形象和实际设计的演练论证了两者结合的优越性，同时，也为创作提出了相关的建议，并提出了以现代角色设计为&骨骼&，以中国传统民族服饰的综合艺术表现为&血肉&的结论。

Part two: Main body, expounds the development of the new period fiction"s introduction from, reference to and fusion with western modernistic fiction, of the breakthrough of the original aesthetic norms and of conducting the "modernity" of the new research of fictional style. The development is as follows: beginning from exploring the artistic forms and skills, it self-examines the history, searches for the meaning of life, and calls for the realization of certain "personality", i.e. spiritual freedom; then, adopts the spirits of modernistic literature, searches for and sublates our national traditional culture; cares for the modern people"s specific mental states and makes inquiries for the meaning of life; then, revolutionizes the textual narration, reveals the doubt about the man"s subject exposed in the theme of works, describes directly the problems of the man"s subject itself, inquires the reality and possibility of the subject"s being, and uncovers the complexity of the modernistic central proposition: man"s anxiety and his essence.

本论部分，论述新时期中国文坛对西方现代主义借鉴、吸纳、融合，突破原有的审美规范，进行小说文体新实验的发展历程——即从艺术形式、艺术技巧的探索开始起步，反思历史、探索&人&的意义；在对民族传统文化的寻找与扬弃中，重建民族的&文化&主体，以走向现代世界；关注现代人的精神状况，揭示社会的贫乏、专横、庸俗、虚伪和窒息的一面，寻求生命的意义与价值；通过文本的叙述革命，揭示作品对人这一主体的怀疑，在小说中直接描写&人&本身所存在的问题，以及人自身本质的复杂性；对城市化、世俗化生活的窥望与期冀，对其作品中多元化的欲望进行透视，揭示当今社会中人的现代主义的虚无与后现代式的焦虑，指出其书写的局限与精神提升；论析女性作家&个人化&躯体写作的意义、特色以及女性作家个人化写作的精神困境。

The presentation of photographic works cultural connotation determines its cultural status and artistic level ,which thus remain constant objectives of scalars and photographers in their study and pursuit.

摄影作品的文化内涵决定着一幅作品的文化层次和艺术品位。

Of course, since the 1990s, some artists in the Chinese painting field have given prominence to the use of no-born technique in the portrait and landscape paintings. But in Liuming's works, the use of no-born serves for the artistic realm, expressing the desire of retuning to the matrix.

当然，上世纪九十年代以来，中国画领域的一些艺术家突出了没骨的技法在人物画、山水画中的运用，但在刘鸣的作品中，没骨法的运用是为艺术境界服务的，表达的是回归母体欲望。

Of course, it must be admitted that the works on display at this Exhibition is not to confirm Mao Zedong Era as well as the art and lives of this Era, metaphored in the theme "Mountain Flowers in Full Bloom", but to provide a new orientation to deeply introspect the Era through re-representation of them in an artistic way. In my opinion, such new orientation is significant and meaningful because it opposes to the prevailing cynical standpoint of art that scoffs at and gets rid of that Era.

当然，必须看到的是，在本次展览中，&山花烂漫&所隐喻的毛泽东时代及其&革命现实主义和革命浪漫主义&相结合的艺术与生活，并不是这次的参展作品要去认定的一个事实，而是通过它们的再度呈现，为人们深刻反思那个&山花烂漫&的时代提供一个新的方向，而这个方向之所以重要和有意义，在我看来，正在于它与当下流行的那种以玩世不恭的艺术立场，来调侃和消解那个时代的方向是相对立的。

It is worth mentioning that artists will destroy all the works on display with violence at the end this exhibition.To be the result of thinking status and artistic creation in a certain period which converted to another art form of existence.工具tool,140x180cm,oil on canvas,2008

值得一提的是，展览的最后艺术家要以暴力的方式将展出的作品全部销毁，为这次展览杀青，给自己在一个阶段的思考状态和艺术创作一个不是结局的结局，从而转换成另一种艺术形态存在。

Years ago, Li-lei was a member of the art movement for Shanghai 'corner of print', and his print series "Sun Birds" and his oil painting series "Moon Snake" short after while have the obvious expressionism style, meanwhile, and the aesthetic core and artistic structure of these works have the affectionately poetic implication.

早在整整20年前，他作为上海&版画角&艺术运动的成员之一，在他创作的《太阳鸟》版画系列，以及在其后不久创作的《月亮蛇》油画系列中，在风格样式上已带有较为明显的表现主义意味，而且其审美内核及意趣营构，也已蕴藉着脉脉含情的诗意。

There are stories about Confucianism, Buddhism, Taoism, myths and legends; there are water birds, sea water, mountains, pine and plum, Buddha, beautiful ladies, dragon and tiger ...... After reading all the works, you will feel the painter is particularly drawn to the image of the metaphysical level. Yes. Mr. Xingjie's purpose of art is very concerned about the level of the spirit; according to the theory of Poetry in Song and Ming Dynasties, he has reached the "artistic" state and got rid of the fetters of "real quality".

这里有儒释道及神话传说故事，有水鸟、海水、峰峦、松梅、佛像、仕女、龙虎……，看过所有作品，你会感觉到绘者特别钟爱形而上的形象，不错，兴杰先生的艺术旨趣十分关注精神层面的东西，如果借用宋明词学的理论来说，他已达到&空灵&的境界而摆脱了&质实&的羁绊。

Lugalbanda was a god and shepherd king of Uruk where he was worshipped for over a thousand years.

Lugalbanda 是神和被崇拜了一千年多 Uruk古埃及喜克索王朝国王。

I am coming just now,' and went on perfuming himself with Hunut, then he came and sat.

我来只是现在，'歼灭战perfuming自己与胡努特，那麼，他来到和SAT 。