查询词典 artistic

Natural aesthetics ; ecological aesthesis ; artistic aesthesis ; artistic ecological natural aesthetics ; ecological existence

自然审美；生态审美；艺术审美；艺术生态自然审美；生态化存在

Artistic conception is the core of ancient Chinese artistic aesthesis. Its cultural source comes from the cultural spirit of 搃ntegration of the heaven and the people?based on the philosophy of the Confucianism, Taoism and Buddhism.

意境是中国古代文艺学美学的核心范畴，它的文化渊源是以儒、道、禅佛哲学为核心构成的&天人合一&的文化精神。

China has a long and venerable tradition of indulging its rulers' artistic endeavours – from the sensitive emperor aesthetes of the Song dynasty to the artistic ambitions of Madame Chiang Kai-Shek, whose husband lost China to the Communists in 1949 but who was always able to find buyers for her watercolours.

中国长久以来就拥有容许其统治者进行艺术尝试的威严传统——从感情细腻的宋朝君主的唯美主义，到宋美龄(Madame Chiang Kai-Shek)的艺术抱负。宋美龄丈夫在1949年被共产党打败，逃离了中国大陆，但她总能找到买家购买她的水彩画。

We express our respect to the Chinese traditional art style, and simultaneously orient the way of the Chinese modern arts. We would like to provide an honest platform for communications of the public artists, artistic collectors and other artistic institute and audients.

力图展示一个呈当现代中国艺术真正实力的版图，并以向传统艺术致敬的方式提示出艺术流变的确切方向，为艺术家、艺术收集者及机构、观众提供一个诚恳的交流平台。

They have a basic consistent view with the chromatology.But their artistic synesthesiare ability is in the preliminary or evolutive stage. The children's artistic synesthesiare from clour is blurry, unstable and instant. It has four reasons which are association , intuition, clours' brightness and children's tastes.

但这种能力处于初期或发展阶段，并且儿童艺术通感具有一定的模糊性、不稳定性和即时性的特点；儿童由色彩产生艺术通感的原因有四种：联想、直觉、色彩明度、个人喜好。

The impressionist painters corrected the theory of the traditional imitation. However, they walked into a wide champaign and set up the easels of their paintings before the artistic theses. On the contrary, since Kandinsky and Mondrian, the abstract painters have returned from the open country to the world of hearts, in order to have free will dominate artistic reality.

印象派画家修正了模仿论，但他们依然步入广阔的原野，把画架子置于主题前面；相反，自康定斯基和蒙德里安以来，抽象画家从原野回到心灵世界，让自由意志主导艺术本体。

Joseph Graves is the Artistic Director of Beijing Institute of World Theatre and Film which produces theatrical productions, promotes and sponsors artistic/cultural exchange between the professional theatre communities of China and those of other countries, as well as facilitates university theatre education across China's Mainland Over the last thirty years, Joseph has directed over fifty stage productions, including classical, contemporary, musical theatre and opera, in America, Great Britain and China, such productions include: Romeo and Juliet, Richard III,A Midsummer's Night Dream, The Alchemist, The Sea Gull, Three Sisters, Wild Duck and Fiddler on the Roof , at such notable venues as: The Welsh National Theatre, The Royal Court Theatre, The Haymarket Theatre, in Great Britain and numerous theatres throughout America as well as several in China.

北京大学外国戏剧与电影研究所艺术总监。约瑟夫已在美国、英国和中国导演过近五十部古今话剧、音乐剧和歌剧，包括《罗密欧与朱丽叶》，《理查三世》，《仲夏夜之梦》，《炼金术士》，《海鸥》，《三姊妹》，《野鸭》和《屋顶上的小提琴手》等，曾工作过的剧院有威尔士国家剧院，英国皇家剧院，海马克剧院等。

Agency characteristics: A landscape painting as a theme, combined with oil painting artistic skills, and innovation has its own unique style of painting in order to fine-featured, elegant Painting, what is taken from the natural scenery of the magnificent mountains and rivers, to reproduce in the screen, gives living in the enjoyment of artistic beauty, very popular, and well-known both at home and abroad.

本社特色：以国画风景为题材，结合油画艺术技巧，而创新出具有自己独特风格的油画，以清秀、优雅的画艺，取之于大自然那壮丽的山水景色，重现于画面上，给人以活生生艺术美的享受，深受人们喜爱，而闻名海内外。

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。

This paper mainly consists of five parts. The Introduction mainly defines the scope and relative concepts, and covers the present situation of research about it. The first chapter traces the Seeing-off-poetry's cultural origin, classifies its emotion contents and artistic achievements, and differentiates the flows from the base of comprehensive reorganization of the Seeing-off-poetry from pre-Qin to latter-Han Dynasty. The second chapter studies its variations about styles, artistic expressions, and gentries' spirit features. And in this part we also discuss the reasons of Four-word-see-off-poetry's booming and its peculiarities in Jin Dynasty. The third chapter demonstrates the influence on Seeing-off-poetry in the Early and Glorious Ages of Tang Dynasty such as the construction ways, poetry images and emotion styles. The Appendix enumerates all the 465 Seeing-off poems' tittles, authors, their birth and dead time, writing time and sources of quotation one by one, so that all of them can be checked to prepare the investigation.

论文主要有五个部分：&绪论&重在界定魏晋南北朝送别诗的研究范围和相关概念，并对其研究现状作一全面回顾；第一章&送别诗溯源&，在全面整理先秦两汉送别诗的基础上，对《诗经》以来送别诗的文化渊源、情感內容和艺术成就分类概说，辨明其源流；第二章&魏晋南北朝送别诗研究&，从诗体、艺术表达、士人精神风貌三个角度研究这一时期送别诗的演变，并探讨两晋时期四言送别诗的繁盛原因及其特点；第三章&对唐代送别诗影响&，从建构方式、诗歌意象、情感风格三个方面论证魏晋南北朝送别诗对初盛唐送别诗的影响；&附录&部分列出魏晋南北朝送别诗系年一览表，分朝代逐条列举魏晋南北朝465首送别诗的诗题、作者、生卒年、创作时间及其出处，以备查考。

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 。