查询词典 concept art

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。

Bathroom with ground glass, body art is no bathroom glass is not closed . pornographic film lay in a bathtub with shower. Human art is a bathtub with water but no more- Shuai gg at the side of pornographic films eat rice, Art is born of human sausage, pornographic movies were filmed in China, Japanese art is the human body's film is pornographic films within three minutes really not in months. Human art is less than three minutes stripped of clothes, is a film pornographic films, only one female, the human body is an art they have some film actress, is a film pornographic movies Lane women exposed to less than 2 times. the human body is an art film Lane women exposed more than three times. pornographic film has been adapted to the garden machine-jet wet clothes. the human body art h 哥 sas been the kitchen faucet-jet wet clothes. is a screen pornographic films, only one screen, Human art is a screen with four pictures, that is pornographic films for Health Services received a bath mm tip, Art is human health services do not accept tips, using mm body as a tip. pornographic films and everyone can see the stitches, Art is human and everyone can have silenced the pornographic film

洗澡间用毛玻璃的，是人体艺术洗澡间没玻璃也没有关门的，是色情电影躺在浴缸里洗澡的，是人体艺术浴缸里没水却多了个帅 gg 在旁边的，是色情电影吃米饭的，是人体艺术吃香蕉香肠的，是色情电影中国人拍的，是人体艺术日本人拍的，是色情电影三分钟内没有动真个的，是人体艺术三分钟不到衣服就脱光了的，是色情电影一个影片里只有一个女主角的，是人体艺术一个影片里有几个女主角的，是色情电影一个影片里女人裸露2次以下的，是人体艺术一个影片里女人裸露3次以上的，是色情电影被花园里的撒水机喷湿衣服的，是人体艺术被厨房里的水龙头喷湿衣服的，是色情电影一个屏幕里只有一个画面的，是人体艺术一个屏幕里有四个画面的，那是色情电影服务生找洗澡 mm 收小费的，那是人体艺术服务生不收小费，用 mm 身体当小费的，是色情电影和大家一起看还可以哈哈大笑的，是人体艺术和大家一起看却鸦雀无声的，是色情电影

Documents of 2007 China Contemporary Art Documentary Exhibition》,《Prism——Seven New Artists Joint Exhibition of China Academy of Art》,《Form·Spirit》,《Art Life》,《The First China Modern Academies Watercolor Art Exhibition》,《Zhejiang Tide In The Moonlight- 2005 Zhejiang Oil Painting Exhibition》,《0 Distance》,《Foundation Art Education Models of Ten Fine Arts Academies in China》,《Form Experience》,《Academy Journey——2007 Graduation Exhibition of Oil Painting Department, China Academy of Art》,《The Art Work Collectanea of the Foundation Department, China academy of art》,《The Art Work Collectanea of China Academy of Art》,《Form and Structure》,《Paradigm》,《Super Structuralism》, and 《Starting From 0》, etc..

中国当代艺术文献展文献》《多棱镜——中国美院新锐油画七人展》《形。意》《艺术界》《首届中国当代学院水彩艺术展》《月印浙潮2005浙江油画大展》《零距离》《全国十所高等美术院校造型基础教学范例》《体验形态》《学院旅途2007中国美术学院油画系毕业作品集》《中国美术学院造型基础部作品精选》《中国美术学院留校作品选》《论形体与结构》《完全范本》《超级结构主义》《从零开始》等。

After the antique, Wolfflin had gone through the cover review of the characteristic of classicality art and the Baroco art, come into the research of the whole reappearance art, taken the entire occident art phylogeny, especially the reappearance art of enjoin in the period of Revival of Learning into a uniform concept system. The opposite style drawing of classicality art and the Baroco art is the basic of this concept system.

沃尔夫林在认识到这个问题的基础上，由现代科学思想的发展和现代艺术运动的历史背景为他创造的独特可能性出发，经过对古典艺术、巴洛克艺术特征的全面考察，进而进入整个再现艺术历史的研究，将整个西方艺术发展史，尤其是文艺复兴以降的再现艺术发展史，纳入一个统一的概念体系。

Liu Jin is one of the young and active artists now. His latest art experiments are all used his body as medium. His opuses aspire after feelings of releasing for using his body with pleasant sensation of being presence in the foreland of art experiments. Although his opuses contain some behavior art, I slide over to say that his art exploration is only the behavior art, it doesn't mean that behavior art is the wicked way for artists to get high reputation and flubdub, also it doesn't mean that the actual behavior art is target of public criticism in the government art criticism circles, we can say that because of many people just pay their attention to the Chinese meaning of "behavior". For this reason, it is similar to the performing art.

刘瑾是目前较活跃的年轻艺术家之一，他最近的艺术实验均以自己的身体为媒介，他的作品追求身体在执行作品的过程中的释放感和在场于艺术实验前沿的亢奋，尽管他的作品包含了许多的行为艺术因素，但我还是回避了以行为艺术来简单化的指称他的艺术探索，这既非是行为艺术在某些人眼里已成为哗众取宠，沽名钓誉的恶俗行径，也不是因为目前行为艺术在官方的艺术批评界已成为众矢之的，而是因为行为艺术这一名词本身在中文语境中过于看中行为本身，在这一点上，又同表演艺术相差不远。

Selected Exhibitions : 2008 /"The Third Guangzhou Triennial : Farewell to Post-Colonialism", Guangdong Museum of Art, Guangzhou,China / 2007 /"Alchemy of Shadow : 3rd Lianzhou International Photo Festival", Lianzhou, China / 2006 /"A Yellow Box In Qingpu: Contemporary Art and Architecture in a Chinese Space", Shanghai /"Micrology, the Politics of Realism Chinese Contemporary Art Exhibition, Macao / 2005 /"In the Depth of Reality : China Contemporary Art Exhibition", Hangzhou /"Gift, Contemporary Art Invited Exhibition", Hangzhou / 2004 /"Formatting: New Media Art Project", Hangzhou /"Labyrinth : the Second Chinese New Media Art Festival", Hangzhou / 2003 /"Experimental Art Project in White Pagoda Mountain", Hangzhou /"Links: Contemporary Art Exhibition", Hangzhou /"Exhibition of Chinese Young Artists, Hangzhou

郑端祥，1977年生於中国福建，现任教於中国美术学院造型基础学部。作品《时间的横截面III》於2006年展出於澳门艺术馆"显微境。观：中国当代艺术展"，同年影像装置《时间的横截面之夜游记》展出於"黄盒子在青浦"，2007年於连州国际摄影展展出《失忆系列》和《工厂系列》。重要展览有： 2008年/雕塑中国，香港汉雅轩/广州三年展：与后殖民说再见，中国广东美术馆、中国第三届媒体艺术节：四季，中国杭州，2007年/中国当代艺术展：在瓦伦西雅55天，西班牙瓦伦西雅、首届今日文献展：能量－精神。身体。物质，今日美术馆，中国北京、夜间摄影，香港汉雅轩，2006年/。盒子，中国上海、显微境。观：中国当代艺术展，中国澳门当代美术馆

The first part presents a comprehensive scene of the art environment in which Soutine was involved, the influences he received and his opinions on the problems he confronted. This is achieved by analyzing the relationships between his paintings and those of his contemporary as well as between his paintings and the classical art works in museums. The second part will, through his landscape, still life and portrait paintings, explore the forming of Soutine\'s characteristically expressive art language and the development of his art style, which integrated the modernism paintings with classical art elements. The third part will discuss the culture background of his art, the psychology of his creation and his techniques in order to point out" the intuitively expressionist nature "of his art. This part will also analyze the achievement of Soutine\'s art and its contribution to art history through critics\' opinions of him and his influences on other artists.

第一部分分析了苏丁绘画与同时代的艺术家的创作及博物馆中的经典作品的关系，尽力全面地描述苏丁在当时所面对的艺术环境，对其所受到的影响及面对的问题有所认识；第二部分分别从风景、静物、人物三个方面，从苏丁艺术自身的形成、发展来论述他在现代艺术的框架下，借助古典艺术以形成其独特的表现性语言的过程；第三部分从苏丁绘画的文化、心理以及艺术技巧等多个方面进行分析，指明其&富于直觉的表现主义&的特质，并通过批评家的评论与他对后来艺术家的影响来认识苏丁艺术的成就及在美术史上的作用。

The thesis probes into Schoenberg' thinkings about music history, music nationalism, music education, music criticism, and music creation, respectively. There are some important viewpoints in Schoenberg's music thought: Firstly, Schoenberg's ideas of music history, he believes relationship of tradition and revolution in art is dialectical in nature, and argues that evolution in music was determined by natural law, obviously influenced by Hegel's philosophical history idea. Secondly, the thesis sums up his viewpoints of music nationalism, such as "lay stress on art music, look down on folk music","lay stress on western European music, look down on non- western European music" by Schoenberg's account about the reasons of the formation of national art, the dominant of national art and nationality in music; in fact, this viewpoint of western cultural centricity is one of his i mportant viewpoints throughout his life; Thirdly, Schoenberg's concept of music education: in his thought a composing teacher should teach the students how to master "the tool of art", train them for their ability of "one major and various kinds of techniques", try his best to nourish the student's personality; Fourthly, Schoenberg set forth some opinions about modern music critics and the method of music criticism: a music critic must be equipped with the quality of a music expert, and render composer's idea to the public by his art imagination, but not his personal opinion,and Schoenberg stress the areas of music criticism on style and idea ; Lastly, Schoenberg's concept of music creation: Expressionism and organism are two important issues in Schoenberg's thinking about music creation.

本文通过对勋伯格各类论文、书信、演讲、专著等文稿的评述，分别探讨了作为音乐思想家的勋柏格的音乐历史观、民族主义音乐观、音乐教育观、音乐批评观与音乐刨作观，并在此基础上总结了折射在勋柏格音乐思想中的几个重要观点：一，勋柏格对于音乐历史的认识：通过德奥音乐界前辈给予他的创作启示，以及勋伯格对自己几个创作阶段的发展历程的总结，阐述了他对于艺术中的传统与革新之间的关系的辩证认识，并通过这些问题总结出音乐的演进与黑格尔倡导的&历史发展必然性&哲学观念之间存在着必然联系；二，勋柏格的民族主义音乐观：通过勋柏格对于形成民族艺术特征的根本原因、民族艺术中的支配现象、民间音乐与艺术音乐之间的比较、音乐刨作中的&民族性&问题的意识等方面问题的剖析与认识，总结了他的&重艺术音乐，轻民间音乐&、&重西欧音乐，轻非西欧音乐&的观点，从而突出了他的精神领域中的根深蒂固的&德奥音乐中心论&，这是一个浸润着浓厚的西欧文化中心论色彩的观点，也是贯串他毕生的音乐思想的重要观点之一；三，勋柏格对音乐教育问题的见解：勋柏格认为作曲教师应该教会学生掌握&艺术的工具&、在教学中努力做到&一专多能&、注重个性培养；四，勋柏格对当代音乐批评家与音乐批评方法提出的要求：音乐批评家必须具备作为一名音乐家的专业修养，要以真实、客观的态度对待音乐批评这门神圣的职业，充分运用内心的艺术联想向公众再现作曲家的意图，而不是将个人见解强加于受众；同时，批评家需要对艺术的过去与未来拥有全面的了解与较准确的预测，在音乐批评的具体范畴中，应将重心角度置于探讨音乐作品的风格与思想之间的关系方面。

Viewed in the field of vision and paradigm of modernity, Fichte is a philosopher whose rich and profound ideas on aesthetics show great originality. His major propositions and tenets about aesthetic modernity, such as those about the relations between beauty and culture, art and technique, art and public life, art and science, art and philosophy, art and morality and art and love, as well as those about the self-discipline and sacredness of art and about art and the progress of human society, are innovative and profound, and have exerted a far-reaching influence on modern aesthetics.

在现代性的视域和范式中理解费希特，费希特有着丰富而深刻的原创性美学思想，他关于美与文化的关系、艺术与技艺的关系、艺术与公共生活的关系、艺术与科学的关系、艺术与哲学的关系、艺术与道德的关系、艺术与爱的关系、艺术的自律、艺术的神性、艺术与人类进步等审美现代性的重要原理和命题具有独创的思想深刻性，并对当代美学产生了深远影响。

College School of the existing form (including the Chinese Painting Department,油画系, line engraving, sculpture department, the Department of Fine Arts Foundation), School of Design (including construction and the environment, Department of Art and Design, Visual Communication Design, Digital Art Design, Fashion Design Department, Decorative Art and Design University, Department of Industrial Design, Design Arts, textile art and design department, furniture, Department of Art and Design, Ceramics Art and Design Department, Design Department), College of Arts and Humanities (including the Department of Art History, Art Institute, the public Teaching Department of the Ministry of Social Science Teaching), Department of Education and Fine Arts College of Continuing Education.

学院现有造型学院（包括中国画系、油画系、版画系、雕塑系、美术学基础部）、设计学院（包括建筑与环境艺术设计系、视觉传达设计系、数码艺术设计系、服装设计系、装饰艺术设计系、工业设计系、设计艺术学系、染织艺术设计系、家具艺术设计教研室、陶瓷艺术设计教研室、设计基础部）、艺术与人文学院（包括美术史系、美术研究所、公共课教学部、社会科学教学部）、美术教育系和继续教育学院。

Our company engaged in import and export, sales of natural rubber and synthetic rubber has been nearly 10 years of experience, and gathered a team of experienced, qualified sales professionals.

我公司在从事进出口、销售天然胶和合成橡胶方面已有近10年的经验，并聚集了一批经验丰富、素质优良的专业销售人员。

Okay, I'm gonna go get the Escalade.

嗯，我现在去开凯迪拉克过来。