查询词典 contemporary

The third generation has a different experience and purview, but Chinese humanistic values and the sources of its civilization are the roots of their art. They have created new relationships, connections and links between themselves and international contemporary art. They preview and show the directions and trends showing how Chinese contemporary art can be integrated with international contemporary art.

第三代艺术家的经验与视域各不相同，中国的人文价值及文化溯源却是他们的创作根本，同时，他们在技术、观念、思维上又能打通与国际当代艺术的某种关系、关联和关节，他们预演与展示着中国当代艺术与国际当代艺术接驳的走势与趋向。

Viewpoint and card of text each other, contemporary with contemporary be well versed in, with small see big, the analysis is thorough, to further discovery the novel is narrative artistic gain and loss since summary is contemporary, have very strong enlightenment sex.

观点和文本互证，现代和当代贯通，以小见大，分析深入，对进一步发现总结现代以来小说叙事的艺术得失，具有很强的启示性。

Along with the establishment of individuality, the contemporary ink painting highlighted its aesthetic and graphic concern of daily experience and individual cognition, a tendency of which progressed the contemporary ink painting to gradually step out of the concept-supreme creative idea of the "experiment" period and the cultural stand of elitism and idolization, substituted by a post-modern stand of respecting the fun and differences, with more delicate and diversified individual expression becoming a potential feature of the contemporary ink painting.

随之而来的，是当代水墨在审美与图式上对日常经验、个体认知的重视——"实验"时代观念至上的艺术理念和精英化的文化立场正在被一种尊重趣味化与差异性的后现代立场所取代，更为个性化、多样化的表述风格组成了当下水墨创作纷呈而陆离的格局。

He has participate in many large exhibitions of academic standing, including the research project "The Migration of Asian Contemporary Art and Geo-politics" 2002-2004,"Techniques of the Visible" the 5th Shanghai Biennial 2004,"In the Depth of Reality: Contemporary Chinese Art" and "Asian Time: New Media Art" in 2005,"Micrology: Micro-politics in Chinese Contemporary Art" and "The Yellow Box: Contemporary Art and Architecture in a Chinese Space".

自2002年起，他参与策划了许多大型学术性展览，包括2002年至2004年的"亚洲当代艺术的迁徙与地缘政治"系列研究计划、2004年的"影像生存：第五届上海双年展"、2005年的"现实深处：中国当代艺术邀请展"和"亚洲时间：新媒体艺术展"、2006年的"显微学：中国当代艺术展"以及"黄盒子：中国空间里的当代艺术与建筑"学术邀请展等。

As collector of formerly Western contemporary art he now has formed the most substantial collection of contemporary Chinese art in the world. He also established 1997 the Chinese Contemporary Art Award, an art award for Chinese contemporary artists living in China. He is a member of the International Council of New York MOMA and International Advisory Councils of Tate Gallery, London, and documenta, Kassel.

作为收藏家和西方当代艺术的先驱，他是世界上到目前为止收藏中国当代艺术最丰富的收藏家。1997年他建立了中国当代艺术奖，专为生活在中国的当代艺术家设立的，同时他也是纽约现代艺术博物馆国际协会、伦敦Tate画廊国际咨询协会和卡塞尔文献展的一员。

SHADOWS PHOTOGRAPHY ART CENTER, 9 THEATER, 318, ASPACE, ANI GALLERY, ARARIO GALLERY, ART WALK, BEIJING ART SEASONS, CHEN LING HUI CONTEMPORARY SPACE, CHINESE CONTEMPORARY, CONTINUA GALLERY, DOART BEIJING -GALLERY HYUNDAI COMPANY, EAST PIONEER THEATER, GREEN TEA HOUSE, HOT SUN ART SPACE GALLERY, MARELLA GALLERY, MUST BE CONTEMPORARY CENTER, OFFICINA, PARIS-BEIJING PHOTO GALLERY, PLATFORM CHINA, RED GATE GALLERY, RED T SPACE, SANCTUARY GALLERY, SOUTH GATE SPACE, SPACE DA, TANG GALLERY, THEATRE IN MOTION, XINDONG CHENG SPACE FOR CONTEMPORARY ART, YAN CLUB GALLERY

合作伙伴 PARTNERS：三影堂摄影中心，9个剧场，318， A 空间，安妮画廊，阿拉里奥北京艺术空间，北京漫步，季节画廊，陈绫蕙当代空间，中国当代，常青画廊，都亚特北京-韩国现代画廊，东方先锋剧场，紫云轩茶社，炎午空间，玛蕊乐画廊，玛斯德比当代艺术中心，意中艺术工作室，巴黎-北京摄影空间，站台中国，红门画廊，红T画廊，圣所空间，南门空间，画廊大仓库，唐人画廊，动舞台，程昕东国际当代艺术空间，仁俱乐部画廊

In 2000 Gate of the Century: 1979——1999 the Exhibition of Chinese Art, Chengdu Modern Art Museum, Chengdu, China; Man+SPACE, Kwangju Biennial 2000, Kwangju, Korea; Messagers of the Hearth, Center of Contemporary Art of the LycEe Xavier Bernard in RouillE; Transcending Boundaries, Montclair State University, USA; Portrait de Chine Contemporaine, Espace Culturel Francois Mitterand, Perigueux; Les Passe —— Murailles, Contemporary Art of China, Picardie Museum Amiens, France; The First Collection Exhibition of China Contemporary Art, Shanghai Art Museum, China; China, Art in the Twentieth Century, Touring Show in Beijing and Shanghai, China; Asia Contemporary Art Exhibition, Japan.

参加在法国班里哥弗郎索瓦·密特郎国际文化中心举办的&当代中国肖像&；参加在法国阿密庇加底国家美术馆举办的&中国当代艺术邀请展&；参加在中国上海上海美术馆举办的&首届中国当代艺术收藏展&；参加在中国美术馆，上海美术馆举办的&20世纪中国油画展&参加在日本宇都宫美术馆，新汤县民会馆举办的&亚洲当代艺术邀请展&。2001年作品分别在上海美术馆，四川省美术馆，广东美术馆展出；参加在法国巴黎法兰西画廊举办的&是我，是我们&展；参加在中国上海艺博画廊举办的&学院与非学院&展；参加在中国上海艺博画廊举办的&最初的形象——当代纸上作品展&

Four aspects are studied in this paper: the study of non-linear syllable theory of the analysis ofdengyunxue of the syllabic structure of Chinese character, the study of the distinctive feature theory of the four types of the articulation of initials, the study of the markedness theory of the devoicing of the fully voiced initials and the study of the feature geometry theory of the correlates between the devoicing of the fully voiced initials and tonal change. Through our studies, conclusions can be drawn as follows:(1) Contemporary phonological theories can be used to elucidate the principle of Chinese dengyunxue;(2) Contemporary phonological theories can be used to explain the historical phonetic change of Chinese;(3) Different theories and methods of contemporary phonology should be applied to deal with different problems of Chinese phonology;(4) The application of contemporary phonological theories to the study of the historical phonetic change of Chinese is helpful to test and verify the universalizability of these theoretical hypotheses

通过对等韵字音结构分析的非线性音节理论研究、声纽四等的区别特征理论研究、全浊声母清化的标记理论研究和浊音清化与声调演变相互关系的特征架构理论研究等四项初探，揭示了：（1）当代音系理论可以阐明汉语等韵学学理；（2）当代音系理论可以解释汉语历史音变现象；（3）不同的汉语音韵问题，应该用不同的当代音系理论方法来研究；（4）当代音系理论在汉语历史音变研究中的运用，有助于验证其理论假设的普适性

Starting with the analysis of the evolution of contemporary ceramic of China in more than 2 decades and the background of Chinese contemporary ceramic ,hackling and analyzing the westernization progress and the development situation of contemporary art education, this paper attempts to put forward an opinion that the development of Chinese contemporary art education is actually the progress to verify the global applicability of western art by our own art practice.

本文试图从二十几年来现代陶艺在中国的演进和中国现代陶艺的背景分析入手，通过对中国艺术理论&西化&进程及现代艺术教育发展状况的梳理和分析，提出中国当代艺术近几十年的发展过程，实质上是以自己的艺术实践，验证西方艺术的&全球&可应用性的过程。

This paper mainly includes two parts The first part falls into three main sections. First, it analyses the formative causes of the Chinese traditional house interior display art through five aspects, including the structure and forms of Chinese traditional architecture, the productive mode of Chinese traditional society, Chinese traditional philosophy, the idea of ethics and grading and custom of Chinese traditional society. Second, it briefly introduces the history of Chinese traditional house interior display art's development. Finally, it focuses on the analysis of Chinese traditional house interior display art's design ideas and concludes that its design ideas embodies the five sides as follows: respect for nature and imitate artfully nature, practical-oriented and function incorporated into form, images of space of what the theory and practice forms, balanced natural pattern of the display, artifacts with the thoughts and respect for poetic imagery. Another part of the article further researches on the application of Chinese traditional house interior display ideas to the contemporary home display, and leads to the author's view, that is that each era should has its own character when it inherits the traditional culture. What's more, the contemporary Chinese-style home display design not only have to take over the spirit of the tradition but also have to give full consideration of the contemporary aesthetic concepts, principles and methods. In the 21st century, humanistic care is greatly proponed in the interior design. The interior display art should develop towards the ecological, personalized and comfortable direction and the cultural dimensions. It should absorb the traditional cultural elements to decorate contemporary living space. In order to upgrade the simple and primary "appearance likeness" to a higher level of "spirit likeness", it must effectively grasp the poetic imagery of space, which can reach the artistic effect of "both appearance and spirits".

本文的重点内容有两部分：一部分是从中国传统建筑的结构形式、中国传统社会的生产方式、中国传统的哲学观念、中国传统的伦理等级观念、中国传统社会的风俗习惯等五个方面简单分析了中国传统民居室内陈设艺术形成的原因；简要介绍了中国传统民居室内陈设艺术的发展过程；着重对中国传统民居室内陈设艺术设计理念的具体内涵进行了深入的分析，总结出其设计理念集中体现在五个方面，即崇尚自然与巧法造化、实用为本与文质彬彬、虚实相生的空间意象、均衡自然的陈设格局、器以载道与以境为尚；另一部分是对中国传统民居室内陈设设计理念在当代居室陈设设计中的应用作了较深层次的探讨，并提出了自己的见解，即每个时代对传统文化的继承都应该呈现出自己的特色，当代中式风格的居室陈设设计既要秉承传统民居室内陈设艺术的设计精髓，又要充分考虑当代审美观念、原则和方法的融入。21世纪，室内设计大力提倡人文关怀，具体到室内陈设艺术设计上，应该向生态化、个性化、舒适化和文化层面发展；吸收传统文化元素装饰当代居室空间，要有效地把握空间意境，使当代中式风格的居室陈设设计从简单、初级的&形似&上升到较高层次的&神似&，进而追求&形神兼备&的艺术效果。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失