查询词典 freehand brushwork in traditional Chinese painting

This article explains concrete traditional Chinese painting thoroughly from external visual element to intrinsic cultural spirit in order to unearths the cultural connotation which contains in the single width traditional Chinese painting work .

本文通过对具体中国画作品从外在的视觉元素到内在的文化情态的的深入解读，挖掘在单幅中国画作品所蕴含的文化内涵。

During the detailed dissertation in this paper, it explains the meaning of the conception of "To perceive object voluntary and paint it" from the history and ideological background that make it be produced and considers that it is the principle of Chinese traditional painting ,relationship of main body and object which contained in it effect each other and being dialectic unity; Secondly, in the text it analyzes the characters of ancient scholars' painting between main body and object, then concludes that the characters of ancient scholar's painting are "not in pursuit of the similitude of appearance ","simple" and "formality".

在具体的论述中，本文从"应物象形"产生的历史条件与思想背景入手，还原"应物象形"概念的涵义，认为"应物象形"是关于中国传统绘画造"形"的准则，其中所包含的绘画创作主客体之间的关系是两相并举，互渗互化，辨证统一的；其次，文章对于文人画造"形"的特点和主客体进行分析，将文人画的造"形"特点归纳为："不求形似"、简约、程式化，并认为文人画造"形"严重偏向于主体，轻视客体；最后，文章分别将文人画造"形"的主客体与"应物象形"的主客体进行比较，得出结论：文人画造"形"不同于"应物象形"。

Cloisonne Product Has facial makeup of Beijing Opera, traditional Chinese painting, a variety of abstract art painting, colored sand painting, and other funeral supplies.

景泰蓝产品有京剧脸谱、国画，各种抽象艺术画，彩沙画，殡葬等用品。

During the detailed dissertation in this paper, it explains the meaning of the conception of "To perceive object voluntary and paint it" from the history and ideological background that make it be produced and considers that it is the principle of Chinese traditional painting ,relationship of main body and object which contained in it effect each other and being dialectic unity; Secondly, in the text it analyzes the characters of ancient scholars' painting between main body and object, then concludes that the characters of ancient scholar's painting are "not in pursuit of the similitude of appearance ","simple" and "formality".

在具体的论述中，本文从&应物象形&产生的历史条件与思想背景入手，还原&应物象形&概念的涵义，认为&应物象形&是关于中国传统绘画造&形&的准则，其中所包含的绘画创作主客体之间的关系是两相并举，互渗互化，辨证统一的；其次，文章对于文人画造&形&的特点和主客体进行分析，将文人画的造&形&特点归纳为：&不求形似&、简约、程式化，并认为文人画造&形&严重偏向于主体，轻视客体；最后，文章分别将文人画造&形&的主客体与&应物象形&的主客体进行比较，得出结论：文人画造&形&不同于&应物象形&。

Yu Zhi-xue hews out a new horizon of the traditional Chinese landscape painting,that is,landscape painting on ice-and-snow,which possesses very significant position in the history of scenery painting with mountains and waters all through the world.

于志学的冰雪山水画开辟了传统中国山水画的新境界，在古今中外山水风景绘画史上具有重要地位，表现了人与自然和谐统一、生机无限的景象与中华民族天人合一的宇宙观。

The causes to the disparities lie in the different aesthetic preferences: the Western oil-painting stresses "reason", accompanied with science the oil-painting becomes a medium to explore the world; while Chinese traditional landscape painting emphasizes "artistic conception", all the time conveying yeaning for spiritual homeland of scholars.

两者差异性之所以产生，其根本原因在于对审美理想表达的不同取向。

It is a level very hard to achieve, but with his long commitment to traditional Chinese philosophy and arts, ZHONG has achieved his new level of painting over the past years---- symbolic and expressive, free and magnificent. With jujutsu, acrobatics and other social subjects as his painting motifs, he has created, through "imaginative reconstruction" and "meaningless expression", many a coloring image combining fantasy and reality, i.e. many a painting of what he terms the "trace and image".

许多年来，钟孺乾把目光和心力投向尚虚与表意的中国哲学和文艺传统，取柔术杂技为母题，并与社会万象相联系，通过&想象性重构&和&无意味表达&，创造出&幻想&与&现实&叠合的图景，同时让笔彩与形象化生一体，弥漫成一种他之所谓的&迹象&，从而达成一种兼具象征性和表现力的、自在而恢宏的境界。

Base on the understanding of the core of Chinese traditional bamboo culture, the project analysis Chinese modern life and esthetics with Typical Group of People Analysis, Life Style Research, Mood Board and Quadrant Distribution Map. The research analyses modern people's requirements to bamboo culture, discusses the possibility of combining modern esthetics with traditional bamboo culture, and creatively induces the modern applications of bamboo culture according to both material and spirit consideration. It is wished that through this research, the quality of modern product design would be improved through the combination of advanced modern technology, modern design and modern aesthetic elements with the traditional bamboo culture and bamboo materials. It is also wished that by the use of bamboo culture which reflects the nature of Chinese civilization, the Chinese design brand will be established, and the design with rich Chinese characteristics will be created.

本研究在对中国传统竹文化的核心和特征的理解归纳的基础上，采用了典型族群分析、生活形态研究、情态看板、四维象限分布图的研究方法，具体深入的研究了中国的现代生活及现代审美，并结合中国传统竹文化所表现出的审美意向和情趣，分析了现代人对传统竹文化的需求，以及传统竹文化与现代审美结合的可行性，并从竹材与文化内涵两方面探讨了竹文化在现代产品设计中的应用，希望能够通过结合现代先进技术、现代设计和现代审美的元素，运用竹文化所体现出来的中华文明的特质，提高现代产品设计的品质，并树立中国设计的品牌形象，创造出富有中国特色的设计。

YuQiu-yus strong sufferings of the Chinese traditional culture and the humanistic spirits of the Chinese nation originate from his infatuations and intoxications with the Chinese traditional culture. YuQiu-yu submits to the numerous magic power of the Chinese traditional culture. He takes great pride in the long-standing and well-established cultural history of the Chinese nation. The cultural elite are the embodiments of such cultural and national spirits. They take on historical responsibilities of passing on the cultures.

余秋雨对中国传统文化和中华民族人文精神的强烈忧患来源于他对中国传统文化的迷恋与沉醉，余秋雨臣服于中国传统文化的巨大魔力，他为中华民族源远流长的悠久的文化历史而自豪，中国历代的文化精英是这种文化精神和民族精神的化身，他们担负着文化承传的历史使命。

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。

You can do some assertiveness training.

你可以进行一些自信训练。

We were well on the path to making a rear-wheel-drive global platform," says Mays."

我们正致力于建立一个后轮驱动的平台，"Mays这样说道。"