查询词典 freehand brushwork in traditional Chinese painting

A lot of consumer are alive house of life of kitchen of type of fine ambry experience " the experience is consumed " when discovery, the room of each kitchen example in the exhibition hall, resembling is each vogue arena, maintain his composure to people in natural freehand brushwork in traditional Chinese painting the ground shows the kitchen popularity new trend 2006: Teak color reflects the rich sense that gives ambry, its dignified and dignified of showily nature, of primitive simplicity, easy characteristic is shown without involuntary discharge of urine.

很多消费者在世嘉橱柜体验式厨房生活馆&体验消费&时发现，展厅里的一个个厨房样板房，像是一个个时尚舞台，在自然写意中向人们不动声色地展示2006年的厨房流行新趋势：柚木色体现出橱柜的珍贵感，其华贵自然、古朴凝重、端庄大方的特点展露无遗。

Go to two 00 three years drive successively the international artist unite meeting, Chinese people calligraphy and painting in the world the expert teach an art to promote the alliance, Belgium China calligraphy and painting art institute for research, the east of Macau international painting would, Singapore lion city calligraphy and painting the Zhuan engrave meeting, the Chinese culture expand center etc.16 international art think factory consociations give to "calligraphy and painting art in the world person","contemporary calligraphy and painting person", the glorious title of the certificate interleaf of"20 centuries international rt expert professor achievement big prize".

一九九五年至二00三年先后被国际美术家联合会、世界华人书画专家教授艺术促进联盟、比利时华夏书画艺术研究院、澳门东方国际画会、新加坡狮城书画篆刻会、中国文化拓展中心等十六家国际艺术研究机构联合授予"世界书画艺术名人"、"当代书画名人"、"20世纪国际艺术名家教授成就大奖"证书等的光荣称号。

When it comes to technique, there are two major categories of Chinese painting: meticulous (or the 'gongbi' school), characterized by fine brush work and close attention to detail and freehand (or the 'xieyi' school) characterized by freehand brush work and exaggerated forms.

当涉及到技术，有两大类国画：细致，由细毛笔，并密切注意工作细节和特点徒手（或'现代理性精神'学校）特点是写意笔墨夸大的形式。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城"2000中国古典音乐系列音乐会"委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城&2000中国古典音乐系列音乐会&委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

His works of pure ink traditional Chinese painting are the best painting in ancient China, that is to say this is the traditional Chinese painting in ancient times, this painting skills have been lost for over thousand years which was the legatary soul of the Chinese peoples art civilition.

其中国画作品多次获金奖，并授予&中国人杰出艺术家&、&世界华人艺术突出贡献奖&、&中国艺术功勋成就奖&等荣誉称号，作品荣获中国书画收研究院最高奖项&一等奖&，被国家定为族文化遗产的精髓。

In recent years, Beijing asked to cite the success of art and cultural center to organize, plan and through the postal sector has published a country "artists of Chinese Painting and Calligraphy Stamp Prestige Edition"- traditional Chinese version,"Chinese Painting and Calligraphy artists Stamp Prestige Edition"- calligraphy version , which contains a contemporary Chinese painting circles, famous artistsé·¨Liang years, Shu-Fang Hsiao, Huang Jun, Qin Lingyun, Lou division white, the Arab-Israeli elderly, soup Wenxuan, Qi Gong, Xie Bing-yan,×, Yang Kai, Kwok election, Feng Yong, Wang Xuezhong, Qian Shaowu, Li Duo, Shen Peng,±etc. More than 60 artists painting and calligraphy works of art stamps, by art lovers and philatelists and collectors of praise.

近几年来，北京托举文化艺术中心成功地组织、策划并通过国家邮政部门印制了《中国书画艺术家作品邮票珍藏版》——国画版、《中国书画艺术家作品邮票珍藏版》——书法版，其中包含了当代国画界、书法界著名老艺术家梁树年、萧淑芳、黄均、秦岭云、娄师白、阿老、汤文选、启功、谢冰岩、黄苗子、杨仁恺、郭仲选、冯其庸、王学仲、钱绍武、李铎、沈鹏、刘炳森等60多位艺术家的书画艺术作品邮票，受到美术爱好者及集邮爱好者的好评及收藏。

Freehand brushwork is the product of the Chinese traditional culture,the national artistic value and method.

写意是中华民族传统文化的产物、民族的艺术观和艺术方法。

translation is a cultural activity;it's more than the transformation between two languages.what translation should achieve is to explain and spread culture between two languages.under the guidance of susan bassnett and andre lefevere,urger and impeller of'cultural turn',translation has been elevated to the height of cultural construction.culture discussion has become one of the newest headings in translation research.traditional chinese medicine is the embodiment and one of the most important parts of traditional chinese culture.as a result,in the procedure of translation of traditional chinese medicine,translation of culture characteristic is the most important thing.translation research of traditional chinese medicine has always been focused on what method should be used,such as the discussion about literal translation or free translation,the discussion whether use foreignizing method or domesticating method in the translation of traditional chinese medicine.it is only the argument of whether convey traditional chinese medicine culture in english translation and how much the culture should be conveyed.

翻译本身是一种文化活动。翻译不仅是两种文字的相互转化，翻译活动所完成的是将文化内涵在两种语言之间阐释和传播。在翻译研究"文化转向"的两位主要倡导者和推进者susan bassnett和andre lefevere研究进展的启发之下，翻译被提到文化构建的高度。从文化角度研究翻译成为翻译研究的前沿课题，为翻译理论的发展注入了新的活力。中医体现了中国传统文化，是其重要组成部分，对文化内涵的处理得当与否决定了翻译的好与坏。中医翻译学术界在操作层面上一直有直译与意译之争，归化与异化之争，说到底不过是对中医传统文化在英译文中是否体现以及体现多少的争论。

Dancers in the picture on the painting of our nation has demonstrated the art of freehand brushwork Of the United States.

舞者在画卷上的作画表现出了我们民族艺术的写意之美。

The work of this paper is as follows: 1. Looking back the progressing history of the linear motor, introducing the features of the elevator driven by linear induction motor, radicating the topic of this paper "the digital frequency variable control of the elevator bi-side direct driven by linear induction motor". The research of this paper covers the conventional VVVF control, space vector based VVVF control, vector control and DTC.

本文主要开展了以下几个方面的工作： 1 回顾了直线电机发展历史，电机的驱动技术演变，特别是针对直线电机的驱动，简要介绍了直线感应电机驱动电梯的优点和不同结构类型，对传统的v／f控制，基于空间矢量法的v／f控制，矢量控制，和基于电压空间矢量的直接转矩控制进行了比较，确立了本课题的研究主题：直线感应电机双边直推式驱动电梯的全数字变频控制。

The article combines with the treatment of a superficial civil air defense work to introduce how the grouting method to improve the performance of the backfill soil.

文章从治理漂浮人防工事的角度提出了注浆技术在改善回填土性质方面的应用，并详细阐述了注浆技术的施工流程。