查询词典 in the abstract

This thesis tries to examine the Orientalization of abstract sculpture in Taiwan, which means the sculptor shows his identification with Oriental culture via specific Oriental iconography in his works. Taiwan's abstract sculptors took the Orientalization of abstract sculpture as the way of transcending the Western art.

提要本论文旨在探讨台湾抽象雕塑为了彰显东方意识的「东方化」现象：雕塑家以特定的东方图像或思想作为抽象雕塑的主题，传达其对东方文化的认同，甚而将抽象雕塑的「东方化」，视为超越西方的艺术进程。

The cognitive law that man cognizes things from the near to the far, from entity to non-entity, from the simple to the complex, and from the concrete to the abstract determines the basic role of body parts in cognizing the world.

由于人类的认知规律是由远及近，由实体到非实体，由简单到复杂，这就决定了人体及其器官是人类认知世界的基础。

The cognitive law that man cognizes things from the near to the far, from entity to non-entity, from the simple to the complex, and from the concrete to the abstract, determines the basic role of body parts in cognizing the world.

人类由近及远、由实体到非实体、由简单到复杂、由具体到抽象的认知规律，决定了人体及其器官是人类认知世界的基础。

The cognitive law that man cognizes things from the near to the far, from entity to non-entity, from the simple to the complex, and from the concrete to the abstract determines the basic role of body parts in cognizing the world. And the metaphorization of body-part terms is one of the basic means of forming and expressing concepts.

人类由近及远、由实体到非实体、由简单到复杂、由具体到抽象的认知规律，决定着人体及其器官是人类认知世界的基础，其隐喻化是人类形成和表达概念的基本途径之一。

The cognitive law that man cognizes things from the near to the far, from entity to non-entity, from the simple to the complex, and from the concrete to the abstract, determines the basic role of body-parts in cognizing the world.

人类由近及远，由实体到非实体，由简单到复杂，由具体到抽象的认知规律，决定了人体器官是人类认知世界的基础。

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。

In the opinion of Arthur Danto, the innovation of modernism artThe article regards abstraction of modernism art as the first part: the emergence of impressionism, post-impressionism, the development of modernism—it is a course of gradual abstraction; Art after Duchamp is as the second part: Duchamp and Dadaism, Surrealism, the device and Neo-Dadaism, Pope"s art, from Minimist art to idea art, New-figuration—it is a diversion of abstract art, has realized its oneself Along with Greenburgh"s impetus, and already obtained what it wanted at the beginning ------ so it has ended.

依阿瑟·丹托之见，现代主义艺术的创新随着格林伯格的推动已经实现了它自身，已经取得了它在出发伊始就想要取得的东西——所以它终结了。那么在这个&艺术已经终结&后的&后历史&、&后美学&或&后现代主义&时期，艺术需要以新的方式重新解读。

The paper further analyzes and explores the ontological origins of "The world becomes an image" and "Man turns intoasubject", which is of determining meaning to the basic process of modern history, and points out, it is the western two-value logical nature and the abstract subjective principle of "objective thinking", while grasping "the being" as an entitative "object", that cancels the actual historical nature, excludes and overshadows the whole sensible richness of man and man"s sensible existent area which can not be objectified so that the freedom to use reason turns into rigidified rational external coercive power, resulting in the loss of meaning world as "the root of human life.

论文进而分析探讨了对于现代历史的基本进程具有决定性意义的&世界成为图像&和&人成为主体&的存在论根源，从而试图指出：正是西方&对象性思维&的二值逻辑本性和抽象主体性原则，在其将&存在&把握成实体性的&对象&时，也就取消了本真的历史性，排除和遮蔽了不能被对象化的人类感性的全部丰富性和人的感性存在领域；致使运用理性的自由转变成僵化之理性的外部强权统治，进而导致作为人类生命之&根&的意义世界的失落。

Butterfly, a symbol of what a wonderful dream, cat, dog, red, ice, snow, gentle, love is perhaps the subconscious of the young painter Perishable's Lament, the longing for love, for self-dual or cold lonely heart ridicule, Kogusu, daffodils Years Old Little Love, a white flower buttercup, blue water rafting around the situation so much a painter's friend, rather, is with the self-life aesthetic of beauty, purity, free abstract ideal reflection and youth Imagine interpretation, these works reveal the artist in the virtually real and realistic three-dimensional puzzle, showing the deep spirituality of individual aesthetic white, innocence, kindness, fantasy, sincere, innocent and beautiful.

蝴蝶，多么美好的梦的象征，猫咪、小狗、红线、冰、小雪、温柔、爱或许正是画家潜意识对青春易逝的感喟、对爱的渴望、对自我内心孤寂的偶或冷嘲，小楠、水仙、小娜、小爱、白色花毛茛、碧波泛舟与其说是画家周遭情境中的朋友，毋宁说是对自我生活审美与对美好、纯洁、自由的理想化抽象观照与青春畅想演绎，这些作品于无形中透漏着画家的立体真实和现实困惑，透出了审美个体性灵深处的洁白、无邪、善良、梦幻、真诚、天真和美丽。

In 2003, Huang moved his workstation to Beijing. This is a timely move. He describes this state as "Huang Mingche in Beijing". I did not have the chance to hold an indepth discussion with him when he first started working on his abstract art, but I do believe that his work at that time was influenced by American abstract art maestro William De Kooning (1904-1997). That was an important transformation from concrete to abstract art.

2003年黄铭哲把绘画的基地转移到北京，这是一个与时俱进的举动，他本人也把这种状态叫做&黄铭哲人在北京&。80年代黄铭哲开始从事抽象绘画，我没有和他做过详细的交流，但是我确信，他那时期的作品一定受到美国抽象主义大师德库宁(William De Kooning，1904-1997)的影响，那是一次从具象绘画到抽象绘画的重要变革。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。