查询词典 painters

The masons, stonecutters, carvers, inlayers, calligraphers, painters and others were brought from the entire empire as well as from Iran and Central Asia.

这包括来自全国各地以及伊朗、中亚的石匠、石工、雕琢工、镶嵌者、书法家、画家及其他的人才。

The masons, stonecutters, carvers, inlayers, calligraphers, painters and others were brought from the entire empire as well as from Iran and Central Asia.

这包括来自全国各地以及伊朗、中亚的石匠、石工、雕刻工、镶嵌者、书法家、画家及其他的人才。

Van Laer arrived in Rome from Haarlem c. 1625 and influenced various other northern European painters active in Rome.

1625年左右范拉埃在从哈勒姆来到罗马，影响了众多活跃于罗马的北欧画家。

Van Laer arrive d in Rome from Haarlem c. 1625 and influenced various other northern European painters active in Rome.

1625年左右范拉埃在从哈勒姆来到罗马，影响了众多活跃于罗马的北欧画家。

After the Revival of Leaming,golden section was used more and more extensively in production and living.It has been focused on not only by mathematicians,but also painters、musicians and architects.

文艺复兴后，黄金分割在生产和生活中的应用越来越广泛，不仅引起许多数学家的关注，就连画家、音乐家、建筑学家也对它情有独钟。

"A decline set in after the 13th century, when stained-glass artists began to seek the realistic effects sought by Renaissance painters, effects to which the technique was less suited and which diverted artists from exploiting the all-important light-refracting quality of glass."

玻璃反光灯在车道上发亮。13世纪后开始衰退，当时的彩色玻璃艺术家渴望实现文艺复兴画家所追求的写实主义效果，但彩色玻璃技术无法实现这一效果，于是他们开始挖掘玻璃的反光作用。

"A decline set in after the 13th century, when stained-glass artists began to seek the realistic effects sought by Renaissance painters, effects to which the technique was less suited and which diverted artists from exploit ing the all-important light-refracting quality of glass."

13世纪后开始衰退，当时的彩色玻璃艺术家渴望实现文艺复兴画家所追求的写实主义效果，但彩色玻璃技术无法实现这一效果，于是他们开始挖掘玻璃的反光作用。

"A decline set in after the 13th century, when stained-glass artists began to seek the realistic effects sought by Renaissance painters, effects to which the technique was less suited and which diverted artists from exploiting the all-important light-refracting quality of glass."

13世纪后开始衰退，当时的彩色玻璃艺术家渴望实现文艺复兴画家所追求的写实主义效果，但彩色玻璃技术无法实现这一效果，于是他们开始挖掘玻璃的反光作用。

"A decline set in after the 13th century, when stained-glass artist s began to seek the realistic effects sought by Renaissance painters, effects to which the technique was less suited and which diverted artist s from exploiting the all-important light-refracting quality of glass."

13世纪后开始衰退，当时的彩色玻璃艺术家渴望实现文艺复兴画家所追求的写实主义效果，但彩色玻璃技术无法实现这一效果，于是他们开始挖掘玻璃的反光作用。

"A decline set in after the 13th century, when stain ed-glass artists began to seek the realistic effects sought by Renaissance painters, effects to which the technique was less suited and which diverted artists from exploiting the all-important light-refracting quality of glass."

13世纪后开始衰退，当时的彩色玻璃艺术家渴望实现文艺复兴画家所追求的写实主义效果，但彩色玻璃技术无法实现这一效果，于是他们开始挖掘玻璃的反光作用。

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。