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In one of 'Myth' paintings, the huge stones almost occupy fully the whole surface; in contrast, the figures let down, after intense struggle, as if collapsedly, chikenlike, tiny, impotent, unreconciled and depressed, just like giving up battling with the stones. In this series of heroist mode, particularly as against with the picture surfaces in which the giantlike bodies and energy are expressed, the figures in it even look a sense of funniness – wherein we are certain that irony has been engaged in his paintings, and it can be understood as a self-irony that it is not a floppy laziness, while he indeed does not need to tighten his muscles, not to keep a zealous and single gesture for fighting, as if it seems difficult for everything to continue, and in the paintings when the heroes unpack the stones, the artist seems unpack the dream of heroes, letting alone the huge stones burning and overspreading, surrounding us, pressing us and scorching us, even running over the whole picture. It suffocates us with all these heaviness, hardness, and acuity, as registers our weak life like a paper-cut.

尹朝阳的《神话》系列里有一幅，巨大的石头几乎占满了整个画面，相比之下，画中的人经过了激烈的挣扎，松弛了下来，形将瘫软一般，渺小，无能，心有不甘而黯然神伤，俨然已经放弃了与石头的搏斗，在这个英雄主义调式的系列里，尤其是与其中表现了英雄那巨人般的体魄和能量的画面相对，这幅画中的人甚至显出了一种酸楚的滑稽感——这里，我们确知反讽已经介入了他的绘画，并且，可以理解为一种自我反讽，它并非是纨绔式的慵懒，然而，确实不再绷紧他全身的肌肉，不再保持激昂而单一的斗姿，好像一切都已经难以为继，在画中的英雄卸下了石头的同时，艺术家自己也仿佛卸下了英雄梦，任凭那巨大的石头像烈火般燃烧和蔓延，包围我们，紧紧地挤压、烤炙我们，并且溢出整个画面，它以全部的沉重、坚硬和尖锐使我们窒息，反衬出我们脆薄如剪纸般的生命。

Even though Deng Jianjin's early paintings were related to dreams, love, sex, pornography, peeking, and self-absorption, they provided no entertainment at all. Instead they gave a representation of exaggerated, dead serious, and even overcorrect individual heroism. They bore the historical baggage of China's 5000 years of civilization and all the suffering and oppression of Chinese people in modern Chinese history. They were a diligent and honorable means of salvation.By the end of 1990s, Deng Jianjin's series 'About the Witness's Dreams' continued to carry on his signature style of being 'expressive' and 'intimate', but cynicism and jokes had also started to prevail among his paintings heavy in colors and opened up a way out for 'sentimental youth' and 'heavy-hearted moods'. Ever since then, Deng Jianjin has obtained a sense of uninhibited freedom and been able to let his thoughts flow on this paintings.

邓箭今的早期作品虽然与梦境有关，与情色和色情有关，与偷窥和自恋有关，但却毫无娱乐性，是一种放大了的、极其严肃的、甚至是矫枉过正的个人英雄主义写照，它背负着五千年文明的历史包袱和近现代中国人民的所有压抑和苦难，是一种花大力气的、正派的拯救的方式。90年代末，邓箭今在《有关目击者的梦境》系列中，虽然延续了他一贯的"表现"和"私密"的话语风格，但是调侃和玩笑之风开始盛行于色彩拥挤的画面，并为"感伤的青春"和"忧心重重的情怀"开启了一扇透气的风门，从此，邓箭今游刃有余，思想得以自由穿行。

His paintings possess both the characteristics of western paintings and also the impressionistic style of Chinese paintings.

他的画既有西方绘画的特征，又极具中国画的写意。

The most outstanding original paintings, found in the south of France and Spain in the northern region of the dozens of caves, where the most famous The Lascaux cave paintings in France and Spain, Altamira cave paintings.

最杰出的原始绘画作品，发现于法国南部和西班牙北部地区的几十处洞窟中，其中最著名的是法国的拉斯科洞窟壁画和西班牙的阿尔塔米拉洞窟壁画。

His paintings were done in a square composition which can be traced back to the squared paintings of the Song Dynasty. His works mostly depict beautiful traditional Chinese women, opera figures, scenes of fishery, nude women, still lives or landscapes with lined houses. His paintings exude an impression of sorrowfulness, loneliness emptiness and sentimentalism.

他的画正方构图，出自"宋小品"，作品多描写仕女人物、京剧人物、渔村风情和女性人体以及各类静物画和有房子的风景画，有一种悲凉、孤寂、空旷、抒情的风格。

The main Buddhist mural portrait of the national traditional China theme, the story of Buddhist paintings, Buddhist historical paintings, paintings by the change, the dependent person portrait, decorative painting, such as seven types of patterns.cang jing dong discovered in 1900 (now section 16 of Cave), it is the essence of the Mogao Caves.

壁画主要有佛画像、民族传统神州题材、佛经故事画、佛教史迹画、经变画、供养人画像、装饰图案画等七类。1900年发现的藏经洞（今第16窟），更是莫高窟的精华所在。

Gu Fuhai ' s works include Traditional Chinese Paintings by Gu Fuhai, Poets, Paintings and Calligraphies by Gu Fuhai, Paintings of Flowers and Birds by Gu Fuhai, Selections of Short Poems by Gu Fuhai, Green Boree, Love of Travelers, Love Expression, Songs for the Vast Golden Lakes, My Card: China and Sweet May Flower.

出版著作有：《谷福海国画集》、《谷福海百扇诗书画集》、《花鸟含情入画中——谷福海花鸟画集》、《谷福海短诗选》、《绿色的相思树》、《旅人之恋》、《爱的表白》、《万里金湖步步歌》、《我的名片：中国》、《温馨的五色花》。

Some of his works are selected in Works of Famous Chinese Painters, Painting and Calligraphy Works of Modern Artists, Opusculum Paintings by Famous Chinese Artists, Paintings of Chinese in Unison, Painting and Calligraphy Works of Central and National Organizations, China's Gold Prize Winning Works, Painting and Calligraphy Works of CCTV, Paintings for the Fighting against SARS, Painting and Calligraphy Works for China ' s Cymbidium Festival, National Painting and Calligraphy Works for the Summer in Qinhuangdao, National Painting and Calligraphy Works Dedicated to the Yellow River, National Painting and Calligraphy Works for 21st Century and so on.

部分作品选入《中国画名家作品集》、《当代艺术家书画集》、《中国书画名家小品画集》、《中华儿女众志成城画集》、《中央国家机关书画家作品集》、《中国美术金彩奖作品集》、《中央电视台书画展作品集》、《翰墨丹青战非典作品集》、《中国兰花节书画作品集》、《秦皇岛之夏全国书画展作品集》、《黄河情全国书画展作品集》《二十一世纪全国书画展作品集》等。2001年举办个人画展。2002年与李春海、赵占东、王玉良、孙志钧等举办联展。2003年举办谷福海百扇诗书画展。2005年举办谷福海、郑绍敏、柴京津书画联展。

Even though Deng Jianjin's early paintings were related to dreams, love, sex, pornography, peeking, and self-absorption, they provided no entertainment at all. Instead they gave a representation of exaggerated, dead serious, and even overcorrect individual heroism. They bore the historical baggage of China's 5000 years of civilization and all the suffering and oppression of Chinese people in modern Chinese history. They were a diligent and honorable means of salvation.By the end of 1990s, Deng Jianjin's series 'About the Witness's Dreams' continued to carry on his signature style of being 'expressive' and 'intimate', but cynicism and jokes had also started to prevail among his paintings heavy in colors and opened up a way out for 'sentimental youth' and 'heavy-hearted moods'. Ever since then, Deng Jianjin has obtained a sense of uninhibited freedom and been able to let his thoughts flow on this paintings.

邓箭今的早期作品虽然与梦境有关，与情色和色情有关，与偷窥和自恋有关，但却毫无娱乐性，是一种放大了的、极其严肃的、甚至是矫枉过正的个人英雄主义写照，它背负着五千年文明的历史包袱和近现代中国人民的所有压抑和苦难，是一种花大力气的、正派的拯救的方式。90年代末，邓箭今在《有关目击者的梦境》系列中，虽然延续了他一贯的&表现&和&私密&的话语风格，但是调侃和玩笑之风开始盛行于色彩拥挤的画面，并为&感伤的青春&和&忧心重重的情怀&开启了一扇透气的风门，从此，邓箭今游刃有余，思想得以自由穿行。

The eighth part-- To discuss about the styles and mass medias of the remuneration of Chinese paintings and calligraphy works.in order to expose the livelihood about the artists through the remuneration and the acceleration of the remuneration in the process of commercialization of Chinese paintings and calligraphy works,the problems existing in the process and the inspiration of the renumeration about the present market of Chinese paintings and calligraphy works.

结语探讨了书画润例的表现形式与传播方式的变迁过程，揭示了海上书画润例折射出的书画家的生存状态以及海上书画润例在书画商品化进程中的作用、海上书画润例在商品化进程中存在的问题及润例对当代书画市场的启示。

Neither the killing of Mr Zarqawi nor any breakthrough on the political front will stop the insurgency and the fratricidal murders in their tracks.

在对危险的南部地区访问时，他斥责什叶派民兵领导人对中央集权的挑衅行为。

In fact,I've got him on the satellite mobile right now.

实际上 我们已接通卫星可视电话了