查询词典 traditional Chinese painting

Based on likeness, Chinese traditional painting mainly applies the rhythm with obvious subjectivity and expresses its feelings through hogarth's line and chiaroscuro, while western traditional painting pays more attention to expressing feelings through color and chiaroscuro with objectivity based on appearance resemblance.

中国传统绘画是在"神似"的基础上对绘画中的节奏进行把握和运用，因此其对绘画节奏的认识具有明显的主观倾向，体现在更注重通过线条节奏和黑白节奏来表达自身的情感和认识；西方传统绘画是在"形似"的基础上对绘画中的节奏进行把握和运用，因此其对绘画节奏的认识具有明显的客观性，体现在更注重通过色彩节奏和明暗节奏来表达自身的情感和认识。

As a Chinese cultural heritage, this was the essential idea of traditional painting, especially in literati painting.

这是在中华文化的历史传承中，国画尤其是文人绘画的一种典型的存在型态。

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"。

A new painting way evading Chinese traditional ones may start here, the trial. Through these conceptual works, we can find that Chinese artists gradually step further and further from the fondness for portrait and plot, get rid of the embarrassed state of traditional paintings and separate from the acuminous and logic visional experience.

这样的尝试可能会为中国逃避传统的绘画方式拉开序幕，那么，透过这些概念化的作品，我们可以窥见中国艺术家在最近的几十年中，已逐渐地游离开传统绘画对物象和情节的迷恋，并摆脱了常规绘画的尴尬处境，从中分离出敏锐的、逻辑的视觉体验。

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&。

With further understanding and recognition in art, her painting style was changed continuously, especially breakthrough on artistic method and expressive forms. In 2005, Marta left Spain for Shanghai and was attracted by the purity of the Chinese traditional culture and traditional building materials. On the basis of the original artistic language, she was trying to integrate the Western and Chinese drawing language in terms of the expressive form. Generally, She planned models after modeling language of Western oil painting. Then, she pasted or collaged the traditional materials such as pearl, silk and knitting cloth on the drawing board.

随着对艺术的进一步理解和认知，她的绘画风格不断演变，尤其在艺术手法和表现形式上的突破。2005年，Marta从西班牙来到了上海，被中国传统文化的纯粹性和传统物质材料所吸引，在原有艺术语言的基础上，她试图在表现形式方面将中西方的绘画语言有意进行链接，她通常先用西方油画的造型语言塑型，然后将中国一些传统材料如珍珠、丝绸、针织布料等在画面上进行粘贴和拼贴。

We can hardly define Wei Chuanyi as an oil painter, traditional Chinese painter, landscape painter or flower and bird painter by using painting types, his achievements in every field are splendid.

我们很难用画种给魏传义做一个界定，油画家、国画家、山水画家或者花鸟画家，他在这些领域的成就，都足以彪炳画坛。

Diffuse extension of the night, as if a traditional Chinese ink painting, desires distractions during the day, deep in the ink faded, but clean and shallow nourish the stroke, then jump from the moon's bright and clear.

弥漫的延伸的夜色，好似一幅泼墨的山水画，日间的私欲杂念，在墨色深处隐去，而清浅细润的笔锋，则跳跃起月光的皎洁。

Her painting style developed and broke through in the manners and forms of expression when she recognized and understand art step by step. Marta was attracted by the traditional culture and the pure of the art material in China when she came to Shanghai from Spain in 2005. She attempted to establish contact of painting between China and the West on the form of expression. She always uses oil painting first then adds the Chinese traditional material such as pearl, silk, and knit goods together.

随着对艺术的进一步理解和认知，她的绘画风格不断演变，尤其在艺术手法和表现形式上的突破。2005年，Marta从西班牙来到了上海，被中国传统文化的纯粹性和传统物质材料所吸引，在原有艺术语言的基础上，她试图在表现形式方面将中西方的绘画语言有意进行链接，她通常先用西方油画的造型语言塑型，然后将中国一些传统材料如珍珠、丝绸、针织布料等在画面上进行粘贴和拼贴。

Why is traditional Chinese ink landscape painting in the late Tang Dynasty?

为什么中国传统的水墨山水画出现在晚唐？

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