查询词典 traditional Chinese painting

Who should be conditional on Chinese traditional painting materials for study and application, Chinese painting and it is particularly reflected Painting the material beauty Everbright succession, it is up the sky.

有条件者应当对中国传统绘画材料加以研究和运用，而使其中国绘画尤其是工笔画中体现出的材质美继承光大，殊放异彩。

The issue mentioned in this paper is related with modeling of Chinese painting, it starts from "To perceive object voluntary and paint it" and discuss the modeling rule of Chinese traditional painting, meanwhile analyze the modeling of ancient scholars' painting based on this rule.

本文研究的问题与中国画造"形"有很大的关系，从"应物象形"入手，探讨中国传统绘画的造"形"法则，并以这个法则来分析文人画的造"形"。

Some work directly connects to traditional Chinese art. The relationship between the portrayer of the object and the objected being portrayed is fundamentally altered. Therefore, multiple visual layers emerge. By creating a self-content painting world, this type of work reinterprets the literati paintings in the Ming and Qing Dynasties. While addressing ontological issues for painting, the work implies the elegant literati taste the artist is born with. Some works emphasize the interaction between space and traditional art materials, mechanically carrying out a repetition of a traditional scene.

参加"诗意现实：对江南的再解读"展览的近三十位艺术家的作品，我以为，也许大体可以把它们分为下面几种类型：有的直接与中国的艺术精神相续，在媒介和再现对象之间进行图像"转译"，并形成多重的视觉套层，从而建立起一个自足的绘画世界，来实现对明清文人画的重新审看和临写，在对绘画的本体问题进行实验的同时，传达自己与身俱来的优雅的文人意趣。

A great cultural heritage is a living memory. Moreover, traditional Chinese elaborate-style painting and ink-wash painting can arouse incredible responses in the hearts of these outsiders who are familiar with Chinese art tradition because of their graceful and profound performance. Such response is the joint product of aesthetic ideal and material quality. The form is sometimes the content, which are purely inseparable.

一种伟大的文化遗迹是活的记忆，包括在熟悉中国艺术传统的外人心中，中国传统工笔和水墨因爲其优美深邃的表现，能够引起妙不可言的反响，这种反应是由审美理想和材质共同作用的，形式有时就是它的内容，是不好割离的。

However, during New Trend '85, Gu Wenda differentiated himself from most artists of Chinese Painting of the time and showed his contemporary consciousness by experimenting on traditional ink painting materials and techniques. This brought out a new possibility for the contemporaneity of Chinese Painting. Since then, unremitting efforts have been made to "modernize" Chinese Painting through traditional abstract elements like ink-wash and Calligraphy. These efforts streamed into a new trend called "modern ink"(or "abstract ink","experimental ink") in late 1980's, though seemed not widely acknowledged for its resemblance to Abstract Expressionism of 1960's and 1970's American art. What is interesting is that while some artists are endeavoring to "westernize" their art, a new trend grouped as "Neo-literati Painting" appears with very traditional form and mood. This can be explained as a group of people's resistance to the reformation of traditional culture as well as their nostalgia to traditional ideals. However, this school tends to be artificial for the absence of the particular context, and the expression with traditional brushwork is also regionally limited. Of all the efforts of reformation, Chinese Painting that accordingly adopts the tradition heads the list because of the cultural identification of the big number of population and greater market as a result of the economic growth of China. Meanwhile, the immense conservative inertia of traditional Chinese culture can also be detected.

在"现代艺术"风起云涌的"85新潮"中，谷文达以传统水墨的材料和方法表达出不同于当时大多数中国画艺术家们这种文化心态和文化认知的现代意识，为中国画的现代性提供了一种方案；以水墨、还有选择中国传统书法的抽象因素等可能来进行现代性探索，一直是中国画连绵的努力，在80年代后期汇聚成"现代水墨"（又或曰"抽象水墨"、"实验水墨"），是中国画的又一流向，但是不是没有脱离60、70年代美国的"抽象主义"意义，反而还有了拾人牙慧之嫌，所以始终难以获得更大的认可和成功；很有趣的是，与此"西化"流向同时的，还有以非常传统的方式出现的"新文人画"潮流，或许可以把这看着是部分中国文化人在中国以西方为参照的新文化背景下对之的抵制，对传统理想的怀念和诉求，但由于已经失去了其语境和环境，"新文人画"显得娇情和造作，而且这种以非常地域化的传统笔墨语言来表现的方式也失去了更为普遍化的可能；反而是延续传统一脉的国画，由于有巨大的人数基础的本土文化的认同，在中国经济发展后有了更大的市场，所以还是蔚然为中国画的一大潮向，从这也可以看到中国文化承传的保守性的力量。

And he decided on the employment of multi-medium – hard cardboard paper of canvas covered with soft traditional Chinese handmade paper, mixing engraving and printing techniques of printmaking, drawing, smudging and painting of oil or acrylic, with depicting, chapping, dotting, washing-down of traditional Chinese ink-wash painting.

他决定用综合材料——在硬性的卡纸或画布上蒙上软性的宣纸，融合版画的刻印、油彩与丙烯的画、涂、擦，以及水墨的写、皴、点、染，造成刚柔相济的印、绘和制作的效果。

This is not only because we all started our art career from traditional Chinese art. We find it regrettable that traditional art forms are in their muteness in contemporary culture. In our respective artistic practice, we have formed a common understanding about contemporaneity of Chinese Painting: Chinese Painting needs to be explored and reformed from the legacy of tradition; Chinese Painting needs to obtain its contemporary cultural significance.

这不但是因为我们都是从学习传统的中国绘画艺术开始我们的艺术之旅的，更因为我们对传统艺术方式在当代文化中无所作为的失语状态有切肤之感，在各自的艺术实践中对中国艺术的当代性有一个共同认知：中国艺术需要从传统中发掘和更新、中国艺术要努力具有当代文化的意义。

I can feel his standpoints and courage to the contemporary culture. But he is unable to use pungent language to criticize the tradition. He uses persuasive dreamland and seemingly sober state to face to it. In another aspect he has cut his ink language off the relations to traditional landscape paintings. Let the audiences in front of his works realize and moved, let the mark shape, kinking, variation objects appear repeatedly in his pictures, so that he subverts all requests in art to traditional pictures. Based on the above, I dare to conclude Liuming is not a "Chinese landscape painting painter", although on the "www. yanzhoucn. com" he insists on calling oneself "the renowned Chinese painting painter".

我能感受到刘鸣对当代文化所持有的立场和勇气，但他又无法用一种辛辣的语言去批判传统，他婉转地用梦境、用似醒非醒的状态去面对；而在另外一个层面，他揭然斩断了传统山水画与其艺术的关系，让观众在其作品前省悟和木讷，让符号状、扭结、变异的物体，在其画面上反复出现，彻底地颠覆了传统画论中对山水画的所有要求；基于上述，我敢断定刘鸣绝不是一个中国山水画画家，尽管他在 yanzhoucn.com 网页上坚持称自己为&著名国画家&。

Chinese painting shouldn't be negatived at all only for some shortage in traditional painting elements. Meanwhile, in the college , which is regarded as one of the most important way to hand down Chinese painting, Chinese painting education also faced unprecedented challenge.

做为传承中国画最重要的方式之一的学院中国画教育同时也面临着空前的挑战，而中国画教学问题的根本仍然是中国画自身的问题，中国画教育问题的混乱正反映了中国画问题的混乱。

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。

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