俗艳的

In his critique of "kitsch", it is therefore important not to see a judgment placed on concrete individuals but rather a denunciation of the value system that lures and draws them along an ill-chosen path.

所以，不能把常徐功对艳俗的批判看成是对具体的人的批判，而应该看成是对引诱和蛊惑人的各种价值观念的批判。

Flora birds of Zhao Mi brightens the hall with there raffish patterns in red and green. The implication of a real woman in self-consolation and the provocation of cracked blood trace make the peony under his brush a strong metaphor of sex.

而赵弥的花鸟画，更是以大红大绿的艳俗图案，在展场中让人眼前一亮，真女人自慰形象的暗示性与冰裂纹血痕的挑衅性，使他笔下的牡丹花成为关于情色的暗喻。

In 《China Mansion》, scenes are collected from all the masters in the western art history such as Angres, Courbet, Monet, Gauguin, Klein, Jones, Boucher, Rembrandt,Rubens, David, Renoir etc.The scene is decorated with coarsely copied traditional Chinese furniture,cheap copies of the western small objects, the numerous figures are all modeled by the vulgar nude, strikingly raffish and vulgar, the "nude" and the "bed"are the only point of connection with the original paintings. This cross time and space"cultural exchange"is utterly absurd creating many uncertain concepts (Wang Qingsong's words), but it is the portrait of the current blind cultural exchange.

中国之家》集合了西方艺术史大师如安格尔，库尔贝，莫奈、高更、克莱因、琼斯、布歇、伦勃朗、鲁本斯、大卫特、雷诺阿等经典作品的场景，场景以粗糙仿制的中国古典家具布置，廉价仿制的外国小玩意儿装饰，场景中众多的人物全部以粗俗的裸体模特扮演，充满中国当下的艳俗气息，裸体和"床"是唯一保留的与西方古典原作的联系点，这种跨时空的"文化交流"十分荒诞，"产生了许多不确定的概念"，但却是中国当下盲目的文化交流的写照。

In the early 90s, with the change of political atmosphere and development of market-oriented economy, the dream of saving Chinese art out of the hard situation with western Modernism came to its end. It was replaced by "Political Pop","Cynic realism","Hippy","raffishness" and practicism propelled by economic profits.

90年代初，政治气氛的转变与市场经济的发展，使得类似于"中国现代艺术展"用西方现代主义来解决中国艺术困境的幻想遭到破灭，取而代之是"政治波普"、"玩世现实主义"、"泼皮"、"艳俗"以及经济利益带动下的实际主义作风。

Paintings in different styles and different genres live and stretch here, with fresh breath, presenting the latest pattern of the booming cotemporary art in China.

在中灰色、亚麻色和砖红色的包豪斯风格的废弃工厂中，墙面被涂成了大面积的白色或红色——实验水墨、影像艺术、政治波普、艳俗艺术……形态各异的绘画在这样的空间中排列、延伸、呼吸，向你昭示着蓬勃的中国当代艺术的最新形态。

Chinese Pop Art in the early 90s, described as Living Pop art, has a clear signification and concept. The Gandy Art (from 1995 and later) however turned into a more formalist art. It lacks an avant-garde approach and has no references to daily life anymore. Also it has a Benthamistic and pragmatistic character: being more business oriented to the Western art market.

中国90年代的波普艺术统属于生活波普。90年代初的生活波普与后来的艳俗艺术有些差异性，前者的意指和观念都很明确，后者却是一种形式主义的东西，缺乏现实生活的参照系，有功利主义和实用主义的倾向。

The "Cartoon generation" demarcates the shift of Chinese art from a focus on critiquing, to a contemplation of metaphysical political discourse that leads to concrete insights of the everyday life and culture.

江：&艳俗艺术&是以个人的情结去审视中国现代文化中的某些具体特征，并将各种传统文化已至臻完美的样式打成碎片，始终以类似喜剧的批判姿态--反讽，来提示生活中人们习以为常的荒诞的一面。

Wares for far eastern Russia—like flashy Chinese-made shoes worn by a bridesmaid in the port of Petropavlovsk—arrive chiefly by sea.

俄罗斯东岸的海水——就像位于Petropavlovsk港、穿在伴娘脚上的艳俗的中国制造的鞋子，也是飘洋过海抵达到这里的。

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