写生的

Describe Adonis, and the counterfeitIs poorly imitated after you;On Helen's cheek all art of beauty set,And you in Grecian tires are painted new:Speak of the spring and foison of the year;The one doth shadow of your beauty show,The other as your bounty doth appear;And you in every blessed shape we know.

试为阿都尼写生，他的画像不过是模仿你的拙劣的赝品；尽量把美容术施在海伦颊上，便是你披上希腊妆的新的真身。一提起春的明媚和秋的丰饶，一个把你的绰约的倩影显示，另一个却是你的慷慨的写照；一切天生的俊秀都蕴含着你。

Since every one, hath every one, one shade, And you but one, can every shadow lend: Describe Adonis and the counterfeit, Is poorly imitated after you, On Helen's cheek all art of beauty set, And you in Grecian tires are painted new: Speak of the spring, and foison of the year, The one doth shadow of your beauty show, The other as your bounty doth appear, And you in every blessed shape we know.

每人都只有一个，每人，一个影；你一人，却能幻作千万个影子。试为阿都尼写生，他的画像不过是模仿你的拙劣的赝品；尽量把美容术施在海伦颊上，便是你披上希腊妆的新的真身。一提起春的明媚和秋的丰饶，一个把你的绰约的倩影显示，另一个却是你的慷慨的写照；一切天生的俊秀都蕴含着你。

Describe Adonis, and the counterfeit Is poorly imitated after you; On Helen's cheek all art of beauty set, And you in Grecian tires are painted new: Speak of the spring and foison of the year; The one doth shadow of your beauty show, The other as your bounty doth appear; And you in every blessed shape we know.

试为阿都尼写生，他的画像不过是模仿你的拙劣的赝品；尽量把美容术施在海伦颊上，便是你披上希腊妆的新的真身。一提起春的明媚和秋的丰饶，一个把你的绰约的倩影显示，另一个却是你的慷慨的写照；一切天生的俊秀都蕴含着你。

Secondly, the thesis tries to find out aspects on the works of art that are on the surface of impersonal existence, associated with art and people, and most likely to draw people's attention other than their reality. These aspects are images and forms, especially the using of lines, which is the most living form in my study of Chinese painting. The topic extends from the using and exhibition of lines in the sketching and art creation, further to the intuition, which is the way and measure of obtaining the form of the works of art. Intuition is a nonfigurative emotional activity that melting the sensibility and logos of human being. The thesis discloses that emotion is the momentum of art intuition.

然后试图找到艺术作品这一客观实物上最为表层的、与艺术、与人相关的，除了它的实在以外最容易被关注的部分---形式，尤其是我所学习的中国画中，线这一最具生命感的形式，在花鸟写生和创作中的运用和体现，进而深入到艺术作品的形式获得的途径和方法---直觉，这种人类感性和理性相融合的情感的复杂抽象活动，并揭示出艺术直觉的动因是情感，人们为了满足某种心灵的需要而进行艺术的直觉和积累。

That might explain why Luo is enchanted by specimen. He staged a scene of a museum that displays the pieces of his memories and mental pictures through the laying out and reconstituting the cross-sections of rocks. The procedures only exist in a momentary flash on the canvas. Though there are similarities between Luo's themes and those of Japanese photographer Sugimoto Hiroshi, Luo's objects are at greater ease than Hiroshi's. This is the reflection of Luo's sentiment, an attitude of self-complacent that elder Chinese literati had.

这也就不难解释罗荃木对于标本的偏好，并将场景直接地自博物陈列中撷取，这拼凑自艺术家记忆或相片的过程正如将摊平剖析过后再度构造出的山石，成为了只存在于画布中某个过去的瞬间；但有趣的是，这些标本都存在着一种自在，这份感觉是无法在杉本博司摄影中看到－这是艺术家自己对于外在世界情感的写照，超然幽淡的生活状态，并可呼应宋时以写生观察自然、寄情自然的文人思维。

An other day of evening, we arrived our atelier to takr on sketch to practice early and early, he slips into here vrey secretly, and request as to mine mold especially, his arm puts on the pipe coilthigh, and lovely of the small hand underprop the chin, this scene catch over some other classmates .

又一天晚上，我们大家早早来到画室进行写生练习，他偷偷的溜进来，并要求自己来当我的模特，他的胳膊放在盘着的大腿上，并且可爱的小手托住下巴，这幅情景吸引了一些其他的同学过来。

The sketchbooks of Western artists are filled with such studied, which, by their improvisatory unfinished openness, allow the white paper background to play a primary role in the visual effect.

西方画家的速写本中常常画满此类写生，未完成的创作构图式的空白使背景的白色起着一个重要的视觉效果。

She was so exciting that she was pacing rapidly in front of me during the almost entire course. I can feel how important are these works to her. These painting are really beautiful, especially the colors. No matter what form of the art: imitating practices,life drawings or creating paintings, she always takes her own way and never attached to the experiences from others. Though she wields her brush on the canvas like a bucking bronco, yet good in reining it. She finally has found the destining home of her life.

让我看她的画，她是如此的心情激动，几乎一直在眼前急急地走动，我能感受到这些画对于她是多么的重要，这些画真是美丽极了，色彩尤其出色，不论是临摹，写生还是创作，她都是我行我素，从不依附别人的感受，天马行空，而又极善于控制，她终于找到了自己生命的归宿。

However, as the artist at present, and since the creation of landscape paintings are quite different from those classic ones for a long time, Yin Chaoyu does not take the palette and the easels to carry out the so-called sketch of the landscape like the classic landscape painting artists, but weaves the "private landscape" in the atelier.

然而作为当下的创作者，有关风景画的创作又早已迥异于古典，尹朝宇不再像古典的风景画家那样拿着画板画架而对着风景进行所谓的写生，而是在画室中对着画布编织着&私自的风景&，如果要找到这些作品与古典的表象联系的话，那就是那条似乎遥不可及且又异常明确的&地平线&。

In 1921-1922 he unveiled his design for a giant urban settlement,"Une ville contem-poraine pour 3 millions d'habitants,"and by 1933 he had further developed his think-ing in La Ville Radiant City.Throughout his career Le Corbusier would offer numerous idealized poetic sketches as solutions to the complicated problems of real urban places such as the South American cities of Rio de janeiro,Sao Paulo, Montevideo, Buenos Aires,and Bogota;the African city of Algiers;and the French provincial cities of La Rochelle and Saint-Die. One of his large urban conceptions-a design for the governmental center of Chandigarh,India-was constructed posthumously.

在1921年至1922年，他推出了自己设计的一个巨大的城市住区&， une市contem - poraine倒三百万-h abitants&，由1 933年进一步发展了，他认为英在洛杉矶市辐射c ity.throughout生涯柯布西耶将提供许多理想化的诗意的写生作为解决这一复杂问题的真正市区的地方，例如南美的城市里约热内卢，圣保罗，蒙得维的亚，布宜诺斯艾利斯和波哥大；非洲城市阿尔及尔和法语省级城市拉罗谢尔和圣死。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失