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Actually, if we want to seriously discuss about 'Modernity', we'll find out that this issue has an awkward situation in China. Let's forget about the sociological issues and let's simply start from visual arts. The old generation of artists who brought western arts to China, actually brought along western classic arts academism that is just small part of western classic art, and it's far of being exhaustive. Furthermore, what they brought along went through many changes due to the contact with revolutionary realism and local culture. The result of this process was what was called "Modern Art" in China. After having arrived in China, a part of the western artistic academicism became "Chinese Modern Arts" and this misplacement still exists. Perhaps it comes from a creative misreading, however whether it has the capability of becoming an independent system or not, still remains uncertain.

事实上,当我们想认真的讨论"现代性"时,就会发现这一问题在中国有着极其尴尬的处境,且不谈社会学角度,从视觉艺术这个很小的角度切入,将西方艺术带入中国本土的老一代艺术家们带来的其实是西方学院派的艺术,是西方古典艺术的尾巴或被革命现实主义化了的西方古典艺术,而被带入中国本土后却被称为"现代艺术",直至今日当代艺术在西方的学理支撑到了中国本土变成了被断章取义的只言片语,这其间"错位"一直存在着,或许这是一种有创造性的误读,但误读的主体是否具有独立消化能力的系统值得商榷。

Among the poems, especially those texts presenting a reinterpretation of the classical legend, his alternative modernity at the aspect of their poetic art deepened and extended Chinese new poetry's modernism. We should treat his after poems as a pinnacle of modern Chinese poetry at all events.Chapter 6 is the last part of this dissertation. The researcher analyses Fei Ming circle's poetry concept and practice, for example, Nan Xing and Zhu Yingdan. Nan Xing was an inaugurator and founder of modern Chinese idyll.

南星作为中国现代田园诗的开创者和奠基人,在中西诗歌观念的双重影响下,以其柔和温情的心性、敏锐的观察力和纯熟的语言技巧,不仅为新诗写作如何面对田园或者正在城市中消失的田园风景,提供了可资借鉴的想象方式,同时也极大地丰富了中国古已有之的田园诗传统;而朱英诞则以中国新诗里的古典作风为中国现代诗歌带来了古典与现代互动互涉的美学想象。

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。

Some readers have asked me to buy his girlfriend a high-grade lavender fabric bed, but not everywhere match dresser, as a modern-style furniture, vanity plate can significantly reduce the overall grade of this fabric bed, journalists run for two days, barely able to match that is on a European-style neo-classical and pastoral style of the few Korean models, while the Korean-style garden with the best combination or style of bed, European-style neo-classical style furniture, the price again not that he could bear.

有读者问我,他女朋友买了一款中高档的薰衣草布艺床,但到处配搭不到梳妆台,因为现代风格的板式家具的梳妆台明显只能降低这款布艺床的整体品位,记者跑了两天,勉强能配搭上的也就是欧式新古典和韩式田园风格不多的款型,而韩式田园风格的最佳配搭还是同风格的床,欧式新古典风格的家具价格又不是他能承受的。

"Antonella" theme series injected Modern, Latin Dance of the fashion world gorgeous pop elements with classical elegant "Waltz Series", natural and unrestrained Haofang's "Tango Series", the luxurious beauty " Foxtrot Series ", soft lyric of" Rumba Series ", the joy of youth's personality style" cowboy series ", combines classical and modern features, are highly representative of the classic.

&Antonella&的主题系列注入了摩登舞、拉丁舞这一时尚华丽的世界流行元素,具古典高雅的&华尔兹系列&、潇洒豪放的&探戈系列&、美丽华贵的&狐步系列&、柔媚抒情的&伦巴系列&、青春欢乐的个性风采的&牛仔系列&,融合了古典与现代的特色,是极具代表性的经典之作。

The formation of western classical metaphysical aesthetics is a dialectical movement of constituting aesthetic subject transcendently on the basis of soul conception, passing through "the theory of natural soul" in ancient Greece, Descartes's "doctrine of rational soul" and in Germany classical aesthetic the second comprehension on aesthetic subject with separate soul and flesh, opposite emotion and ration.

西方古典形而上美学的形成是在灵魂观念基础上对审美主体超验性建构的辩证运动过程。历经古希腊的&天赋灵魂&,笛卡尔的&理性灵魂&,德国古典美学灵肉分离、情理对立的审美主体的二次综合。

The development of frame structure architectural space in ancient China plays an important role in the evolution of antique furniture.

中国古代构架式建筑空间的发展对古典家具的演变成长起着极为重要的形响作用,其建筑空间高度的转变直接影响了古典家具的形体从低到高的变化,一些新颖的家具形态的创造在很大程度上受到建筑空间里不严密的结构因素的影响,同时建筑内外空间成熟发展也促进了家具功能的逐步完善。

After the Renaissance and classical art oil paintings, the ancient Greeks to the present, and a rational first time the scientific spirit with the combination experienced a revival of ancient Greek art of the Third Rome, the climax, that is, beginning in the 14th century to the realism of Renaissance painting scientific language model, the 17th century, Poussin and the cause of the birth of norms Institute, to begin in the second half of the 18th century, the third revival of classicism, construction and improvement of Western oil painting reproduction of classical rational language system.

文艺复兴及其之后的古典油画艺术,把古希腊人本主义、理性至上与时代科学精神相结合,经历了对古希腊罗马艺术复兴的三次高潮,即开始于14世纪的文艺复兴运动对写实绘画语言模式的科学化,17世纪的普桑主义导致学院规范的诞生,到开始于18世纪下半叶的第三次古典主义复兴,建构和完善了西方古典理性再现油画语言体系。

In this era of most jazz can be crowned classical jazz's name, many modern classical jazz Renaissance from Fletcher ended Henderson, clarence Williams and the music of Beiderbecke Bix inspiration, they can be regarded as the openness of the music style of successor.

在这个时代的大多数的爵士乐都能被冠以古典爵士乐的名称,许多现代的古典爵士乐的复兴者从Fletcher Henderson,克拉伦斯·威廉斯和Bix Beiderbecke的音乐中获取灵感,他们能被视为这种开放性的音乐风格的继承者。

Fortunately, then China Central Academy of Fine Arts started a training program in the charge of Bencas with France Art Academy with respect of classic painting materials and skills. Guo enjoyed the full technical process of the European classic oil painting for the first time in his life from this training program and began to realize his previous errors and understood that what was popular in the Chinese painting at that time as just the original feature of the "Alla Prima" from the Soviet Union.

而尤其幸运的是,当时中央美术学院正在开办由来自法国美术学院的古典油画材料与技法专家宾卡斯主持的训练班,这个班的课,使郭润文第一次亲眼目睹和实践了欧洲古典油画的整个技术过程,开始明白从前所学到的谬误,明白了弥漫在中国油画界的原来只是一种来自前苏联的被称之为&一次性画法&的本来面目。

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