器物

The author makes every effort to combine abstract intellectual category and concrete artistic practice together, starts with concrete aesthetic activities, such as custom etiquette, daily life, artistic works, etc., and sketches a contour of one kind of "aesthetic culture history",which is different from aesthetic intellectual history and aesthetic implements history for readers.

作者力求将抽象的思想范畴和具体的艺术实践结合起来，从风俗礼仪、饮食起居、艺术作品等具体的审美活动入手，为人们勾勒出一种"有别于审美思想史和审美器物史的审美文化史"。

My paper firstly turns on the time of Kaogongji, puts it in axes-age and sums up the characters from our ancient art design which it starts from the analyzing of "Qi" and "Wu".So we can draw our research clue and orientation: manufacture whose core is "Li";And then we will make particularly aesthetic analyse about the text.We will make it clear about the realations between " Li" and "Qi", concept and res, taste and res , and my paper will tell of three part:conceptual design—age idea" s effect on Kaogongji" s taste;human design—human spirit in Kaogongji" s art design;imitate design—accouterment" s taste of Kaogongji. In the text ,I will also tell of the following problems:Li and Kaogongji" s design idea, like-six idea and Kaogongji" s taste ideal, nature-human and Kaogongji s zoology idea.

本论文首先切入《考工记》的时间定位问题，把它放在轴心时代的大背景下，之后从"器"和"物"二字的文字学分析出发，对我国古代艺术设计的总体特征进行了概括，进而以此背景审视《考工记》一书的工艺美学思想，确定本文对该书的研究思路和定位，即以"礼"为核心的器物制造；然后具体进入文本进行细致的美学视角的分析，为廓清"礼"与"器"、观念与器物、审美风尚与器物等关系理顺思路，论文分别从观念化设计——时代观念对《考工记》审美取向的影响、人机化设计——《考工记》艺术设计的人文精神、仿生设计——《考工记》中装饰物的审美追求这三个大方面进行研究，涉及到礼制文化与《考工记》的审美设计理念、"尚六意识"与《考工记》的审美理想、"天人合一"与《考工记》的审美生态观等诸多问题。

If you find yourself with the means to restore Battlehorn Castle to its former glory, a friend of my father's named Nilphas Omellian still holds many of the castle accoutrements in storage and on account.

如果你觉得你自己有必要重现Battlehorn城堡昔日的光荣，我父亲的一个叫Nilphas Omellian的朋友依然保存着许多城堡的器物，并且出售它们。

This research will investigate the aborigine's cultural characteristic, artifacts, carvings, decoration; and how to combine with campus building; how to convert art into the representation of cultural appearance. In addition, Learn through the sign, the angle of the sociology and anthropology does the theories.

本研究将探究原住民的文化特质、器物、雕刻、饰品，如何与校园建筑做结合，如何经由艺术转化而为兼具实用、美感且具丰富文化性的样貌，另透过符号学、社会学与人类学的角度做理论分析。

Moreover, they were capable of using stone axe, adze and chisel to process timber and built the "pole-railing" style houses; they used spinning wheel, bone shuttle and bone needle to make thread and weave cloth; they were also very skillful in making pottery mixed with charcoal in various shapes; in their leisure time, they had "beauty" and "God" to meet their spiritual demand, beautified practical utensils very delicately and had created lots of very divertive artwork such as the ivory sculpture that is in consummate craftsmanship and with profound implication and that has become the best name card for Hemudu culture which is famous worldwide

此外，他们还会用石斧、锛、凿加工木材，因地制宜建造"干栏"式房屋；用纺轮、骨梭、骨针等纺线织布；还能熟练制作形式多样的夹炭陶器；温饱之余，还把"美"和"神"作为心灵之需，精心美化实用器物，并创作出不少情趣盎然的原始艺术品，如工艺精湛、意韵深邃的象牙雕刻器，已成为河姆渡文化蜚声中外的最佳名片

The table with its appurtenances, the pure gold lampstand with all its appurtenances, the altar of incense

供桌和桌上的一切器物，纯金的灯台和灯台的一切器物和香坛

As a progressive party and renascent force in early 20th century, the KMT regards the borrow-in things from the west completely different from any political bodies before, neither refuses nor restricts but "take it for use".

中国国民党作为20世纪中国历史上的进步党派和新生力量，对电影这一西式器物与此前任何一个政治集团对于外来器物的态度都截然不同，他们既不拒绝，也不限制，而是"拿来"为我所用。

According to the research results, the source of ritual instruments of temple's honor guard contains not only the origin of national ceremony system in China's feudal ages but also the conception of "honor guard of gods","parades of effigies","Nuo plays", and the prodding of "honor guard in sacrificial rites","knighting for gods from government","folk drama". Under these processes of development, the ritual instruments of temple's honor guard were spread widely in folk temples, and were introduced into Taiwan in early Ching dynasty.

研究结果发现，寺庙仪仗器物的产生渊源乃由国家仪仗礼制所发展而来，但这并非是唯一的源头，中间尚包含了由国家仪仗礼制所发展出来的「仙仗」概念以及「行像」、「傩戏」等俗作为概念根基，以及「官方祀典仪仗」、「官方封赐神明的风潮」、「民间戏曲」等现象的推波助澜，始让中国民间寺庙使用仪仗器物之俗有所普及并流传发展至今，而大约在清代中叶，随著中国移民前来拓垦，将此俗正式带入台湾。

This article provides a preliminary analysis and comparison of several pieces which are comparatively well preserved and fairly dateable, and attempts to determine the routes along which they were imported, the kilns where they fired, and their exact dating.

本文对其中保存较完整、时代较明确的几件器物进行了初步地分析和比较，并试图探讨这些器物的输入途径、烧制窑口、年代等问题。

The fish-shaped objects may reflect the worship of fish of Yufu clan, which was an important clan after Cancong in the history of Shu.

三星堆出土的鸟形、鱼形器物数以百计，充分反映了古蜀鱼凫王朝对鱼鸟的崇拜。鱼凫金杖是其典型器物。

By the time of its fall, most of the prisoners were writers who had written against the corruptions of the government.

到它被攻陷的时候，里面多数的犯人是写了反对政府贪污文章的作家。

The most obvious variation to ovum morphological character was that the color was changed from light green to sepiaceous in embryonic development, and all the ovums were almost hatched after 96h.

在胚胎发育过程中卵的形态特征最明显的变化是颜色从淡绿到深褐色，卵在发育96h后卵基本全部孵化。