寄情

People who indulge in the so-called contemporary art of beauty, bare-headed, cartoon and advertisement, if they can understand and appreciate the images like Chen Wei, infect little "old air","old things","ancient fun" and "antiquities","Steal a little leisure from a busy life", repose of sentiment to the landscapes and vegetations, describe our heart and the ancient heart by writing,which get and surpass from ancient. In this way, we would not have a rough day .

在美女、光头、卡通和广告这些所谓的当代艺术图像中泡久了的人们，倘若也能像陈蔚这样通过对物象的体味和把玩，沾染点"古意"、"古事"、"古趣"与"古物"，"偷得浮生半日闲"，寄情于山水草木，将我之心与古人之心形诸于笔墨，得之于古又胜之于古，这样，我们每天的日子便不会粗糙起来。

This is, of course, and literati paintings unique Jiqing function.

这固然和文人画特有的寄情功能有关。

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。

It was an autumn night in my native Nova Scotia. A light rain was falling, making tapping sounds on the tin roof and the smell of mould filled the old lodge we were vacationing in for the weekend. A shiver in the air inspired a fire on the Franklin stove. We were all sipping hot chocolate and then my father went over to the upright piano, pushed up the sleeves of his shirt and began picking out a tune with one finger. He was not much of a pianist, but he knew the love of song and family. My mother put down her sewing and joined him on the bench and then my brother drifted to the piano as well.Finally, a poor singer and so usually a violinist instead, I added my voice for a line or two.

时值秋夜，在我的故乡新斯科舍，小雨淅沥，轻叩锡铁屋顶我们周末度假寄住的古老小屋，弥漫着一股霉味空气严寒得让人发抖，于是我们点上了富兰克林取暖炉我们悠然地喝着热朱古力，接着父亲走向立式钢琴，卷起衬衣袖，伸出一指敲一曲他算不上一个钢琴家，可他知道歌中的情、家中的爱母亲放下手中的针线活，和他同坐在一条凳子上，然后我哥哥也快缓步走向钢琴最后，不太能唱歌却能拉拉小提琴的我也凑热闹唱了一两句

This creative process does not need any disguise or artificial, will not do anything to the fame and fortune, the pursuit of natural, pure, this is the ideal creative process: that in order to create a better mood, can become works of fine Jiqing write-in for.

这样的创作过程不需要任何掩饰或是矫揉造作，不做任何名利之想，追求自然、纯真，这才是理想的创作过程：，如此才能创造美好的意境，作品才能成为寄情写志的上乘之作。

When Wangwei abandoned himself to nature , he was able to blend his own feelings and esperience with nature , as well as his meditation of Dhyana which was buried deeply in his mind .

王维在寄情山水的时候，把自身的情感和体验与大自然融于一体，并把他埋于心中的禅理寄予其中，形成了独具一格的&禅理诗&。

Hence his hatred of photographs, blurbs, potted biographies and all else that might besmirch the plainness of a book-jacket—as well as the increasing weirdness of the work, thousands upon thousands of words about Seymour which both laboured to idolise and failed to describe, culminating in 1965 in "his" letter from summer camp,"Hapworth 16, 1924" in the ever- and over-indulgent New Yorker .

于是就有了他对于书的护封上的照片、宣传推荐语、简短肤浅的作者介绍以及其它可能会玷污其朴实品性内容的憎恶——其作品的愈加怪异就更不用说了：动用千言万语描写西摩只为表达无限崇拜之情，却未能给出一个清晰的人物轮廓。这种絮语式作品的顶峰是1965年&他&从夏令营寄来的信——《哈普沃思16，1924》，发表在对其一贯纵容且过分纵容的《纽约客》杂志上。

Hence his hatred of photographs, blurbs, potted biographies and all else that might besmirch the plainness of a book-jacket—as well as the increasing weirdness of the work, thousands upon thousands of words about Seymour which both laboured to idolise and failed to describe, culminating in 1965 in "his" letter from summer camp,"Hapworth 16, 1924" in the ever- and over-indulgent New Yorker .

护封 上的照片、宣传推荐语、简短肤浅的作者介绍以及其它可能会玷污其朴实品性内容的憎恶——其作品的愈加怪异就更不用说了：动用千言万语描写西摩只为表达无限崇拜之情，却未能给出一个清晰的人物轮廓。这种絮语式作品的顶峰是1965年&他&从夏令营寄来的信——《哈普沃思16，1924》，发表在对其一贯纵容且过分纵容的《纽约客》杂志上。

Hence his hatred of photographs, blurbs, potted biographies and all else that might besmirch the plainness of a book-jacket—as well as the increasing weirdness of the work, thousands upon thousands of words about Seymour which both laboured to idolise and failed to describe, culminating in 1965 in "his" letter from summer camp,"Hapworth 16, 1924" in the ever- and over-indulgent New Yorker.

于是就有了他对于书皮上的照片、宣传推荐语、简短肤浅的作者介绍以及其它可能会玷污其朴实品性内容的憎恶——其作品的愈加怪异就更不用说了：动用千言万语描写西摩只为表达无限崇拜之情，却未能给出一个清晰的人物轮廓。这种絮语式作品的顶峰是1965年&他&从夏令营寄来的信——《哈普沃思16，1924》，发表在对其一贯纵容且过分纵容的《纽约客》杂志上。

The ancient and simple brick sculpture on the gate The brick sculpture art of old local houses is very fine from the gate to the screen wall and from the door to the window,everywhere is beautiful designs which are made by the way of figurative graph,meaning and similar sound to show something.

17《门头上古朴的砖雕》古民居的砖木雕刻艺术也非常精湛，从大门到照壁，从门扇到窗户，处处都有精美的图案。这些图案大多通过象形、会意、谐音等手法构求艺术语言，来托物寄情。

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。