山水

Xie Lingyun and XieTiao, the vanward authors of landscape poem of China, had produced far-reaching force to the poetry of landscape.

谢灵运和谢朓是中国山水诗派的开派作家，二人并称为&大小谢&，他们的创作对后世山水诗的发展繁荣产生了深远的影响。

As a result, the mountains and waters of Dong's style have not only been weathered but also interknitted, and finally, they became non-typical mountains and waters interknitted.

在《董其昌计划-2》中，尚扬就以多幅图式并置的方式来呈现自然的异化，董其昌式的自然山水不仅风化，而且&网络化了&，它最后变成了&非典&时代的网络山水。

Landscape is the carrier of culture, culture is the soul of landscapes.

山水是文化的载体，文化是山水的灵魂。

It never had the complex meaning of symbolism, caricature and strangeness, but had the function of placating and satisfying. When watching did not need to guess and judge, what would harm our brain, the purity and imposing nature of the Chinese landscape, its image idea, and the distance caused by would share the quiet pleasure with us shortly.

中国山水&成了洪磊去意识形态，谋求假想中的隐逸和自我麻醉的媒材，它不再有象征、反讽与吊诡的复杂内涵，只具有安抚扣令人惬意的功能，当观看不再需要猜测和推断的智力耗损时，&中国山水以及它的影像表皮所透露出的单纯与凝固，与由此造成的距离感，才会同我们短暂地分享那种恬静的愉悦。

The key of the mountain-water and pastoral poetry of Tang Dynasty created the artistic conception was that the poets devoted their emotions on the natural landscape,and the natural landscape was sentimentalized and lifelized.

唐代山水田园诗创造&时空合一&艺术意境的关键就在于诗人与山水田园景物冥合无间，以自己的情感熔铸于景物，使之情意化、生命化。

The style of mountain residences is simple and dull and follows the same pattern, which lost the specific characteristics of being interdependent with mountains and water and result in grievous ecocide and destruction to the town landscape.

因此，在我国城市化进程加速发展以及西部大开发顺利实施的背景下，基于山地城镇多且主要位于西部地区的现实状况，如何更好利用自然山水的环境资源优势，创造出符合山水特色的、舒适宜人的山地居住区空间形态，具有重大的理论价值和现实意义。

The stage nature shows that the unique structure of the landscape poem of Xie Lingyun times is an open structure and it has been effected by the linguistic idea created by the political environment and the social trend of the thought in Back-Xie Lingyun times after carrying on the structure of the poem about scenery in Wei-jin times, then it evolutes and helps to bring about the landscape poem of Tang dynasty which only exist the part of depict and full of the sensation of stereoscopic ultimately.

其阶段性表现为：谢灵运时代山水诗的独特结构是开放的结构，在承继了魏晋时期写景诗中的构诗方式之后，又受到后谢灵运时代政治环境、社会思潮，以及由此产生的语言观的影响，从而发生嬗变，最终促成景语独振、兴象玲珑的盛唐山水诗。

The arrangement of landscape and building and the planting of flower usually relate to painting.

园林的山水布局、建筑及小品的安排，以及花木栽植，每每借用山水画论。

The integral whole of man and nature decides the appeal of nature for man.

人与自然山水具有的一体性，使人与自然山水具有天然的亲和感。

In his view, Taihang's every mountain, every rock, tree and blade of grass hold the mystery of creation and nature's form, but also hold memories of the history of humanity.

在他的眼中，现实中的太行山水的一山一石、一草一木固然都饱含着造化的神奇与自然的形态，但还有一种来自於历史的人文记忆，重峦叠嶂、烟雨空、屋宇小径、霜林落叶……都浸透着乡情，弥漫着诗意，历史画面与自然山水给他以艺术激情和创作灵感。

In the negative and interrogative forms, of course, this is identical to the non-emphatic forms.

。但是，在否定句或疑问句里，这种带有"do"的方法表达的效果却没有什么强调的意思。

Go down on one's knees;kneel down

屈膝跪下。。。下跪祈祷