无形象的

It is difficult to classify him to realism, expressionism even surrealism; the space of non-depth and emptiness, and the plane image without cubage does not need too many skills of oil painting and don't carry the burden of technique, which is more suitable to his free expression.

我们很难把他归类到写实的、表现的，甚至是超现实的；那种无深度的虚无的空间，无体积的平面化的形象，似乎都不需要过多的油画技巧，而且没有技巧的包袱，更适合于他的自由的表达。

Serious interpretation stick by historical fact, construct the scenario with inner historical contradiction, shape the event and historical character. Playful interpretation has a jocosity style and seldom stick by historical fact,(以后现代式无深度戏仿消解历史,并以此形成事件核心和模式化的人物形象;)Dissociated between these two styles is sub-serious interpretation, reconstructure history with fabled drama conflict, and shape the event and dramatized character.

历史正说剧忠于史实、风格严肃，以历史的内在矛盾性构建戏剧，并以此形成事件核心和历史化的人物形象；而历史戏说剧风格戏谑、几无史实，以后现代式无深度戏仿消解历史，并以此形成事件核心和模式化的人物形象；游离于二者之间的过渡类型即是历史亚正说剧，以虚构的戏剧冲突性重构历史，并以此形成事件核心和戏剧化的人物形象。

The technology means is still advanced , the need satisfying the image molding a role without end, also has no proper working post where one can give full play to one's skills or professional knowledge.

技术手段再先进，满足不了塑造角色形象的需要，也无用武之地。

In their description, the"infatuation""foolishness"is the symbol of truth and purity, which reflected that the idea of"plainness and purity is the beauty"in Daoism aesthetics has influenced the art of literature a lot at that time.

三、"苦——乐"、"丑——美"的美感转化论在明清文学中也得到了艺术化的体现，四、明清时的文学思潮和文学作品对"痴"的人物形象的描写及推崇，将"痴"人形象作为真实无伪、纯真不俗的象征，反映了道教美学中以素朴为美的思想对明清文学艺术的影响。

In this atmosphere the BNP, posing as unsullied avengers, might have been expected to do even better.

在这种氛围下，国家党以身无污点的复仇者形象出现，其实本有望取得更大成功。

No more sailing from harbour to harbour with this my weather-beaten boat.

我跳进形象海洋的深处，希望能得到那无形象的完美的珍珠。

No more sailing from harbour to harbour with this my weatherbeaten boat.

我跳进形象海洋的深处，希望能得到那无形象的完美的珍珠。

Tonally, the film is typical To, with a range extending from moments of goofy visual humour (To regular Lam Suet clowning around) to an absolutely chilling, relentlessly extended torture sequence whose sickening specificity (it evokes the horror of the tortured more than their actual physical abuse) echoes, perhaps unconsciously, Abu Ghraib.

影片基调具有典型的&杜氏&风格，从疯狂的视觉幽默片段（杜氏御用演员林雪的小丑形象）到一个完全森冷无情的施刑人形象层次上的递进使得影片视角得以扩展。后者在技巧上的娴熟独特所引发的受刑人或许无意识的恐惧感的共鸣更有甚于加诸于其肉体的凌虐。

However, the Daf CVT had something of an image problem.

然而，有一项Daf无形象的问题。

Mao Tongqiang has inherited such aesthetics. His difference lies in the fact that he has re-collected historical materials. Moreover, he has also changed their original shapes: historical figures and commoners are treated alike, their images obscured by an unconscious stream. When the spectators wish to observe them carefully, the artist says that the authentic images of these characters are not important.

毛同强继承了这样的美学，所不同的是，他重新收集了历史的素材，可是，他改变了这些素材的原初模样：历史人物与普通人被同样对待，他们的形象被无意识的流淌给遮蔽了，当观众想认真观察他们的时候，艺术家说：这些形象的真实摸样并不重要。

The absorption and distribution of chromium were studied in ryeusing nutrient culture technique and pot experiment.

采用不同浓度K2CrO4(0，0.4，0.8和1.2 mmol/L)的Hoagland营养液处理黑麦幼苗，测定铬在黑麦体内的亚细胞分布、铬化学形态及不同部位的积累。

By analyzing theory foundation of mathematical morphology in the digital image processing, researching morphology arithmetic of the binary Image, discussing two basic forms for the least structure element: dilation and erosion.

通过分析数学形态学在图像中的理论基础，研究二值图像的形态分析算法，探讨最小结构元素的两种基本形态：膨胀和腐蚀；分析了数学形态学复杂算法的基本原理，把数学形态学的部分并行处理理念引入到家实际应用中。