本体感受

Since the 1990s, he has proposed that the fundamental task of Chinese teaching is language learning, that its purpose is to improve students' ability to comprehend and apply Chinese, the essence is to direct students acquire the language while practicing on the basis of their development and the major method language-sense teaching. He has asserted that the language-sense teaching method must follow the steps of feeling, apprehending, accumulating and using of language. The practice and analysis of language-sense method must be of equal importance, and closely combined to moral education, thought training, aesthetic edifying, and Chinese language impartment. He has also claimed that teaching material should be compiled with more contents, more refinement and higher starting point in terms of students' actual development of language skills. His analysis of the long-term misplays in Chinese language education is profound and the repositioning and re-interpretation to the facts as purpose, task, essence, subject, method and materials of Chinese language teaching are full-scaled. In terms of teaching, Hong has stressed on the cultivation of the ability of language acquisition and intuition.

上世纪90年代以来，他先后提出语文教学的根本任务是学习语言；语文教学的目的是提高学生正确理解和运用祖国语言文字的能力；语文教学要以学生发展为本，&变讲堂为学堂&，指导学生在实践中学习语言；语文教学的主要方法是语感教学；语感教学要遵循&感受、领悟、积累、运用&的途径，坚持语感实践与语感分析并重，并与思想教育、思维训练、审美陶冶、语文知识教学紧密结合，与生活密切联系；根据学生语言发展的实际，大容量、高起点、选精品编写教材等一系列主张，从理论上对语文教学的长期性失误作了深刻剖析，对语文教学的目的、任务、本体、主体、方法、教材等问题进行重新定位和诠释。

Early in 1995, in his "Desire" series where red and blue lines come in strong contrast with each other, Ma Yiping instinctively used his personal experience to drop a hint of the transcendence of life. From 1996 to 2001, his "Images" series established the development direction of his art, owing to its artistic expression_r_r of overloaded psychological priori images. In his works before or after 2003, dream-like symbolic images presented perplexed feeling of human beings about the universe and the physical world. In his "images" series in 2006, uncertain images stood on black cube-shaped objects and ambiguous edges pointed to various uncertain directions with the accompaniment of silver light and shadow. At this point, the intuitive perception of the essence of nature made his artistic style gradually take shape. In his later "fetish" series, in which he gradually became mature in spiritual and symbolic expression_r_rs, Ma Yiping fully grasped the eternal sense of the spiritual world.

在早期，1995年的《欲望》马一平用对比强烈的红色、蓝色层层涂盖、本能地运用自身感受以暗示的手法表达对生命的超越。1996-2001年以物象为主题的系列作品对超载心理先验物象的表达方式确定了他艺术作品的发展方向，2003年前后的作品中，梦一般的暗示性物体程现了生命本体对宇宙物理世界的茫然，在2006年的《物象》系列中，黑色的方体上不确定的物状、模糊的边缘在泛着银色光影的衬托下，泛生着各种不确定的指向感，此时对本质直观的感知性的把握使作品艺术风格基本形成，到后来的《神物》已经充分地把握了精神世界里的永恒感，画面中所能达到的精神性和神密暗示意义的表现手法已近成熟。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。