画家的

The fourth chapter discusses on the issue of amateur painter, that is the literati artist.

第四章所要讨论的是业余画家、或者说是文人画家的问题。

Many literators and painters of past dynasties had participated in gardening directly, which add the literator's thought, and painter's theory, style and method into garden creation.

历代不少文人、画家都直接参与了造园，这也把文人的思想，画家的理论、画风、笔意熔铸于园林的创作之中。

American artist Janis Provisor tells of one mainland artist who wanted to sell his works on paper for US$6,000 because he had heard that was what people abroad were getting.

美国画家詹妮丝-普鲁夭色说一个中国画家的纸画想要卖6000美金，只是因为他听说在国外的同行们都是这个价。

But it is not improvisational daubing and free application on canvas. To some extent it is more based on many qualities of artist such as culture, disposition, and ability, therefore, although it provides artist the freedom of expression_r_r, it is also necessarily critical to judge them.

但是，抽象绘画绝对不是仅凭即兴的涂抹和尽兴的挥洒就可以成立的，在某种程度上，它更多地依赖画家在修养、秉性、才情等方面的素质，因此，尽管抽象绘画为画家提供了表达的自由，但也极为挑剔地评判画家的综合素质。

As a professional painter, she scorns the effort of amateur .

她是专业画家，看不起业余画家的创作

As a professional painter,she scorns the efforts of amateur s.

她是专业画家，看不起业余画家的创作。

Hope you will have a common cognition, the Chinese nation is great, Chinese artist will gradually from the west, they will be on the importance of the Chinese culture and art, Chinese painters understand more artistic hall will also among the world more and more especially since China is obtained painter painter, western accept and respect of hope.

希望大家要有共同的认知，中华民族是伟大的，中国画家的作品将逐渐受到西方的重视，他们会对中国文化艺术的了解越来越多，中国画家跻身世界艺术殿堂也会越来越多，尤其壮年画家，是中国画家获得西方接受和尊重的希望。

In this text the first part analyses the origin of the appearance of modern painting's decorative character, that is because of the development of the society under which is subjected to the new philosophy thought and art idea, meanwhile it is stimulated by the originality art and east art etc; in the second part elaborates the exploration of painting's decorative character by Western modern painting artists by analysising individual cases; the third part recounts the concrete manifestation of modern painting's decoration by analysising the composition, shape, color, skin texture aspect etc; the forth part puts forward the influence of western modern painting's adornment element to China contemporary painter and China painters'investigation to the adornment element.

本文第一部分分析西方现代绘画出现装饰性的历史渊源，既是由于社会的发展，受新的哲学思想、艺术观念的影响，又是受原始艺术和东方艺术等外来艺术的刺激；第二部分以个案分析的形式阐述了西方现代派画家对绘画装饰性的探索；第三部分着重从构图、造型、色彩、肌理等几个方面来述说现代绘画装饰性的具体表现；第四部分提出西方现代绘画装饰性对中国当代画家的影响及中国画家在装饰性上的探索。

The picture was finished now, and hung in the post of honour opposite the window, amidst Claudes, Poussins, and Wouvermans, whose less brilliant hues were killed by the vivid colouring of the modern artist.

这肖像画现在画好了，挂在面对窗子的光荣柱上，跻于克罗德、蒲桑和伍维曼等大画家的作品之间，这些大画家不太鲜明的色彩倒被这位当代画家的鲜艳色泽掩盖了。

Butterfly, a symbol of what a wonderful dream, cat, dog, red, ice, snow, gentle, love is perhaps the subconscious of the young painter Perishable's Lament, the longing for love, for self-dual or cold lonely heart ridicule, Kogusu, daffodils Years Old Little Love, a white flower buttercup, blue water rafting around the situation so much a painter's friend, rather, is with the self-life aesthetic of beauty, purity, free abstract ideal reflection and youth Imagine interpretation, these works reveal the artist in the virtually real and realistic three-dimensional puzzle, showing the deep spirituality of individual aesthetic white, innocence, kindness, fantasy, sincere, innocent and beautiful.

蝴蝶，多么美好的梦的象征，猫咪、小狗、红线、冰、小雪、温柔、爱或许正是画家潜意识对青春易逝的感喟、对爱的渴望、对自我内心孤寂的偶或冷嘲，小楠、水仙、小娜、小爱、白色花毛茛、碧波泛舟与其说是画家周遭情境中的朋友，毋宁说是对自我生活审美与对美好、纯洁、自由的理想化抽象观照与青春畅想演绎，这些作品于无形中透漏着画家的立体真实和现实困惑，透出了审美个体性灵深处的洁白、无邪、善良、梦幻、真诚、天真和美丽。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。