画家的

By checking the historical texts as the notes, poems, essays of the contemporary and later intelligentsia, also including the concerned local chorography, art history literature and the collectors' opinions, this paper tries to analyze why the women artistic practices were so vital and how they were recorded in such a historical context, what's their feature and position in the art history.

本文通过对当时文人的笔记、诗文集，以及画史和地方志等文本中有关晚明清初女画家的写作或记载，通过对当时文人或鉴藏家有关她们艺术作品的题跋、评论和鉴藏，来分析探讨晚明清初江浙地区女性绘画蓬勃兴起的原因，女画家及其艺术进入历史的途径，以及女性绘画的特色及其与艺术传统的关系。

I dindle for painterly style of writing,for epitome of reaction era that painter drawed maid shape,for vast desert,bleak that keep human thought.

我为画家的笔力，为画家能用女人的形体来反应时代的概括力，为旷漠的苍凉的却依然留有人类的思想而震颤。

Possibly only it in the old woman's last years can expel her anguish and sad memories. The old woman like every figure in Pang's paintings has been given the opportunity to wish for a happy life. But like all his paintings,"jade Bracelet" leaves us ample room for further thought.

我很钦佩画家的艺术直觉和他扎实的功底，这绝不仅仅是绘画技巧本身，更明显地体现在画家把自己的人生体味能全部调动起来，去把握和刻画人物内心世界的精神含量，努力创造出一个庞邦本的艺术世界。

Luminism : Painting style that emphasize s a particular clarity of light.

光亮主义：强调色彩光亮度的绘画风格。19世纪后期一批美国画家的作品特点，这些画家受到哈得逊河画派的影响。

Luminism : Painting style that emphasizes a particular clarity of light.

光亮主义：强调色彩光亮度的绘画风格。19世纪后期一批美国画家的作品特点，这些画家受到哈得逊河画派的影响。

Karsh was praised as a master portraitist, often working in black and white, influencedby great painters of the past.

Karsh是一位受人称赞的画家大师，经常在白人与黑人间工作，受到过去的伟大画家的影响。。

The third part is conclusion. Through the above-mentioned exploration and study as well as the reality of color language shunt in the situation of multi-culture, the author utters his own voice towards Chinese artists" individual choice and developing space. That is to say, how do they understand the spontaneousness, consciousness and freedom of color language evolution from the perspective of artist"s subjectivity--possessing and employing his own feelings, affections and imagination.

最后，根据以上探索和研究，结合中国当代色彩画家在多元文化语境下所面临的色彩语言的现代转型问题，从作为主体人的感觉、情感和想象等人文立场上来认识色彩语言演进的自发性、自觉性与自由性，从而提出当代中国色彩画家的个性化选择与精神关照的发展空间。

This blood tie between Ardimasov and his hometown, nature, forest and prairie is one of the most primary conditions that have made him what he is an outstanding realistic landscape and still-life painter.

阿尔基马索夫与家乡、自然、森林、原野的这种血脉关系是他作为杰出的现实主义风景画家和静物画家的最基本的条件之一。

From the Western watercolor more than 100 years ago was introduced to China, the creation of "Chinese watercolor" The long-cherished wish of several generations of watercolorist common goal should now be said to be very polished look, and Mr. Luo Zonghai sui generis watercolor is one of a microcosm of his creative trajectory reflects a Chinese watercolor painting at home to stay.

从西洋水彩画一百多年前传入中国起，创立"中国水彩画"的夙愿就是几代水彩画家共同奋斗目标，现在应该说是初具面貌了，罗宗海先生自成一格的水彩画就是其中的一个缩影，他的创作轨迹，体现了一个中国水彩画家的康庄大道。

There are Artists who can paint a picture like a post card and others who create with a flippant attitude showing they think their creations are great. In fact such paintings or calligraphy is easily replicated, and will always be passed by because of this reason.

有一些画家的画，就像明信片一样毫无意思，而另外有一些画家，却用一种没有规矩的态度来创作，以表示他们的&创造力&；实际上，这样的绘画或者书法，是很容易被复制的，而且还因此总会成为过眼云烟。

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。