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Yes, the separation of painting from masses has an issue seriously neglected at present. Maybe the very reason is that there is not a gradual-changing and continuous course, which leads to the separation of art from masses. Not only the masses but also many professors would be at a loss in face of tachisme. Now, almost nobody is involved in such a kind of work.

刘增银:是的,绘画与民众的脱离成为当下被严重忽略的问题,这也许正是因为没有一个简渐变延续的过程,所造成的艺术与民众的脱节,不仅老百姓不能接受,有许多大学教授,面对着抽象绘画,也一脸的茫然,这方面的工作,现在几乎没有人去做。

It's no wonder that only people with rich aesthetic appreciation experiences have a physiological or psychological demand for tachisme, because in their eyes, what they expect most is a kind of pleasant sensation on aesthetic appreciation. They have seen too many delicate paintings, so their eyes are very particular and slashing. Especially, they can't bear ordinary paintings without mien. It has become impossible for those quotidian and easy descriptions about the reality without sound and colors to catch their eyes, to say nothing of touching their heartstrings. In their eyes, a good artwork "shall not get separated from the thought course of the reality to make an immediate response to various experiences and feelings in the life, and express them in a surprising manner with a breath-taking vigor, even make a crazy demonstration."

朱健甫:这也难怪,只有有着丰富的审美经验者,他才会对抽象绘画有一种生理和心理的需求,因为在他们眼睛里最为期盼的是一种审美快感,他们看了太多的精美绘画,因而眼睛是十分挑剔与苛刻的,尤其不能容忍平凡,没有声色的存在,对于那些司空见惯的对现实简单的描述,已不能打动他们的眼球,更无法触动他们的心灵,在他们看来,好的艺术品:&既不能脱离现实的思维进程,将生活中的种种经验与感受即刻的作出反应,并将它以出乎意料的方式表达出来,用一种摄人心魄的气势,做甚至是癫狂的展示。&

My creation is produced from the development of photography and painting. That is the meaning of out-of-focus and blur in the parallel display of digital photography and oil painting.

我的创作是在摄影与绘画两种媒介发展脉络底下产生的,简言之即是︰失焦与模糊在数位摄影形式及绘画形式并行展呈的意义。

Kit Pond impressed me in our first contact with his great painting talent. He likes scrawling on his homework books, using a single ball pen to sketch out eerie images infused with imagination and vigor. Yet the fact is that he has never formally studied painting. In his early childhood, during classes, he liked to draw some small, matchstick-men-like figures. Only after his teen years he gradually drew more lines and eventually developed his drawings into paintings with complicated and delicate lines.

最初认识阿杰,发觉他很有绘画天份,喜欢在功课簿上涂鸦,只是以简单的原子笔作工具,图像天马行空灵异鬼怪,但原来他没有正式学习过绘画,小时候常在上课时画一些火柴人式的小公仔,十多岁开始画的东西才慢慢多了些线条,再发展为现在线条复杂的图画。

The first known drawings by Gauguin dated 1871, when he was in his late twenties. In the broker's agency Gauguin met and befriended Claude-Emile Schuffenecker (1851-1934), a shy clerk, who shared Gauguin's interest in painting, they both started to study painting at the Colarossi Academy, worked together en plein-air and in the Louvre and met Parisian artists.

人们知道关於高更的第一幅画作应该是在1871年完成的,应该是在他二十几岁的晚期,当高更在经营经纪人业务时,高更认识了一个羞怯的办事员Claude-Emile Schuffenecker(1851-1934),并且跟他当起了朋友,他会和高更一起分享绘画的兴趣和爱好,他们更一起进Colarossi学院一起研究美术绘画,一起研究外光派的画法一起去拜访一些巴黎的画家。

The National Palace Museum is hosting an exhibition of French paintings titled " From Poussin to Cezanne: 300 Years of French Painting."

国立故宫博物院正主办一场法国绘画的展览,标题为「从普桑到塞尚:法国绘画三百年」。

Looking at Chang Chih-Cheng's painting career, one often questions whether he should be classified as a realist simply because his creations come from his interpretation of real visual sensations, especially his recent portraits which are based on printed pictorials or photographs of his friends.

考察张志成的绘画历程,常常会有这样的困惑:尽管他的创作是来自对真实视觉感受的诠释,特别是他近来的人物形象绘画,都是取材于现实生活里到处充斥的印刷品图像或者身边的朋友影像,他就应该算是一个现实主义者吗?

Looking at Chang Chih-Cheng's painting career, one often questions whether he should be classified as a realist simply because his creations come from his interpretation of real visual sensations, especially his recent portraits which are based on printed pictorials or photographs of his friends.

考察张志成的绘画历程,常常会有这样的困惑:尽管他的创作是来自对真实视觉感受的诠释,特别是他近来的人物形象绘画,都是取材於现实生活里到处充斥的印刷品图像或者身边的朋友影像,他就应该算是一个现实主义者吗?

Enriched by process and experience lived through the abandonment of pre-established criteria for the intellectual pranks and aesthetic reverie.

通过放弃绘画预设标准的过程和经验来丰富绘画的思维乐趣和审美理想。

It is applied as the basic features of make-up soil to create a wealth of decorative techniques, that is, all kinds of colored glaze decoration, depiction of flowers, pick flowers, and white flowers, white painted underglazed designated flower, and red and green color, low-lead three-color glaze and white printing, printing and so on more than 30 kinds of celadon; techniques in particular rust spent five kilns broke through the limitations of single-colored glaze, with the artistic effect of traditional ink painting and traditional Chinese painting, calligraphy, art and porcelain technology combine to create a new integrated arts, explore the ancient ceramics of the new realm of aesthetics; for the future and colorful blue and white porcelain had paved the way for development.ci zhou yao decorative themes are rich and varied, unique, artist have a very cool way, and masterly skills of painting, will be pleased to see civilyu chong bird, rare birds andrui shou , landscape character, opera stories, poems Qu Fu,min yan motto, children at play Zaju painted on porcelain, etc., to retain a large number of ancient folk painting, calligraphy and folk customs reflect the kind of information, forming a simple, free and easy, a crisp, Haofang's artistic style and rich color and a distinctive non-governmental national characteristics, and the world at large on the domestic ceramics have had a profound impact.

它以施用化妆土为基本特征,创造了丰富的装饰技法,即有各类色釉装饰、刻划花、剔花、白地黑花、白地釉下绘划花,又有红绿彩、低温铅釉三彩和印花白瓷、印花青瓷等三十多种;尤其是铁锈花技法突破了五大官窑单色釉的局限,具有传统水墨画的艺术效果并把中国的传统绘画、书法技艺与制瓷工艺结合起来,创造了新的综合艺术,开拓了古代陶瓷美学的新境界;为以后青花和五彩瓷器的发展开辟了道路。磁州窑的装饰题材丰富多彩,别具一格,画师们以极其潇洒的手法和高妙的画技,将民间喜闻乐见的花鸟鱼虫、珍禽瑞兽、山水人物、戏曲故事、诗词曲赋、格言民谚、婴戏杂剧等绘于瓷器,保留了大量古代民间绘画、书法及反映民俗民风的实物资料,形成了质朴、洒脱、明快、豪放的艺术风格及浓郁的民间色彩和鲜明的民族特色,对国内乃至世界陶瓷产生了深远的影响。

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The labia have now been sutured together almost completely.The drains and the Foley catheter come out at the top.

此刻阴唇已经几乎完全的缝在一起了,排除多余淤血体液的管子和Foley导管从顶端冒出来。

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