绘画

Early introduction of Western painting, has started over 300 years ago, the main channels: first, the missionaries brought a copy of Western painting; Second, the Western artists to China to teach Western painting techniques; Third, with the advertising and mass merchandise into our country's cigarette brands, brand cloth, cake box above picture of the ocean, photographic film set of King; the establishment of four new art education; Fifth, a limited number of students.

西方绘画传入很早，三百多年前已经开始，其主要渠道有：一是传教士带来的西方绘画的复制品；二是西方画家到中国传授西方绘画技法；三是随商品广告而传入我国的香烟牌子、布牌子、糕点盒子上面的洋画片、照相布景的景片；四是新兴办的美术教育；五是数量有限的留学生。

Not only Henri Matisse discovered the applications of complanation, decroativeness and solid color, the particular forms of representation and the simple, imagery, relaxing shaping models, but he also had an intensive study of the harmonious relation of object and self, the reality of likeness and unlikeness, pursuit of representation and hence put them into his works.

马蒂斯不但从东方绘画中发现了平面化的、装饰性的、纯色彩的运用形式，在构图上对空间、透视和空白的特殊表现形式，以及简约、意象、轻松的造型特征，而且对中国绘画的物我相融关系、"似与不似"的真实观、"追求表现"等观念有着深入的研究，并且将之融入自己的绘画中。

Painting which is the mainstream of the western art is extremely representational in the aspect of the space concept. But relieves combine the paintings'complanation with sculptures'extensity .so we decide to research the process of the evolvement and the interaction between paintings and sculptures. We expect to discuss the space and art expression in the western art and relieve ,so I can have a further comprehension about the space of optical art. The comprehension can not only help us understand the traditional western paintings and relieves better, but also make us comprehend the space concept of modern art better, to set the artistic creations of contemporary paintings and relieves into action.

油画，作为西方绘画的主流形式，在空间形态的表现上极富代表性，而浮雕兼具绘画的平面性与雕塑的实体空间性，因此，我选择研究油画与浮雕在空间上的演变过程及其相互影响，以期可以从一个侧面来探讨西方绘画与浮雕中的空间观和艺术形态表现，从而对视觉艺术的"空间"有更深一个层次的了解，这不仅有利于我们理解传统的西方油画和浮雕，也能使我们更好地理解现代艺术的空间观念，进而更好的推动当代的油画和浮雕创作。

We can roughly divide her creative works into three stages, pre-Y2K period when she was studying at CAFA and BFA, the academy-style of which shows much of her gift in painting; the 2003-2005 period when series of young women with dragon-fly, sunglasses, lily and peony blossom are created, her shift from representational to symbolic art has completed, the most representative one be the Blossoming Peony.

我们可以把黄莺的作品分为三个阶段：一是2000年之前在中央美术学院和电影学院学习时期的习作，那些绘画作品已经可以看出她在油画上的才能，那是典型的学院派风格；第二个阶段是从2003-05年之间所花的女子和蜻蜓、太阳镜、百合花以及牡丹系列，特别是那些用夸张的牡丹掩盖着面容的一组作品，是从表现绘画向象征绘画的过渡，尤其是《盛开的牡丹》是这一时期的代表作。

Today, when Chinese contemporary paintings are predicted to go to an "end", the ebullition of freedom, imagination, genius and character of Qin Fengling's paintings doubtlessly bring us a totally new feeling for paintings.

二十年的积淀在秦凤玲绘画上迸发出的自由、想象、天赋和个性，在中国当代绘画被预言将要走向"尽头"的今天，无疑将会带给我们对架上绘画的全新感受。

To the people who studing visual art.The article will state in detail the observation expression and analysis or appreciation of painting rhythm according to some related theories of music. This essay maybe has development hase on the precedene trsearch about panging rhythm.

文章将从绘画节奏的观察认识，绘画节奏的表达和绘画节奏的分析、解读三方面，并结合音乐、书法的相关理论，对绘画节奏进行具体阐释，以期在前人研究基础上有所拓展。

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。

Taking the relationship of science and art as a starting point, it analyzes the relation between photographing and painting , the artists closely related to photograhing and painting , the artists closely related to photograhing in history and discusses the historical relationship between photographing and painting by taking the experience of specific artists as examples; then by analyzing the reason why artists use photographs , it shows the functions of photographs in creation ; after thens , by doing case study of Chinese artists and their different ways of using photographs, it analyzes different forms through which photographs are exressed.

首先以哲学、科学与艺术的关系为切入点，深入探讨了照片运用于绘画的现象，以及历史上与摄影联系最密切的画家，并且以具体画家为例子来论述了摄影与绘画的历史姻缘；然后通过分析艺术家运用照片的原因，阐明了照片在绘画创作中的具体功能和作用；接着以中国艺术家的具体个案与他们使用照片的不同方式相结合的方法，阐明了照片运用于绘画创作中的不同表现形式。

The realistic painting in the Western country is one of the most splendid chapters in the history of fine arts . At the end of 19thcentury it faced the challenge of photography and modern Western arts, but both proved not to be the "killer". Instead the social context focusing on the economic efficiency and the onesided mainstream ideology dominating the contemporary Western arts were the real barrier for its development.

写实主义绘画，尤其是西方写实主义绘画，曾经是人类美术史上最为辉煌的篇章之一。19世纪末之后，它受到摄影术、现代艺术的挑战，然而，它们不是写实主义绘画的&克星&；以经济效率为核心的社会环境与片面的西方艺术&主流意识&，才是写实主义绘画发展的真正阻碍。

In 2003, Huang moved his workstation to Beijing. This is a timely move. He describes this state as "Huang Mingche in Beijing". I did not have the chance to hold an indepth discussion with him when he first started working on his abstract art, but I do believe that his work at that time was influenced by American abstract art maestro William De Kooning (1904-1997). That was an important transformation from concrete to abstract art.

2003年黄铭哲把绘画的基地转移到北京，这是一个与时俱进的举动，他本人也把这种状态叫做&黄铭哲人在北京&。80年代黄铭哲开始从事抽象绘画，我没有和他做过详细的交流，但是我确信，他那时期的作品一定受到美国抽象主义大师德库宁(William De Kooning，1904-1997)的影响，那是一次从具象绘画到抽象绘画的重要变革。

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。