绘画

The essay tries to probe into internal source of the appearance and development of the movement of Impressionism by analyse the artistical features of traditional painting and analysing the artistical features of Impressionism, Neo-impressionism and Post-impressionism ,to show how the impressionism has developed step by step from the traditional descriptive art whose feature is to emphasizing the natural characteristic of art and the feeling of artist, and to realize that the stage which comes from tradition to morden in history of art never be overlooked.

本文试图通过分析传统绘画的艺术特色，探寻印象主义运动产生及其发展的内在根源；通过分析印象派、新印象派和后印象派的艺术特色来展示印象主义如何从以再现客观世界为特点的传统写实绘画逐步发展到具有现代特征的注重绘画本体特性和艺术家个体主观感受的这一转变过程，从而重新认识印象主义这样一个由传统走向现代的艺术史上不可或缺的一段历史。

Under the influence of all these techniques and forms mentioned above, Syncretic painting depicts realistic, exquisite, complanate and flamboyant particularity.

中国绘画的装饰性色彩与西洋绘画的写实性色彩相结合，在描绘物象固有色彩的基础上，淡化了中国绘画色彩类型化的特征，效果更加丰富、浓郁。

Based on his profound mastery of traditional culture and unique insight, and inspired by the structure of points and strokes in both calligraphy and painting, Huang defines the breaking point of \'drawing calligraphy into painting\', and lays the epigraphical foundation of painting and calligraphy.

黄宾虹以深厚的国学底蕴和对书法的独到洞见，从书法与绘画的点画结构中寻找到了&引书入画&的切入点，并从金石学中洗发出篆籒笔法来作为书法、绘画的笔法基础，以笔法正轨校正了以往绘画应用上的用笔舛误。

This article select the topic, in order to study the influence of the painting schema existed playing on the painter's art activity in his painting career, through the analysis to some problems concerning painting and schema. Then inquire how the painter particularly for the contemporary painter treat and make use of the forepassed schema from the angle of the development of art.

本文选此题目，通过对绘画、图式及有关问题的剖析，研究画家在其绘画生涯里，已经存在的绘画图式对其艺术行为的影响，并从发展的角度探讨画家，尤其是当代画家该如何对待图式，并如何运用图式。

First is the Chinese esthetic idea, the Chinese drawing is fastidious "is mad the rhyme vividly""gufa with the pen", the line not only has the modeling the function, moreover also has the function which flirts to express one"s ideas, compares western the line, in the Chinese drawing line subjective initiative stronger, the load bearing content is richer; Second was describes the object differently to decide line utilization rich; Third, China always is fastidious "the calligraphy and painting homology, therefore calligraphy line consciousness melted into the drawing in the very great degree.

首先是中国审美观念，中国绘画讲究&气韵生动&&骨法用笔&，线条不仅有造型的功能，而且还有传情达意的功能，相比较西方的线条，中国绘画中的线条主观能动性更强，所承载的内容更丰富；第二就是表现对象的丰富性决定了线条形式的多样化；第三、中国历来讲究&书画同源&，所以书法的线条意识在很大程度上融入到了绘画当中。

The argumentation way in which this literary grace using is based on color painting, setting out from two angles separately " color"、" ink and wash", making criticizition in texts of Chinese ancient drawing history; analyzing how "color" painting was on the way from ripe to losing; emphatically analyzing the reason of losing in color center, that is to say the reason of "the change of ink and wash ", and its reconstructional way of combination, development with "ink and wash" it was "replaced" by the afterward manner. In a word, the developing "replaced"by the afterward manner.

本文所采用的论述方式是：立足于色彩绘画，分别从&色彩&、&水墨&两个角度出发，先对它们在中国古代画史论著中作一考证；分析隋唐时期&色彩&绘画是如何从体制的成熟、完备而走上&失落&的道路；着重分析色彩绘画中心&失落&亦即&水墨之变&的原由；及其在被水墨&替代&后与&水墨&结合、衍变的重建之途。

Through traditional Chinese painting study in the period of University and oil painting art study in the period of graduate student for 3 years, I seriously compared and studied the colouration between traditional Chinese painting and oil painting, I think, no matter what tradition Chinese painting is or oil painting, colouration as an art form in Chinese-the West culture systems has many difference in different history stages, their painting concept is different.

通过在大学时的中国画学习和三年研究生阶段对油画技法及创作艺术的研习，对中西绘画的色彩观进行了认真的比较研究，我认为在色彩上无论是中国画还是油画，作为中西两种不同文化体系中的艺术形式，其色彩观念上有许多不同之处，在不同的绘画历史阶段，他们的绘画色彩观念也并不一样。

In a painting,broad brushwork establishes theme and mood;fine brushwork embroiders a memorable image.

在绘画，宽广的绘画建立题材和心情；美好的绘画绣一个难忘的图象。

Secondly, the idealities he hold encourage him to keep on studying the formative rules of painting, enhancing the feature of artistic language.

二是王健在绘画上所坚持的理想，促使他不断研究绘画的造型规律，强化绘画的艺术语言特征，形成了鲜明的艺术风格。

The original painting and children painting is the exotic flower in the painting form.

原始绘画和儿童绘画是绘画形式中两支独特的奇葩。

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。