绘画

The paintings display her painterly talent, which is manifested in her astute sensitivity toward painterly qualities and her adroitness at manipulating these qualities.

她的作品表现了艺术家对于绘画的天赋，这种天赋在于对绘画性品质的高度敏感和灵活运用。

Among the objects as the principle of geometric perspective and aerial perspective, and make it conveying deep stereo spatial feeling on planar painting.

在绘画中，依照几何透视和空气透视的原理，描绘出物体之间的远近、层次、穿插等关系，使之在平面的绘画上传达出有深度的立体的空间感觉。

The article is about the practice and theory of French landscape architect and artist Bernard Lassus. He has studied painting, absorbing alimentation from painting, and accordingly gained the new design elements. So his works are artistic. He pays more attention to the historical factor. He also emphasizes the creativity of space and the relationship of landscape and people in the space.

摘 要：简要介绍法国风景园林设计大师和艺术家伯纳德·拉索斯设计的实践和理论，他曾学习研究过绘画，从绘画的语言中吸取养料，从而获得新的设计语汇，所以，作品富有艺术性，注重场地的历史因素、空间的创造和场地中人与景观的关系。

The animateness of the citizen stratum adds vitality to the town's culture and aff...

因此，期间对于绘画需求量的增加，服务对象的扩大，就无疑给绘画的发展提供了雄厚的物质条件和群众基础。

In Li Jikai's work, we can neither see the cultural background nor historical traces of mankind. What we can see is his autobiographic imagination and formation of his own mentality. No matter in the sense of content or form, his work has been always connected to solitude and meditation.

在李继开的绘画中，我们既无法看到人的文化背景，也无法看到人的历史痕迹，而更多看到的是他的自传体式的想象和自我心理的塑造，无论是内容还是形式，李继开的绘画从个人到他者的表现过程中总是联系到孤寂和冥想。

In Li Jikai's paintings, we can neither see the cultural background nor the historical traces of mankind but rather his own autobiographic imagination and formation of his own mentality.No matter what the content or form is, his work is always connected with solitude and meditation while displaying himself or the others. He then takes us into a world that is completely remade by Li Jikai himself.

在李继开的绘画中，我们既无法看到人的文化背景，也无法看到人的历史痕迹，而更多看到的是他的自传体式的想象和自我心理的塑造，无论是内容还是形式，李继开的绘画从个人到他者的表现过程中总是联系到孤寂和冥想，进入一个自我重新编织的世界。

Therefore, we do not need to hold back on the critical focus of this exhibition.

因此，我们毫不掩饰这个展览的针对性，但在我们能给出一个结论之前，我们只能去尽力全面地呈现出一系列绘画实践的事实，并力图提出一个新的观看角度与价值维度，以激起绘画在当代艺术语境下可能的活力。

Beyond the series of "portraits" which serves as a record of the famous gatherings at the Bateau Lavoir, one can see references to the recent contributions of Cubism made in Picasso's studio in the same block of buildings: the fruit bowl, the landscape painted as large cross-hatched areas of mass unified by the reddening hue, the simplified "masks" of the faces, and above all, the placement of both groups of embracing and dancing women which call to mind the preliminary studies for the Demoiselles d'Avignon.

相比之下，这幅作品绘画得既审慎又野心勃勃，但整体来说是以一个表面和幼稚的方式模仿立体派。「肖像」系列除了纪录了于巴多拉夫瓦的聚会外，更间接地让我们瞥见，位于同一大厦的毕加索画室中充满立体派气息的东西：水果盘、以并行线相交的大片艳红阴影绘画之风景，以及简化如「面具」的脸孔，而更重要的是，结聚在一起相拥跳舞的女郎们，令人想起毕加索《阿维侬的少女》的初形。

Who should be conditional on Chinese traditional painting materials for study and application, Chinese painting and it is particularly reflected Painting the material beauty Everbright succession, it is up the sky.

有条件者应当对中国传统绘画材料加以研究和运用，而使其中国绘画尤其是工笔画中体现出的材质美继承光大，殊放异彩。

Descriptive ones are sub - divided into biographic pictures of King Cesar and those of the story plots.

叙事类图像又分表现格萨尔生平的绘画和表现史诗故事情节的绘画两种。

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。