绘画作品

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。

It is the most characteristic and emblematical art form of expression.Austria famouse artist Gustav Klimt is the symbolism master of painting in 20th Century and the representative of Art Nouveau in Europe.His paintings possess the general symbolism painting's philosophic character and have rich oriental decorative meaning.

奥地利著名画家古斯塔夫·克里姆特是20世纪象征主义的绘画大师，是欧洲新艺术运动的代表，他的绘画作品既具有一般象征主义绘画内容上的哲理性，又具有丰富的东方装饰意味，他的这种独特表现形势，获得了与其他画家截然不同的表现效果。

It does not make a lot of sense to emphasize Schnabel's talent too much. In appreciating and expressing the mystery of painting, his works become very successful, both in terms of uniqueness and originality. It is commonly recognized that his work has a significant influence, especially in the international field of painting.

过多地强调施纳贝尔的天才能力并无多大的意义，他对绘画艺术奥秘的领悟与表达，使得他的绘画作品在形式的独特性与充分性上获得了巨大成功，并对国际绘画领域的发展产生了重要的影响。

While they belong to different categories of art, the abstract music and concrete visual art---- painting do share something in common. Hence, the question of how to integrate the two, making the "invisible" music picturesque and "silent" paintings pleasant to the ear has been long under discussion.

抽象的听觉艺术音乐和具象的视觉艺术绘画既属于不同表现形式的艺术，又存在着共性关系，两者之间如何融合和渗透，如何使"无形"的音乐作品可具有绘画性、"无声"的绘画作品同样可具有音乐性，长久以来就是众多艺术家和理论家所探讨的话题。

The works exhibited this time is the production under this thinking. I will not limit myself in such an abstract or traditional label. The direct or indirect calligraphy, Taiji, sculpture, poem and philosophy, aesthetic thoughts absorbed from paintings allow me to realize that the form of paintings is not just a key problem, no one shall find the freedom exit as when Duchamp's works were completely destroyed. And there is no one who is as frank and smart as Picasso to change the form game into the local snack. In some history phases, a kind of thinking ways and a kind of language styles may gain the upper hand. But comparing to stable accumulation of the history of culture and aesthetic, the pure quality of painting spirant will forever be an important premise of painting criticism.

这次展览的作品，便是这样的思考前提下的产物，我不会把自己定身在抽象或者传统这样的标签之下，我在绘画过程中所吸收的书法、太极、雕塑、诗歌和哲学、美学思想的直接和间接的营养，让我体会到，绘画作品的形式远不是一个最关键问题，没有人可以在杜桑完全彻底的破坏面前找到自由的出口，也没有人可以像毕加索那样把形式游戏变成地方小吃一般的率性和机灵，在某一个历史阶段，一种思想方式，一种语言风格或许会占上风，但相对于文化史、美学史坚实的积淀，绘画精神性的纯粹质量将永远是绘画批判的一个重要前提。

From their creation to acceptan ce by the viewers, works of painting have their own unique existence.

绘画的创作到作品的产生直至作品的接受，是绘画作品独特的存在方式。

She has made many great works of paper-cut, such as loess Style Series, Shanbei Folk Songs Series , Twelve Animal Representatives of Birth Series, Mission Fushou Flower Series,Great People Series and so on.

主要剪纸作品有《黄土风情系列》、《陕北民歌系列》、《十二生肖系列》、《福寿团花系列》，《伟人风采系列》等，绘画作品主要以农村农民为题材，渗透中国传统民间绘画元素，作品受到国内外人士的高度称赞。

In this paper, the study of the painting of graffiti from childhood to the children gradually began to understand the world the symbol of the painting, then later some arts masters continue to learn as children, like paint this interesting process, trying to reveal many artists In paintings in a Fanpuguizhen want to pursue the real.

本文浅析了绘画学习中从儿童时期的涂鸦到孩子们开始逐渐认识世界出现的符号化绘画，再到后来一些艺术大师们不断学习像孩子们一样画画这一有趣的过程，试图揭示许多艺术家在绘画作品中想要追求一种返璞归真的真实。

While they belong to different categories of art, the abstract music and concrete visual art---- painting do share something in common. Hence, the question of how to integrate the two, making the "invisible" music picturesque and "silent" paintings pleasant to the ear has been long under discussion.

抽象的听觉艺术音乐和具象的视觉艺术绘画既属于不同表现形式的艺术，又存在着共性关系，两者之间如何融合和渗透，如何使&无形&的音乐作品可具有绘画性、&无声&的绘画作品同样可具有音乐性，长久以来就是众多艺术家和理论家所探讨的话题。

The body of the paper mainly explores two layers of simplicity in painting, that is, simplicity of content and simplicity of form. With works of those who are famous for their classic beauty of simplicity in creation like Jean Francois Millet, Kath Kollwitz, Zhou Sicong, Luo Zhongli, the paper arrives that the different elements of simplicity in both content and form provide basic condition for the holistic simplicity of the whole work.

文章主体部分就绘画的朴素性展开论述，着重从绘画内容的朴素和绘画形式的朴素两个方面来展开探讨，以古今中外绘画史上一些作品深具经典朴素美的画家，特别是米勒、凯绥·柯勒惠支、周思聪、罗中立等人的艺术形式及精神内涵作例证，而得出绘画内容及绘画形式中各个因素各具特色的朴素，是体现整个绘画作品朴素美内涵的基本条件。

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。