绘画的

During the recent years, I have given up the secular factors in painting, and have emphasized the complanation and essential characteristics of painting. I pursue the perpetuity of painting and the enhancing of spiritual life and I try my best to give painting a more powerful and spiritual strength.

我在近年的艺术追求中，摒弃了绘画的世俗化因素，强调了绘画的平面感和某种绘画的本质特征，我寻求绘画的永恒性以及内心的升华感，并且使绘画努力具有更强的精神力量。

The poem phrase painting participate the formation of the park thing elephant view;Poem phrase painting to the body of park artistic conception now;The poem phrase painting openned widely content and outside of park artistic conception to postpone;Manifestation the region the scenery can't mean of person, thing or cordiality;The poem phrase, horizontal tablet, scrolls...etc. in the park literature delineate to exaggerate artistic conception;Poem phrase, horizontal tablet, scrolls, painting in the timespace idea the top the park art of artistic conception and park literature of mutually and dissimilitude;The park art establish the material entity of material painting to compare with poem phrase, on the form view more elephant,on the establish of artistic conception more of thorough;The expression of artistic conception of the park art painting to compare with poem phrase, on the timespace more direct, thorough.

诗词绘画参与园林物象景观的形成；诗词绘画对园林意境的体现；诗词绘画拓宽了园林意境的内涵和外延；显示当地景物所不能表示的人、物或情意；园林文学中的诗词、匾额、对联等勾勒渲染意境；在时空观念上园林艺术的意境和园林文学中诗词、匾额、对联、绘画的相通和相异；园林艺术的创设素材的物质实体性较诗词绘画在表观上更具象、在意境的创设上更加的深入；在时空上园林艺术意境的表达较诗词绘画更直接、深入。

His paintings were widely nurtured by classical art, impressionism and fauvism. Additionally his study and research on traditional Chinese art and folk art also laid an influence to his paintings. In 1930, Lin devoted himself to the exploration in reforming traditional Chinese painting. He applied tools and materials found in Chinese traditional painting in the representation of contemporary Western format.

其绘画广泛吸收古典艺术、印象主义、野兽主义艺术的营养，并加以消化，同时又研究中国传统美术和民间艺术。1930年代后开始致力于改革传统绘画的探索，用中国传统的绘画工具、材料参以西方现代绘画的某些表现手法。

In a sense, mod-ernists have a different sense of plane from the ancient genernations. Withsome exception, it is unanimous that the flatting is the main character of mod-ern art. In the terms of structure. it should be a deep structure.

从这个意义上说，现代派绘画在本质上具有与早期绘画不同的平面意识，除了极端的例子，平面化作为现代派绘画的主要特征却是不争的事实，从结构主义的观点来看，它应算作绘画的另一个深层结构。

Bing no longer restricted to its traditioned role as the presentation of the suspended time and a fleetingly observed sight before the great changes in Western art, perfect theatment of time and space in painting has overwelmingly changed and transcended the traditionally-established means of presenting a three-dimentional illusionism based on a two-dimentional plane,crying for the emergence of pluralist concept and multiple fashions of time-space treatment in painting.

作为绘画表现的一个重要部分的时空表现在现代绘画中也出现了翻天覆地的变化。西方现代艺术变革之前的艺术家将如何在二维的平面塑造物体的三维空间形体，表现凝固的时间或瞬间场景视为绘画的重要方面，而西方现代绘画在继承性的推翻传统的绘画的同时，出现了多元的，丰富的时空表现样式。

But, even though I like to paint in today"s condition of ever increasing solitude, it is because the impression given by a painting of "obsoleteness might be exactly what gives meaning to the fact that paintings still exist today.

另外，我喜欢绘画在当今倍受冷落的境遇，只是在这样一个角度：绘画的"过时感"在我看来，它恰恰可能成为绘画在今天存在的意义，它以这样的方式发人深省，激动人心，我是说绘画被抛入到充满活力的自言自语式的吟咏独白的角色之中。

It also accelerated the pace of Chinese commercial painting, and furthermore, it brought tremendous influence to Shanghai treaty port painting, neoteric Canton area painting and"reformative"painting. It also inspired the Europe industrial arts and garden design of 17-18 century.

西洋风绘画促进了东西方贸易的发展，加速了中国绘画的商品化；对近代岭南绘画、上海开埠绘画及"改良派"绘画产生了影响；并成为17、18世纪欧洲中国风工艺美术设计和园林设计的重要灵感来源。

Fortunately, I was happy to arrive early, and the assistant outside the test room talked with me before my turn to the test.

然后她问了我关于绘画的问题，我喜欢绘画吗，小孩子在学校是否需要学习绘画，为什么？

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。

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。