绘画的

He is one representative of the Youth Brutal Painting Genre. His paintings take an important position in realism paintings in the late 1990s in China.

青春残酷绘画的代表人物，其绘画在中国90年代末期的写实主义绘画中具有重要的位置。

He is a representative of the Youth Brutal Painting Genre. His paintings take an important position among realist paintings of the late 1990s in China.

青春残酷绘画的代表人物，其绘画在中国90年代末期的写实主义绘画中具有重要的位置。

Their common vision is to release painting from the obsession of the virtual 3D dimension created by perspective and from the dependence on formula with an aim to clarify the identity of contemporary art of painting. Their effort helps painting restore to the painting process and to the effective presentation of simple and unique material and idiosyncracy.

他们有着一个共同的目标就是想通过自己的角度来澄清当代绘画艺术的本体论问题，使绘画摆脱对图式的依赖和借助透视法制造虚拟的三维空间的执迷，使绘画回到了绘画的"过程"之中、回到对朴素而又极具个性的材料特质的有效表现之中。

In western painting it came from the primitive society when a few space factors appeared in the mural paintings sketched out by single line, the Greek bottle picture with the simple perspectivity, the Rome mural painting in which the perspectivity was originated, the Middle Ages when the perspectivity develop relatively slowly, the Renaissauce when the perspectivity highly developed, the Post Impressionism when Cezanne reformed the structure of space subjectively and orderly to open the gate of Modern Art, the 21 Century when the space was des-constructed and the idea of space developed pluratislically, at last the beginning of Actionism , to reach the end of the development of the space in painting, so to achieve the return from the three-dimensional illusion to the reality.

西方绘画由原始社会单线勾勒的壁画中极少的空间因素的运用，继而希腊瓶画中简单的透视。罗马时期透视法的萌芽，中世纪的相对滞缓的发展，文艺复兴时期对自然完善的表现至塞尚，则开启了现代艺术中空间主观化、秩序化的先河，进而出现二十世纪绘画空间解构、重组、多元化发展的状况，行为艺术的产生，实现了绘画空间由三维幻象到真实的还原，成为西方绘画的空间发展历程的终结点。

In China, there is room for the traditional brush drawing. There is room for monochrome and polychrome. There is room for everything, as there is in New York.

在中国，传统的笔墨绘画有很大空间，也有单色绘画和多色绘画的空间，也有一切事情的空间，就像纽约一样。

InChina, there is room for the traditional brush drawing. There is room for monochrome and polychrome. There is room for everything, as there is inNew York.

在中国，传统的笔墨绘画有很大空间，也有单色绘画和多色绘画的空间，也有一切事情的空间，就像纽约一样。

The academic direction of image painting applies itself to the vague limit between image and painting. If the direction of image art uses an image language creating independent and flowing spaces, then the painting should use the painting language to complete the component reality.

影像绘画的学术方向是致力于将影像和绘画之间的界限模糊，如果说影像艺术的方向是通过影像的语言来创造独立的、流动的空间，那么绘画就应该是通过绘画的语言来完成构成的现实。

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。

French and Canadian scientists examined the painting using a special way that checked the painting and found that the wood board on which the painting is done is easily to be influenced by temperature and climate changes.

法国和加拿大科学家使用检查绘画的一种特别方法审查了绘画并且发现绘画完成容易地是将温度和气候变化影响的木委员会。

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。