绘画的

Early introduction of Western painting, has started over 300 years ago, the main channels: first, the missionaries brought a copy of Western painting; Second, the Western artists to China to teach Western painting techniques; Third, with the advertising and mass merchandise into our country's cigarette brands, brand cloth, cake box above picture of the ocean, photographic film set of King; the establishment of four new art education; Fifth, a limited number of students.

西方绘画传入很早，三百多年前已经开始，其主要渠道有：一是传教士带来的西方绘画的复制品；二是西方画家到中国传授西方绘画技法；三是随商品广告而传入我国的香烟牌子、布牌子、糕点盒子上面的洋画片、照相布景的景片；四是新兴办的美术教育；五是数量有限的留学生。

Today, when Chinese contemporary paintings are predicted to go to an "end", the ebullition of freedom, imagination, genius and character of Qin Fengling's paintings doubtlessly bring us a totally new feeling for paintings.

二十年的积淀在秦凤玲绘画上迸发出的自由、想象、天赋和个性，在中国当代绘画被预言将要走向"尽头"的今天，无疑将会带给我们对架上绘画的全新感受。

Y: I myself am analyzing it while we are talking. Now I would like to bring forward a question of image painting. I personally think, the academic direction of image painting applies itself to the vague limit between image and painting. What's the definition of image?

杨：实际上我们在谈，我自己在慢慢分析，我现在提出一个问题关于影像绘画的问题，我认为影像绘画的学术方向就是要模糊影像和绘画之间的界限，影像的概念是什么呢？

Chinese painting brush techniques and painting procedures are also discussed, which might be of use to those at their preliminary stage of watercolour learning.

在绘画技法上，对如何借鉴中国绘画的笔法以及绘画的步骤、方法进行了探讨，对水彩画的入门学习或有帮助。

It is also related to my understanding of painting. For me, painting is a word, a memory. My thoughts and actions, or a certain purpose born out of it, or a certain reason are what I consider in painting. This assembly of things could appear to be rather absurd at times.

再有我对绘画的认识，绘画于我来说是一个词，一个记忆，由它生发的以后的想和做，或某种目的性，某种理由，我都把它们理解成绘画，这种综合有时展示出来是比较荒唐的。1

A new painting way evading Chinese traditional ones may start here, the trial. Through these conceptual works, we can find that Chinese artists gradually step further and further from the fondness for portrait and plot, get rid of the embarrassed state of traditional paintings and separate from the acuminous and logic visional experience.

这样的尝试可能会为中国逃避传统的绘画方式拉开序幕，那么，透过这些概念化的作品，我们可以窥见中国艺术家在最近的几十年中，已逐渐地游离开传统绘画对物象和情节的迷恋，并摆脱了常规绘画的尴尬处境，从中分离出敏锐的、逻辑的视觉体验。

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。

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。

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。