绘画的

Therefore, The abstract painting is the concentrated reflection of the artistic appeal of painting.

因而，绘画的艺术感染力集中体现在绘画的抽象性中。

In this case, the abstract painting was produced and the painting has been totally turned into an abstract symbol.

以至到了抽象绘画的产生，绘画则完全变成抽象的符号了。

Not only Henri Matisse discovered the applications of complanation, decroativeness and solid color, the particular forms of representation and the simple, imagery, relaxing shaping models, but he also had an intensive study of the harmonious relation of object and self, the reality of likeness and unlikeness, pursuit of representation and hence put them into his works.

马蒂斯不但从东方绘画中发现了平面化的、装饰性的、纯色彩的运用形式，在构图上对空间、透视和空白的特殊表现形式，以及简约、意象、轻松的造型特征，而且对中国绘画的物我相融关系、"似与不似"的真实观、"追求表现"等观念有着深入的研究，并且将之融入自己的绘画中。

Painting which is the mainstream of the western art is extremely representational in the aspect of the space concept. But relieves combine the paintings'complanation with sculptures'extensity .so we decide to research the process of the evolvement and the interaction between paintings and sculptures. We expect to discuss the space and art expression in the western art and relieve ,so I can have a further comprehension about the space of optical art. The comprehension can not only help us understand the traditional western paintings and relieves better, but also make us comprehend the space concept of modern art better, to set the artistic creations of contemporary paintings and relieves into action.

油画，作为西方绘画的主流形式，在空间形态的表现上极富代表性，而浮雕兼具绘画的平面性与雕塑的实体空间性，因此，我选择研究油画与浮雕在空间上的演变过程及其相互影响，以期可以从一个侧面来探讨西方绘画与浮雕中的空间观和艺术形态表现，从而对视觉艺术的"空间"有更深一个层次的了解，这不仅有利于我们理解传统的西方油画和浮雕，也能使我们更好地理解现代艺术的空间观念，进而更好的推动当代的油画和浮雕创作。

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。

So Impressionism is the transfer of painting from tradition to modern.

所以，印象主义是传统绘画向现代绘画的转折。

Through traditional Chinese painting study in the period of University and oil painting art study in the period of graduate student for 3 years, I seriously compared and studied the colouration between traditional Chinese painting and oil painting, I think, no matter what tradition Chinese painting is or oil painting, colouration as an art form in Chinese-the West culture systems has many difference in different history stages, their painting concept is different.

通过在大学时的中国画学习和三年研究生阶段对油画技法及创作艺术的研习，对中西绘画的色彩观进行了认真的比较研究，我认为在色彩上无论是中国画还是油画，作为中西两种不同文化体系中的艺术形式，其色彩观念上有许多不同之处，在不同的绘画历史阶段，他们的绘画色彩观念也并不一样。

The National Palace Museum is hosting an exhibition of French paintings titled " From Poussin to Cezanne: 300 Years of French Painting."

国立故宫博物院正主办一场法国绘画的展览，标题为「从普桑到塞尚：法国绘画三百年」。

For Shen Jianhua, photograph is not restricted in its yoke of space-time reference marks, of images of a private diary, it takes at his place very an other dimension: It is a true setting in scene of its dreams, its phantasms, and its desires, suggesting at the same time the sensuality, the strange one, the unknown of the subconscious.

沈见华用摄影实现绘画的表达和艺术的愿望，给摄影一个另外的生机，使它可以不再是记录的，而和绘画一样，是思想、心灵、感情及性情的自由表现。脱出了普通摄影的类型化框框，而使日光下的事物都可以是抽象绘画的感觉，并用非常空静的画面，洗练地表达事物的本性，获得了个性化的风格。

For an artist as Gibran who have a dual status, to break the obstruct between literature language and painting language and study the relation between his literary works and his painting may be a new way to approach Gibrans spirit and to explain his literary and art work.

对于纪伯伦这样有着双重身份的艺术家来说，打破文学话语与绘画话语的隔膜，对他的文学与绘画的关系加以探讨，可能是我们接近纪伯伦的心灵世界，解读他文学和绘画作品的一个新颖的角度。

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。