绘画的

In Li Jikai's paintings, we can neither see the cultural background nor the historical traces of mankind but rather his own autobiographic imagination and formation of his own mentality.No matter what the content or form is, his work is always connected with solitude and meditation while displaying himself or the others. He then takes us into a world that is completely remade by Li Jikai himself.

在李继开的绘画中，我们既无法看到人的文化背景，也无法看到人的历史痕迹，而更多看到的是他的自传体式的想象和自我心理的塑造，无论是内容还是形式，李继开的绘画从个人到他者的表现过程中总是联系到孤寂和冥想，进入一个自我重新编织的世界。

Beyond the series of "portraits" which serves as a record of the famous gatherings at the Bateau Lavoir, one can see references to the recent contributions of Cubism made in Picasso's studio in the same block of buildings: the fruit bowl, the landscape painted as large cross-hatched areas of mass unified by the reddening hue, the simplified "masks" of the faces, and above all, the placement of both groups of embracing and dancing women which call to mind the preliminary studies for the Demoiselles d'Avignon.

相比之下，这幅作品绘画得既审慎又野心勃勃，但整体来说是以一个表面和幼稚的方式模仿立体派。「肖像」系列除了纪录了于巴多拉夫瓦的聚会外，更间接地让我们瞥见，位于同一大厦的毕加索画室中充满立体派气息的东西：水果盘、以并行线相交的大片艳红阴影绘画之风景，以及简化如「面具」的脸孔，而更重要的是，结聚在一起相拥跳舞的女郎们，令人想起毕加索《阿维侬的少女》的初形。

The second chapter "literature discussion", discussion of affiliation watercolor painting unique esthetic sense and value and the light shade description, analysis water color landscape painting connotation and performance pattern, and by China and the West landscape painting famous expert's work, analysis discussion localization esthetic sense special characteristic, Again separately from the date according to the time and the early days of the restoration Taiwan water color artist work's style, the theme, the artistic vocabulary and so on with the scenery drawing related subject, explores the ponder direction which the author creates, and analyzes romanticism water colorist Tyner, understood that its creation style and the skill, take advantage of this define clearly the author the image which must transmit in the drawing, and because of artistic creation's practice, the idea and the skill fusion, the time can display the self-style the work.

第贰章「文献探讨」，藉水彩画独特的美感与价值与光影描写之探讨，分析水彩风景画的内涵与表现型式，并以中西风景画名家的作品，分析探讨本土化的美感特质，再分别从日据时期及光复初期台湾水彩艺术家作品的风格、题材、艺术语汇等与风景绘画相关的议题，探索笔者创作的思考方向，并分析浪漫主义水彩画家泰纳，了解其创作风格与技巧，藉此厘清笔者在绘画中所要传达的意象，并藉由艺术创作的实践，将理念与技巧融合，期能表现出自我风格的作品。

I don't want to be burdened with the sacredness and grandiosity demanded by art history; I only look at it as the appearance of history; I roam within it and absorb the positive elements for my own use. It doesn't matter whether it's traditional or contemporary, eastern or western, folk art or functional art, or some other cultural phenomena – all are attractive to me. I will make an effort to dissolve them into my own senses, and thoughtfully represent them in my works.

…… 我不去承受美术史的神圣和伟大所带来的精神压力，我只把其看作是历史的模样，游于其中吸收一切积极的因素为我所用，无论是传统的、现代的、东方的还是西方的，包括民间绘画和实用绘画及其它方面的文化现象都对我有极强的诱惑力，我将努力把这来自于一切的认识溶于自我的感觉之中，潜移默化地体现在我作品的创作中。

During the detailed dissertation in this paper, it explains the meaning of the conception of "To perceive object voluntary and paint it" from the history and ideological background that make it be produced and considers that it is the principle of Chinese traditional painting ,relationship of main body and object which contained in it effect each other and being dialectic unity; Secondly, in the text it analyzes the characters of ancient scholars' painting between main body and object, then concludes that the characters of ancient scholar's painting are "not in pursuit of the similitude of appearance ","simple" and "formality".

在具体的论述中，本文从"应物象形"产生的历史条件与思想背景入手，还原"应物象形"概念的涵义，认为"应物象形"是关于中国传统绘画造"形"的准则，其中所包含的绘画创作主客体之间的关系是两相并举，互渗互化，辨证统一的；其次，文章对于文人画造"形"的特点和主客体进行分析，将文人画的造"形"特点归纳为："不求形似"、简约、程式化，并认为文人画造"形"严重偏向于主体，轻视客体；最后，文章分别将文人画造"形"的主客体与"应物象形"的主客体进行比较，得出结论：文人画造"形"不同于"应物象形"。

During the detailed dissertation in this paper, it explains the meaning of the conception of "To perceive object voluntary and paint it" from the history and ideological background that make it be produced and considers that it is the principle of Chinese traditional painting ,relationship of main body and object which contained in it effect each other and being dialectic unity; Secondly, in the text it analyzes the characters of ancient scholars' painting between main body and object, then concludes that the characters of ancient scholar's painting are "not in pursuit of the similitude of appearance ","simple" and "formality".

在具体的论述中，本文从&应物象形&产生的历史条件与思想背景入手，还原&应物象形&概念的涵义，认为&应物象形&是关于中国传统绘画造&形&的准则，其中所包含的绘画创作主客体之间的关系是两相并举，互渗互化，辨证统一的；其次，文章对于文人画造&形&的特点和主客体进行分析，将文人画的造&形&特点归纳为：&不求形似&、简约、程式化，并认为文人画造&形&严重偏向于主体，轻视客体；最后，文章分别将文人画造&形&的主客体与&应物象形&的主客体进行比较，得出结论：文人画造&形&不同于&应物象形&。

Looking at Chang Chih-Cheng's painting career, one often questions whether he should be classified as a realist simply because his creations come from his interpretation of real visual sensations, especially his recent portraits which are based on printed pictorials or photographs of his friends.

考察张志成的绘画历程，常常会有这样的困惑：尽管他的创作是来自对真实视觉感受的诠释，特别是他近来的人物形象绘画，都是取材於现实生活里到处充斥的印刷品图像或者身边的朋友影像，他就应该算是一个现实主义者吗？

However, viewing Schnabel's works from a museum's perspective, we will pay more attention to the originality and freshness he contributed to the practice of painting. As said in some reviews, although a bit exaggerated,"he saved American painting, that was caught up in a 1970s recession, almost entirely by himself."

可要是从美术馆的角度来看施纳贝尔的创作，我们则更为关注他在绘画方面的实践给这个领域带来的新鲜空气与强烈的刺激，就像有些评论略显夸张地称道的那样，&他几乎单枪匹马地把绘画从美国70年代的萎靡不振中拯救了出来。&

I visited his studio once and found all sorts of little visual treasures: from sketchbooks and painting journals to collages, calendars, and books. The journals did not seem to be thematic experiments, but sincere and humble explorations of an inner self. While these quiet paintings speak volumes about Cao's introverted character, they also betray the psychological mystery of his persistence in painting insects.

我曾经在他的工作室里看到大批他未发表的作品，那些作品是一种绘画日记，用报纸、日历、文字的碎片随意拼贴起来，并加以感性的图绘，那些绘画日记不是一种主题式的表达，而是一种发自内心的叙述，我认为它们十分真实地表现了曹静萍内倾的性格，也多少透露出曹静萍持续地描绘昆虫世界的心理奥秘。

I visited his studio once and found all sorts of little visual treasures: from sketchbooks and painting journals to collages, calendars, and books. The journals did not seem to be thematic experiments, but sincere and humble explorations of an inner self. While these quiet paintings speak volumes about Cao's introverted character, they also betray the psychological mystery of his persistence in painting insects.

我曾经在他的工作室里看到大批他未发表的作品，那些作品是一种绘画日记，用报纸、日历、文字的碎片随意拼贴起来，幷加以感性的图绘，那些绘画日记不是一种主题式的表达，而是一种发自内心的叙述，我认为它们十分真实地表现了曹静萍内倾的性格，也多少透露出曹静萍持续地描绘昆虫世界的心理奥秘。

The labia have now been sutured together almost completely.The drains and the Foley catheter come out at the top.

此刻阴唇已经几乎完全的缝在一起了，排除多余淤血体液的管子和Foley导管从顶端冒出来。

To get the business done, I suggest we split the difference in price.

为了做成这笔生意，我建议我们在价格上大家各让一半。