绘画的

Starting from Master Lin Fengmian, generations of outstanding Chinese artists have, in their inquiries of modern Chinese painting for almost a century, been trying to ingeniously merge the oriental art traditions with the modern western approaches, especially the abstractionism, or to balance the two heritages in a personal fashion so as to achieve a genuine breakthrough in the language of painting. This paradigm came into being in the later half of the century and new masters have been on the rise.

近一个世纪以来，在中国现代绘画的探索中，自林枫眠始，几代中国艺术家的佼佼者一直在试图将东方传统与西方的现代，尤其抽象表现艺术进行了巧妙的结合，或者说是以个人的方式平衡了这两种因素，从而在绘画语言上取得真正的突破，这个框架在此后的半个世纪间已经构成，并出现大家。

By checking the historical texts as the notes, poems, essays of the contemporary and later intelligentsia, also including the concerned local chorography, art history literature and the collectors' opinions, this paper tries to analyze why the women artistic practices were so vital and how they were recorded in such a historical context, what's their feature and position in the art history.

本文通过对当时文人的笔记、诗文集，以及画史和地方志等文本中有关晚明清初女画家的写作或记载，通过对当时文人或鉴藏家有关她们艺术作品的题跋、评论和鉴藏，来分析探讨晚明清初江浙地区女性绘画蓬勃兴起的原因，女画家及其艺术进入历史的途径，以及女性绘画的特色及其与艺术传统的关系。

Through the investigation of those four aspects, the paper comes to the conclusion: thanks to the participation of many literatus, the development of Chinese painting has been changed accordingly in its aesthetic ideas, the standard of taste, formal styles,even the writing manner of its history, which is differed from those of western painting; surely, the cultural and social status of Chinese artists were different from the late as well.

通过这四个方面的有限考察，本文得出的结论是：中国绘画在其发展过程中，由于文人、或者说是士大夫的参与，使得它的美学观念、趣味标准、形式风格，乃至历史的撰写方式，在许多方面都显示出与西方绘画的不同；自然，中国画家的文化身份和社会地位也不同于西方。

His paintings show a kind of individual heroism, which is so rare in our times. The contemporary painting circle is full of queerness and namby-pambyism, vulgar game and spiritual compromise. So when this young artist emerged with critical attitude of distain and antagonism, he looked quite distinctive of others and well acclaimed.

他的绘画表现出一种个人英雄主义的气质，在我们的这个年代显得罕见，当代绘画的领域内确实充溢了炫奇和矫饰，低俗的游戏性与不断的精神妥协，当这位年轻的艺术家以充满蔑视和对抗的批判姿态出现的时候，他就显得如此与众不同，并且倍受瞩目。

He has made exceptionally extraordinary performances in every painting category: as for calligraphy, he can integrate seal character, grass character, regular script and official script and create his own calligraphical style; as for paintings, he can switch from different modern and traditional fields and express his own feelings with skill and ease but without forced intention.

我以&刀笔奇才，书画鬼手&兆晖，其言非过，他在艺术技法修养的全面来说，早已打破了花鸟，山水人物的界线，打破了中西的界线，任何一个绘画门类在他的笔下都有非凡的表现，在书法中他可以将篆草楷隶融成一炉，打造自己的书体，在绘画的形式中也可以出入现代和传统的不同领域，表达自我感受，游刃有余，绝不牵强。

Based on the misfortunate fate of "Founding Ceremony of PRC" and his own understanding of this work as well as the historical characters in it, Ma Baozhong created some large paintings and groups of small paintings by adopting his unique network structuralistic painting language, discussing academic subjects like the hidden politics and power behind the painting modification, the fate of characters, the truth in history, and the verity of history.

围绕命运多舛的《开国大典》，马堡中按照他自己对《开国大典》以及其中各个历史人物的理解，以他独有的网络结构主义绘画语言绘制出大画若干、小画数组，讨论绘画的修改背后所隐藏的政治与权力，以及人物的命运、历史中的真实、历史学的真实等等学术主题。

In recent works I have been committing myself in developing an individualistic discourse in and from the fountainhead of the painting and in attempting to establish a new set of language for ink and wash painting expression, bringing the ornamentality, allegoricity, and narrativity of the painting into new play, making the ink and wash painting a genuinely open language that can truly be adapted with pluralistic expressions to meet the challenges of the current culture.

在近来的工作中，我致力于从绘画的本原出发，从那里展开并演绎个性的话语，并试图建立一套新的水墨表述语言，使绘画的装饰性、寓意性、叙事性得到新的意义上发挥；使水墨成为一种真正开放性的语言，真正适合观念多样性的表达而适应当下文化的挑战。

In recent works I have been committing myself in developing an individualistic discourse in and from the fountainhead of the painting and in attempting to establish a new set of language for ink and wash painting expression_r, bringing the ornamentality, allegoricity, and narrativity of the painting into new play, making the ink and wash painting a genuinely open language that can truly be adapted with pluralistic expression_rs to meet the challenges of the current culture.

在近来的工作中，我致力于从绘画的本原出发，从那里展开并演绎个性的话语，并试图建立一套新的水墨表述语言，使绘画的装饰性、寓意性、叙事性得到新的意义上发挥；使水墨成为一种真正开放性的语言，真正适合观念多样性的表达而适应当下文化的挑战。

We can relate to the intense self-restriction Luo Quanmu imposes on his painting, a kind of self-satisfied, inherent trait. It is like a pum, which having sucked a spring dry, moves on to the waters of its own imagination, pouring these atop the canvas.

我们可以体验到他绘画的那种强烈的自我限定，一种自足的、内在循环的特性，这就像一座水泵抽空了现实的水源，而将自身想象力的水流缓慢地灌注到绘画空间之中。

The earliest history of Chinese painting can be traced back to primitive Neolithic pottery decoration and rock paintings, original painting skills though naive, but has mastered the initial modeling ability of the animals, plants and other dynamic and static forms can also grasp the main features of note for the ancestors to express the belief, desire and for the life of the aesthetic.

中国绘画的历史最早可追溯到原始社会新石器时代的彩陶纹饰和岩画，原始绘画技巧虽幼稚，但已掌握了初步的造型能力，对动物、植物等动静形态亦能抓注主要特征，用以表达先民的信仰、愿望以及对于生活的美化装饰。

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。