绘画颜料

Obviously, in painting language, he has been enlightened from the portrait bricks of the Han Dynasty and the civil rubbing from stone inscriptions, while strengthening the use of the simple tools and the limited media to achieve the maximization of artistic tension. He has abandoned colors and brushwork which always fascinated him in the past, while emphatically featuring the connotation of the cross-smear between notch and paint in order to suggest that the historical and substantial abrasion cannot destroy the certain spirit of our nation it abstemiously describes one seemingly veiled allegory in the passionate portray that seems calm and incisive.

显然，在绘画语言上，他是从汉画象砖石及民间碑帖中得到启发，强化运用简单的工具和有限的媒材，来达到艺术张力的最大化体现，他放弃了先前一贯着迷的色彩和笔触，而着重表现着刻痕与颜料交错涂敷的内涵，从中提示历史和物质的磨损，依然不能摧折我们这个民族的某种精神--它在看似冷静而锋利的激情刻画中，被节制地叙述为一个看似隐晦的寓言。

This kind of works are vested with strong expression_r_rism on the part of image-making and painting skills, and also they are constitutionally narrative by pictorial space and figure relation; other group is that abstract paintings made of oil, pastel, and water color, which should be taken as another world created by Huan Xun artistically, a world of more freedom, relaxation, and openness.

这类作品在形象的塑造和绘画的手段上，带有很强的表现性，同时具有由画面空间和人物关系构成的故事性；另一类是完全抽象的作品，分别用油彩、油画棒和水质颜料画成，这部分作品可以说是幻循在艺术创造上的另一个世界，也是一个极为自由、放松、开阔的世界。

Through deconstruction of reproduction system in traditional art by body movements and action of splashing paint in the painting process, the "action painting" had pushed modern art forward by a big step.

以波洛克为代表的美国"行动绘画"，在作画过程中，其身体的运动和颜料的泼洒将传统美术的形象再现体系解构，将现代美术向前推进了一大步。

Thanka is an art of painting unique to Tibetan Buddhism.it is usually done on linen,or on coarse wool cloth,and sometimes on silk for precious ones.The base of the painting in prepared using a paste of animal glue and fine lime.After the paste dries,carbon and paints using natural mineral and plant colors,such as yellow,mineral green,azurite and cinnabar,are applied.

唐卡，即布画，是藏传佛教特有的一种绘画艺术，一般以亚麻布或粗毛布为底布，较为珍贵的则以丝绸为底布，涂以动物胶和细石灰调合而成的糊状物，干燥后用木炭条起稿，然后以石黄、石绿、石青、朱砂等不透明的矿物和植物质颜料着色。

A liquid in which pigment is mixed to form paint; a type of paint of coloring matter used in painting.

绘画用的调和颜料的液体；艺术创作所使用的材料。史上最黄的英语资料整理

W A liquid in which pigment is mixed to form paint; a type of paint of coloring matter used in painting.

绘画用的调和颜料的液体；艺术创作所使用的材料。

Medium A liquid in which pigment is mixed to form paint; a type of paint of coloring matter used in painting.

绘画用的调和颜料的液体；艺术创作所使用的材料。

During the 1950s Pollock continued to produce figurative or quasi-figurative black and white works and delicately modulated paintings in rich impasto as well as the paintings in the new all-over style.

1950年，波拉克继续生产了修饰丰富的或类似修饰丰富的白的或黑的工作，优美的微妙的已调整的绘画，用丰富的厚涂颜料绘画法和所有新风格绘画。

Instead of using the traditional easel he affixed his canvas to the floor or the wall and poured and dripped his paint from a can; instead of using brushes he manipulated it with 'sticks, trowels or knives', sometimes obtaining a heavy impasto by an admixture of 'sand, broken glass or other foreign matter'.

取代传统的架上绘画，他把帆布放在地板或墙上，把颜料从一个罐子里倒出来或滴下去。取代用笔刷，他熟练地运用棒子或铲子或刀子画画以表达他的自己的语言。有时他用沙子、碎玻璃或不相关的物质以获得一种厚重的颜料绘画法。

Wang Guangle's continuing Terrazzo series is definitely an even better fit for this theme, and recently it has been shifting towards extreme change. His recent works are no longer painted depictions of terrazzo but slabs of "terrazzo" made out of paint. It is no longer a painting, and it no longer has paint as a medium; instead, there is just the thing.

王光乐一贯的"水磨石"无疑更是属于这个主题，并且正在朝着一个极端变化，他近期的作品不再是对水磨石的描绘，而是一面用颜料制成的"水磨石"，不再有绘画，也不再有作为媒介的颜料，而只有物。

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。