自然

With the development of man's abilities to know nature and depicture nature, people have become more and more experienced in the techniques of space expression.

随着绘画艺术的不断发展，人类认识自然、表现自然的能力不断提高，对空间的表现也在不断深入。

In Painter 11 Essential Training , John Derry, one of the original Painter authors, demonstrates basic and advanced creative techniques that can get beginners up and running.

Corel Painter 是数码素描与绘画工具的终极选择，是一款极其优秀的仿自然绘画软件，拥有全面和逼真的仿自然画笔。

The 'arrival' of Sisyphus means that he has to employ 'pathetic fallacy' to personify the stone as signifying man's desire and mental burden – the stone lying at the roadside has been changed and elevated to a symbolic level, which incorporates the myth with heroic spirit and becomes the objective equivalent to that of desire, anxiety, and pressure. In essence, the physical features are drowned and from between to express the natural physical features or the ideas, he chooses the latter. This means that there is disjoint between what originally moved him and what he would like to express, but he is acutely aware of it – the 'danger of illustration'. We can see that these series of paintings are finally presented to us, the physical features of the objects still remains and are expressed to some extent. Among them some directly depict the stones in their own part about their pleats and points, desolateness and heaviness; at the meantime, nobody appears in the pictures.

西西弗斯的"到来"，意味着他不得不采用感情误置的方式，将石头进行拟人化的处理，用以指称人的欲望和精神负担——那块路边的石头已经不复它本来的面目，它被提升到一个象征的位置上，与神话和英雄的精神题旨迅速结合在一起，成为人性之中欲望、焦虑、压力等情感的客观对应物，从本质上来说，物自身的特性被淹没了，在表现物的自然特性和表现理念这两者之间，他选择了后者，这意味着，在感动他的最初事实与他要表现的事实之间就有了一种脱节，但他敏感地意识到了这种脱节，这种"图解的危险"，我们可以看到，当这组画最终呈现在我们面前的时候，物的自然特性得到了很大程度的挽留和表现，其中有一些画作直接描绘了岩石本身，它本身的褶皱和棱角、苍凉和沉重，同时，并没有人出现在这样的画面上。

The work of Stansfield / Hooykaas is marked by a balance between nature and culture, between natural and artificial objects: stone-embedded fossils alongside polished diabase rock, brass, lead, grass, a video camera, photographs and projections of landscapes, wind and much more.

Stansfield / Hooykaas的作品以自然与文化，天然物品与人造物品的平衡为特征：内嵌石头的化石，与抛光的辉绿岩石、铜、铅、草、一台摄像机、照片、自然风景的投影和风等陈列在一起。

Having only the diatonic tones of the scale.

自然音的，自然音阶的

Now, without entering upon the question, whether the conception of a Law Natural be not exclusively a creation of the Roman jurisconsults, we may lay down that, even on the admission of Grotius himself, the dicta of the Roman jurisprudence as to what parts of known positive law must be taken to be parts of the Law of Nature, are, if not infallible, to be received at all events with the profoundest respect.

现在，无须研究这个问题，即一个"自然法"的概念是否罗马法学专家的一种独有创造，我们可以断言，甚至格罗修斯本人也承认罗马法律学的格言说，有些已知的现实法应该认为是"自然法"的一部分，这个格言纵使不是毫无错误，仍应该受到极端的尊敬而加以接受的。

This is handhold on the over body emerge foundation of natural law and build up sequence of difference between painting and natural.

而这些都是产生于对自然规律性基础上所进行的形而上的把握，是建立在绘画与自然之间不同的秩序之上。

The curator Kerry Brougher then speaks to the power of this guise and gestures toward the "diorama imaginary" as "a means of harnessing and analyzing nature, a way of categorizing and classifying the world."

策展人 Kerry Brougher 在描绘这种表现及姿态的作用时认为"立体影像"是"一种用来塑造自然、分析自然的方法，是对世界进行分类的手段。"

But today we must pay attention to our generation is not naturally become the natural life of the disadvantaged groups.

但今天我们必须要注意的是我们这一代人却自然不自然的成为了生活中的弱势群体。

Therefore, it is possible that Historical Materialism becomes the foundation of Marx ecology view, which is accomplished by complete understanding of Marx"s objective activity, the sensuous nature and the practice concept. Furthermore, we discovered the ecology thought clue in some Marx"s basic concepts. Starting from Disassimilation Labor, we educed the conception of Natural Disassimilation.

文章首先追溯了历史唯物主义的存在论基础，通过对历史唯物主义进行本真领会，而把握到自然与历史在存在论上的真正统一，由此提出了历史唯物主义成为马克思生态观基础的可能，而这又主要是通过马克思的对象性活动、感性的自然及实践概念的全新解读来完成的。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。