艺术

The integration of technology and art, making the border between technology and art disappear in the digital art works of art in the composition becoming more and more important, digital art will become more focused on innovation and creativity can be achieved.

技术与艺术的融合，-北大论坛，使得技术与艺术间边界消失，在数字艺术作品中艺术的成分变得越来越重要，数字艺术将更加注重的是创意和创意的实现。

Director of Animated cartoon Art Center of China Artists Association, member of China Artists Association, consultant of Research and Collection Department of China Oil Painting Academy and China Central Academy of Fine Arts, commissary of Review Council of Wang Jialian's Oil Painting Scholarship of China Central Academy of Fine Arts, grade one painter of Painting and Calligraphy Art Center of China Literature and Art League, member of American Portrait Association, visiting professor of Xu Beihong Art College of China People University and Animation College of Beijing Film Academy, judge for art and recommendation of mascot for 2008 Olympic Games in Beijing, art judge of mascot for 2008 Paralympic Games in Beijing, vice chairman of Comic Strip Branch of China East Culture Research Academy, vice secretary general of Comic Strip Art Committee of China Publisher Association.

中国美术家协会动漫游艺术研究中心主任，中国美术家协会会员。中国油画学会研究收藏部顾问、中央美术学院顾问、中央美术学院王嘉廉油画奖学金评审委员会委员。中国文学艺术界联合会书画艺术中心一级画家、美国肖像协会会员、中国人民大学徐悲鸿艺术学院、北京电影学院动画学院客座教授、北京2008年奥运会吉祥物艺术评委和推荐评委、北京2008年残奥会吉祥物艺术评委。中国东方文化研究会连环漫画分会副会长、中国出版工作者协会连环画艺委会副秘书长。

Group Exhibitions: in 2006, Process and Expression, The Scale of Picture Determines Attitude: the 1st 5x7 Photo Biennale, Direction, Mixture of Clear and Obscure: Chinese Contemporary Arts Exhibition; in 2005, Fan Shou Wei Yun Fu Shou Wei Yu: the 1st Exhibition of Beijing TS1 Contemporary Art Center, Skin of City—Research on the Possibility of Contemporary City Image (Tap Seac Gallery of Macao, Shenzhen Art Museum), Transparent Box, Untitled—Self-Project:'05 China Pingyao International Photograph Exhibition, Ten Points and Ten Colors (Soka Contemporary Space, Beijing), Tian An Men (Amsterdam Photo Museum, Holland), The 2nd Chengdu Biennale, Tomorrow without Glancing Back: Chinese Contemporary Art Exhibition (Kuandu Museum of Fine Arts, Taipei); in 2004, Meet by Chance, One to One: Their Sight (Chambers Fine Arts, New York, USA), Chinese Photo and Image Fine Arts, Times of Imitating Images; in 2003, Distance—Contemporary Art Invitational Exhibition of Guangdong Museum of Art (Guangdong Museum of Art, Guangdong), Left Hand and Right Hand: China and Germany Contemporary Art United Exhibition (Beijing 798 Space), Expression and Condition, Chinese Photo and Image Fine Arts (Art Museum of Beijing Normal University), Blue Sky without Defense; in 2002, Speak to Oneself, Chinese New Photo and Image Exhibition, Bridge: Contemporary Art Invitational Exhibition, Legend-Fabrication-Copy, Phenomenon, Chuang Ku Exhibition (Shanghai Dongdaming Chuang Ku Exhibition); in 2001, Knowledge is Power; in 1999, Contemporary Chinese Art Exhibition; in 1998, Surprise to Existence, In the City: Opening Oneself; in 1997, Chinese Art General Exhibition: Contemporary Oil Painting Exhibition.

联 展：2006年Process And Expression。&画幅决定态度&首届5x7照相双年展方向、虚虚实实—中国当代艺术展；2005年&翻手为云，覆手为雨&—北京 TS1当代艺术中心第一回展、城市的皮肤—当代都市影像的可能性研究（澳门塔石艺文馆、深圳美术馆）、透明的盒子北京SOHOU现代城）无题—自我投射2005中国平遥国际摄影大展、士点十色、天安门（荷兰阿姆斯特丹摄影博物馆）、第二届成都双年展、明日，不回眸—中国当代艺术展；2004年邂逅、&一对一&他们的目光、中国影像绘画、拟像时代；2003年&左手与右手&中、德当代艺术联展、表情与状态、中国影像绘画展、距离·广东美术馆当代艺术邀请展、蓝天不设防；2002年自言自语、中国新影像展、桥·当代艺术邀请展、演义·捏造·复制、现象、创库展；2001年知识就是力量；1999年当代中国艺术展；1998年对于存在的惊奇、在城市中—开放的自我；1997年中国艺术大展·当代油画艺术展·当代油画艺术展。

With the Olympic Game comes, from the angle of color and design, Enhance the study of Art Gymnastics costume's colourway should be became an important work to contract the distance between our country and the west countries. Art Gymnastics ; costume ; harmony ; color

艺术体操在我国属于一项年轻运动，随着2008年北京奥运会的临近，作为奥运会女子比赛项目，中国艺术体操要缩小与国际艺术体操强国的差距，不仅要进一步加强成套动作的难度、密度、编排和时间的利用等技术问题，同时也要注意进一步提高艺术体操运动的艺术性及美感等因素，包括艺术体操服装的色彩、设计、装饰及器械、场

The pathway of course of Wolfflin's theory research had begun with the research to classicality art and the spiritual of civil, and gradually it belongs to a concept of the multiple cultures. This concept is the two sides of understanding which advocated by the ripeness applicability value of the style and the historic creed in every nation, every individual'creating and understanding. The unification of the two sides responded the dispute about the connection between the fact and the value. it had taken the view of creating perfection into a course of invariable, can be seen in the practice of art activity. Not only had his research provided a excisions illumination with the development of the emersion art, but also provided the integrated theory and a important visual angle to represent the development of modern occident art and China tradition art.

沃尔夫林理论研究的心路历程由对古典艺术和人文精神的研究开始，渐渐归于一种多元文化的观念，这种观念是人文主义普适价值观和历史主义所倡导的对每个民族、每个时代、每一个体的独特创造的理解两个方面，两个方面的统一以独特的方式回应了现代思想中关于事实和价值关系问题的争论，将对审美创造的完美性的永恒的观看，纳入一个永恒的、见之于具体艺术实践的流动过程之中，其研究不但对再现艺术的历史发展做出了卓越的说明，也为系统地表征西方现代艺术、中国传统艺术的发展，以及理解现代科学作为一个文化过程的发展，提供了重要的视角和完整的理论。

It's gratifying that the donation and charity sale are only the primary steps; that the art still cherishes the power of cheering up spirit; that the art still has the chance to participate in the home-rebuilding; that the art can still translate and deposit tribulation into cultural recollection; and that art can also transform the encouragement and power of our nation when facing the shocking catastrophe into heart-moving artistic works….

好在捐献、义卖只是第一步；好在艺术还有唤起和鼓舞人心的力量；好在艺术还有机会进一步参与到家园的重建工作中；好在艺术还可以将苦难转化、积淀为一种文化记忆；好在艺术还可以将这个民族在面对惊天灾难时所表现出来的勇气和力量转化为感动人心的艺术作品……。在艺术界在第一时间里已经迈开了第一步！

In the ex-period, Nietzsche thinks the art has the highest value. In the mid-period, Nietzsche thoroughly negates the ex-period view of value of art,and thinks the art is harmful to sober and independent life. Nietzsche is sure that science will replace art. In the later period, Nietzsche thinks that art has the highest value again.

尼采早期认为艺术具有至高无上之价值；中期彻底否定了前期艺术价值观，认为艺术有害清醒的、自立自主的人生，提出科学将取代艺术；而后期重新肯定艺术具有至高无上之价值。

The fist part mainly describes the background of his creating in artistic songs from the social background, aesthetic thought,the impacts of classical German traditions,overall development of German artistic songs and the humanitarian significance on Beethoven.The second part analyzes his creation techniques from the aspects of subjects,genre,tune development methods,harmonic language,tone,mode,musical structure anal piano accompaniment.The third part is the summary for Beethoven's inheritance and innovation

第一部分主要从社会时代背景、美学思想背景、德国古典传统与贝多芬创作的关系、作品中表达的人道主义内涵以及德国艺术歌曲整体发展对贝多芬艺术歌曲创作的影响几方面着手进行阐述；第二部分从题材、旋律发展手法、和声语言、调式调性、曲式结构、钢琴伴奏等六个方面来展开对贝多芬艺术歌曲创作技法的分析；第三部分则从贝多芬艺术歌曲对后人艺术歌曲创作的影响这三个方面入手对贝多芬的继承与创新做一个总结

During the early twentieth century, art underwent dramatic changes. Without blindly following the contemporary trends, Soutine selectively inherited the previous modernism art achievement and learned from the classical art works as well to solve specific problems that he faced. He created a strikingly expressive modern art language while embedding the charm and spirit of traditional art. His unique style has inspired and affected a great number of artists.

总之，在二十世纪初期艺术激变的时代，苏丁在接受现代主义艺术成果的同时，没有盲目追随潮流，而是认真地面对自己的问题，通过向古典作品的学习，创造了极富表现力的具有现代感的艺术语言，使传统艺术的精神、魅力在自己的作品中得到体现，由此他的艺术启示和影响了后来众多的艺术家。

Smithson and other artists associated with the movement, such as Walter De Maria, Alice Aycock, Michael Heizer, and James Turrell were aesthetically influenced by Minimalism but sought to bring art out of the gallery system and into the outside environment.

虽然对於当代艺术实践的历史性定论还有待建立，但是当代艺术批评家和历史学家已经逐渐形成一股共识，将某些艺术家及艺术创作视为后现代艺术及当代艺术发展上的重要基础。

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。