艺术

This paper mainly includes two parts The first part falls into three main sections. First, it analyses the formative causes of the Chinese traditional house interior display art through five aspects, including the structure and forms of Chinese traditional architecture, the productive mode of Chinese traditional society, Chinese traditional philosophy, the idea of ethics and grading and custom of Chinese traditional society. Second, it briefly introduces the history of Chinese traditional house interior display art's development. Finally, it focuses on the analysis of Chinese traditional house interior display art's design ideas and concludes that its design ideas embodies the five sides as follows: respect for nature and imitate artfully nature, practical-oriented and function incorporated into form, images of space of what the theory and practice forms, balanced natural pattern of the display, artifacts with the thoughts and respect for poetic imagery. Another part of the article further researches on the application of Chinese traditional house interior display ideas to the contemporary home display, and leads to the author's view, that is that each era should has its own character when it inherits the traditional culture. What's more, the contemporary Chinese-style home display design not only have to take over the spirit of the tradition but also have to give full consideration of the contemporary aesthetic concepts, principles and methods. In the 21st century, humanistic care is greatly proponed in the interior design. The interior display art should develop towards the ecological, personalized and comfortable direction and the cultural dimensions. It should absorb the traditional cultural elements to decorate contemporary living space. In order to upgrade the simple and primary "appearance likeness" to a higher level of "spirit likeness", it must effectively grasp the poetic imagery of space, which can reach the artistic effect of "both appearance and spirits".

本文的重点内容有两部分：一部分是从中国传统建筑的结构形式、中国传统社会的生产方式、中国传统的哲学观念、中国传统的伦理等级观念、中国传统社会的风俗习惯等五个方面简单分析了中国传统民居室内陈设艺术形成的原因；简要介绍了中国传统民居室内陈设艺术的发展过程；着重对中国传统民居室内陈设艺术设计理念的具体内涵进行了深入的分析，总结出其设计理念集中体现在五个方面，即崇尚自然与巧法造化、实用为本与文质彬彬、虚实相生的空间意象、均衡自然的陈设格局、器以载道与以境为尚；另一部分是对中国传统民居室内陈设设计理念在当代居室陈设设计中的应用作了较深层次的探讨，并提出了自己的见解，即每个时代对传统文化的继承都应该呈现出自己的特色，当代中式风格的居室陈设设计既要秉承传统民居室内陈设艺术的设计精髓，又要充分考虑当代审美观念、原则和方法的融入。21世纪，室内设计大力提倡人文关怀，具体到室内陈设艺术设计上，应该向生态化、个性化、舒适化和文化层面发展；吸收传统文化元素装饰当代居室空间，要有效地把握空间意境，使当代中式风格的居室陈设设计从简单、初级的&形似&上升到较高层次的&神似&，进而追求&形神兼备&的艺术效果。

On the research of art education, teaching materials and methods, rather great progress has been made; on the research of comprehensive art education, the draftsmen of national art education standards who have Professors Teng Shouyao and Xiu Hailin as their representatives utilize present achievements of western countries with developed art education and put forward a comprehensive art education system which emphasizes on language, performance, physique and music.

对于美育学学科如何建构，尤其是在艺术教育教材教法的研究上，都取得了相当的进步；在对于综合艺术教育的探索中，以修海林教授等为代表的国家艺术教育标准的起草者，借鉴西方艺术教育发达国家已有的成果，提出以语言、表演、形体、音乐为主的综合艺术教育体系，使得在我国近现代审美教育思潮中出现的许多艺术教育命题走向了自觉与成熟。

One thing is sure, is that they do not support or even oppose the idea of substituting art, and associated with this is that they recognize the value or the value added of the fine arts. They are not esthetes, but firmly believe that art must have an aesthetic quality--in their eyes all the so-called ideas, even the most valuable concepts of art must be achieved through the aesthetic of the intermediary, even though they may oppose the concept of contemporary art's tendency to suppress the technology, but they do not flaunt technological supremacy. They acknowledge and accept the meaning of art, but they also convey the concept of artistic value in way they try to select a relatively moderate path, neutral, and not too left or right, but also East and West, ancient and modern, not avant-garde nor stale, either extremes must be avoided. And to be able to do this, we've reached the limits of a teacher's role, going beyond these expectations is not very realistic, as the less moderate we get, the further we are from a teacher's identity.

有一点可以肯定，那就是他们不赞成甚至反对以观念代替艺术，与此相关联的是他们承认甚至看重技术对於艺术的价值，他们都不是唯美主义者，但坚信审美是艺术必须具备的品质，在他们眼里一切所谓观念，即使是最有价值的观念在艺术中都必须经由审美的中介加以实现，虽然他们反对观念至上，反对当代艺术中蔑视以至讨伐技术的倾向，但他们并不标榜技术至上；他们承认并接受观念对於艺术的意义，但他们同时看重传达观念的方式，他们试图选择的是一条相对中庸的道路，不偏不倚，不左不右，亦中亦西，有古有今，前卫亦无不可，极端则须避免，能够做到这些，已经是作为教师的角色选择的极限，超越这些范畴的期待已经不很现实了，而远离这些范畴的选择又似乎有违於教师的身份。

This book gives a detailed description of the origin, development, raw materials, artistic creation and techniques of Chinese tree-root art, which falls into four categories — tree-root shaping, carving, furniture made of tree-root and bonsai. From the perspective of environmental protection, it explores the trend of development of tree-root art, laying a theoretical foundation for the establishment of tree-root art discipline.

本书对中国树根艺术的起源、发展、根材、艺术创作和制作工艺等方面作了详尽的论述，将树根艺术分为四大门类，即树根艺术造型、根雕、树根家具和树根盆景，并从人类目前对大自然环境保护的认识立场出发，对树根艺术的发展趋势进行更深层次的思考和探索，从而为建立树根艺术的学科奠定了理论基础。

It analyses historically the factors for promoting the development of traditional art of indoor display and at a angle of modern design, it also analyses the theory and design of "system "and " place " from "Yi Jia Yan House Furnishing and Articles" which was a famous article concerning furnishing art of traditional house writte.

文章将渔关于传统住宅室内陈设艺术的论著——《一家言居室器玩部》中陈设品的&制度&和&位置&理论与设计作为评析对象，站在现代设计的角度，结合艺术理论和系统观点，以发展的眼光重新认识李渔的传统住宅室内陈设艺术理论与设计，总结其艺术风格、设计作风及艺术精神，进而提出了运用现代科学技术新观念和新技术手段，在传统与现代化的双重作用下，发展中国室内陈设艺术的新课题。

It has many dimensions different from the other stations. The initial formerly "Chiayi Alternative Space" is the first new alternative space cooperated between the official and the artists. It is the second leg of the Taiwan Art Network of Railway Warehouse, and the first to use this "arts village" name, which affects the future of Hsinchu and Taitung Station for the development direction. Although Art Site of Chiayi Railway Warehouse was for local artists and the official cooperation, it's so far after the establishment of an official business of art Village.

它不同於其他站，最初前身为「另类空间」，是首开官民合作的新型替代空间；也是铁道艺术网络的第二站，受到当时国家艺术村困顿所影响，首先提出「艺术村」的看法，使日后新竹站与台东站也以艺术村之名推动；虽然另类空间为地方艺术家与文化局合作，但是嘉义铁道艺术村成立后迄今以「公办公营」的方式，成为官方文化单位经营的艺术村。

Folk opera, folk dance , garments, architectural arts, handicrafts, butter sculpture and stone carving are strongly tinged with Tibetan color.

民间戏剧艺术、民间舞蹈、服饰艺术、建筑艺术、手工艺术、油塑、石刻艺术是独具藏族特色的艺术形式。

Folk opera, folk dance, garments, architectural arts, handicrafts, butter sculpture and stone carving are strongly tinge d with Tibetan color.

民间戏剧艺术、民间舞蹈、服饰艺术、建筑艺术、手工艺术、油塑、石刻艺术是独具藏族特色的艺术形式。

Folk opera, folk dance, garments, architectural arts, handicraft s, butter sculpture and stone carving are strongly tinged with Tibetan color.

民间戏剧艺术、民间舞蹈、服饰艺术、建筑艺术、手工艺术、油塑、石刻艺术是独具藏族特色的艺术形式。

The first part presents a comprehensive scene of the art environment in which Soutine was involved, the influences he received and his opinions on the problems he confronted. This is achieved by analyzing the relationships between his paintings and those of his contemporary as well as between his paintings and the classical art works in museums. The second part will, through his landscape, still life and portrait paintings, explore the forming of Soutine\'s characteristically expressive art language and the development of his art style, which integrated the modernism paintings with classical art elements. The third part will discuss the culture background of his art, the psychology of his creation and his techniques in order to point out" the intuitively expressionist nature "of his art. This part will also analyze the achievement of Soutine\'s art and its contribution to art history through critics\' opinions of him and his influences on other artists.

第一部分分析了苏丁绘画与同时代的艺术家的创作及博物馆中的经典作品的关系，尽力全面地描述苏丁在当时所面对的艺术环境，对其所受到的影响及面对的问题有所认识；第二部分分别从风景、静物、人物三个方面，从苏丁艺术自身的形成、发展来论述他在现代艺术的框架下，借助古典艺术以形成其独特的表现性语言的过程；第三部分从苏丁绘画的文化、心理以及艺术技巧等多个方面进行分析，指明其&富于直觉的表现主义&的特质，并通过批评家的评论与他对后来艺术家的影响来认识苏丁艺术的成就及在美术史上的作用。

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。