艺术作品

If the final cause of an artwork is simply the artwork itself,"art for art's sake", and not a means to another end, then that artwork could appropriately be called fine.

如果最终的原因仅仅是一个艺术作品的艺术作品本身，"艺术为艺术的缘故"，而不是一种手段，另一个目的，则该作品可适当地称为罚款。

Secondly, the thesis tries to find out aspects on the works of art that are on the surface of impersonal existence, associated with art and people, and most likely to draw people's attention other than their reality. These aspects are images and forms, especially the using of lines, which is the most living form in my study of Chinese painting. The topic extends from the using and exhibition of lines in the sketching and art creation, further to the intuition, which is the way and measure of obtaining the form of the works of art. Intuition is a nonfigurative emotional activity that melting the sensibility and logos of human being. The thesis discloses that emotion is the momentum of art intuition.

然后试图找到艺术作品这一客观实物上最为表层的、与艺术、与人相关的，除了它的实在以外最容易被关注的部分---形式，尤其是我所学习的中国画中，线这一最具生命感的形式，在花鸟写生和创作中的运用和体现，进而深入到艺术作品的形式获得的途径和方法---直觉，这种人类感性和理性相融合的情感的复杂抽象活动，并揭示出艺术直觉的动因是情感，人们为了满足某种心灵的需要而进行艺术的直觉和积累。

It is well known that we have been using the classical and typical artworks that are already popular with people to enhance kids'morality, merits and percipient of beauty.

在这个背景下，我们基础美术学科教育遇到了新的难题：在以往的美术教学中，欣赏评述内容更倾向于对传统艺术形式和经典作品的理解和欣赏，而且大多是以经过历史筛选、久为人们所熟知的、正面积极的作品来感染学生、提高他们的审美能力和对艺术的感知力，而目前这些尚处在蓬勃发展中的艺术形式对于广大中小学学生来说是令人迷惑而高深莫测的，他们很容易象接受书本知识和教师讲解一样去接受一切在艺术杂志、展览馆、画廊中所看到的充满刺激的新艺术作品，而这种反应大多是本能的、不带批评性的，与他们对摇滚乐和青年文化等方面的反应类似(《艺术批评与艺术教育》ArtCritics and Art Education沃尔夫吉伊根著)。

The necessity that he shall conform, that he shall cohere, is not one-sided; what happens when a new work of art is created is somethingthat happens simultaneously to all the works of art which preceded it. The existing monuments form an ideal order among themselves,which is modified by the introduction of the new work of art among them. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly,altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new.

他之必须适应，必须符合，并不是单方面的产生一件新艺术作品，成为一个事件，以前的全部艺术作品就同时遭逢了一个新事物现存的艺术经典本身就构成一个理想的秩序，这个秩序出于新的作品被介绍进来而发生变化这个已成的秩序在新作品出现以前本是完整的，加入新花样以后要继续保持完整，整个的秩序就必须改变一下，即使改变得很小；因此每件艺术作品对于整体的关系、比例和价值就重新调整了；这就是新与旧的适应。

The necessity that he shall conform, that he shall cohere, is not one-sided; what happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it. The existing monuments form an ideal order among themselves, which is modified by the introduction of the new work of art among them. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new.

他之必须适应，必须符合，并不是单方面的产生一件新艺术作品，成为一个事件，以前的全部艺术作品就同时遭逢了一个新事物现存的艺术经典本身就构成一个理想的秩序，这个秩序出于新的作品被介绍进来而发生变化这个已成的秩序在新作品出现以前本是完整的，加入新花样以后要继续保持完整，整个的秩序就必须改变一下，即使改变得很小；因此每件艺术作品对于整体的关系、比例和价值就重新调整了；这就是新与旧的适应。

Heidegger's analysis, firstly, tried to indicate that the work of art is something different form usual recognitions; for the above-mentioned reasons, this treatise analyses the complicated relations between thingness, equipment and the work of art; then it reveals Heideggor's thought about the relation between art, the work of art and artist, in the relation, art becomes the original foundation of the work of art and artist.

海德格尔的分析，一开始就试图表明，艺术作品不是什么，以与惯常的认识相区分；基于此，本文分析了物性、器具与艺术作品的复杂关联；之后，揭示了海德格尔关于艺术与艺术作品和艺术家三者之间的关系的思想，在这种关系中，艺术成为了艺术作品与艺术家的本源性基础。

In 2003 she realized during one month different performances in the solo exhibition "26 days in OK"; in 2005 she connected performance and installation in the solo exhibition "Playing with 14 rooms"; in 2006 she created performances that communicated with the other exhibited works of the group exhibition "Excellent" that dialogued with other artists; in 2007 she researched media performance and painting in the solo exhibition "Performance-Painting," where she interprets performance pieces onto painted canvasses.

2003年，在&OKS的26 天&的现场行为艺术个展中，她每天进行不同方案的现场行为艺术表演。2005年的&在14间房子里游戏&个展中，她进行了行为和行为装置艺术之间关系的研究。 2006年底，在&杰出&的群展中，她以行为艺术的方式，和其他19位通过不同媒体创作的艺术家进行对话。2007年初，在德国&和33位行为艺术家作品的油画对话&的个展中，她以油画的方式用自己的解释来和33为行为艺术家的行为艺术作品进行对话。

Inherited from a long historic tradition, of which the most characteristic example remains the monument to those who died in the two world wars, commemorative art has changed its style and now punctuates the urban landscape with works that have broken away from the traditional statuary or the imposing funerary stele.

公共艺术含括所有在城市空间中具有明显艺术特质的各类作品，这些作品大多设置在室外的公共空间，偶尔会出现在较为隐秘的角落，但一定是可供民众自由观赏，且容易接近的艺术作品。

If I were to say, on the contrary, that the best picture was that which most closely imitated nature, I should assume that art could only please by imitating nature; and I should cast out of the pale of criticism those parts of works of art which are not imitative, that is to say, intrinsic beauties of colour and form, and those works of art wholly, which, like the Arabesques of Raffaelle(2) in the Loggias, are not imitative at all.

相反，如果我说最好的画就是模仿自然最接近的画，我是假定艺术只有模仿自然才能给人愉悦，我批评时就会抛开那些不是模仿的艺术作品，即具有内在色彩和形式美的作品，以及像拉斐尔在梵蒂冈宫绘制的壁画那样毫无模仿的艺术作品。

If I were to say, on the contrary, that the best picture was th at which most closely imitated nature, I should assume that art could only pleas e by imitating nature; and I should cast out of the pale of criticism those part s of works of art which are not imitative, that is to say, intrinsic beauties of color and form, and those works of art wholly, which, like the Arabesques of Ra ffaelle in the Loggias, are not imitative at all.

相反，如果我说最好的画就是模仿自然模仿得最逼真的画，我是在假定艺术只有模仿自然才能给人愉悦，我批评时就会抛开那些不是模仿的艺术作品，即具有自身色彩美和形式美的作品，以及像拉斐尔在梵蒂冈宫给绘制的壁画那样毫无模仿的一切艺术作品。

I am accused of being overreligious," she said in her quiet, frank manner,"but that does not prevent me thinking the children very cruel who obstinately commit such suicide.""

客人们在卡罗利娜·埃凯家里，举止就文雅一些，因为卡罗利娜的母亲治家很严厉。

Designed by French fashion house Herm è s, this elegant uniform was manufactured in our home, Hong Kong, and was the first without a hat.

由著名品牌 Herm è s 设计，这件高贵的制服是香港本土制造，是我们第一套不配帽子的制服。