衬托物

Early in 1995, in his "Desire" series where red and blue lines come in strong contrast with each other, Ma Yiping instinctively used his personal experience to drop a hint of the transcendence of life. From 1996 to 2001, his "Images" series established the development direction of his art, owing to its artistic expression_r_r of overloaded psychological priori images. In his works before or after 2003, dream-like symbolic images presented perplexed feeling of human beings about the universe and the physical world. In his "images" series in 2006, uncertain images stood on black cube-shaped objects and ambiguous edges pointed to various uncertain directions with the accompaniment of silver light and shadow. At this point, the intuitive perception of the essence of nature made his artistic style gradually take shape. In his later "fetish" series, in which he gradually became mature in spiritual and symbolic expression_r_rs, Ma Yiping fully grasped the eternal sense of the spiritual world.

在早期，1995年的《欲望》马一平用对比强烈的红色、蓝色层层涂盖、本能地运用自身感受以暗示的手法表达对生命的超越。1996-2001年以物象为主题的系列作品对超载心理先验物象的表达方式确定了他艺术作品的发展方向，2003年前后的作品中，梦一般的暗示性物体程现了生命本体对宇宙物理世界的茫然，在2006年的《物象》系列中，黑色的方体上不确定的物状、模糊的边缘在泛着银色光影的衬托下，泛生着各种不确定的指向感，此时对本质直观的感知性的把握使作品艺术风格基本形成，到后来的《神物》已经充分地把握了精神世界里的永恒感，画面中所能达到的精神性和神密暗示意义的表现手法已近成熟。

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。