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人伦鉴识
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     Aesthetic Nature(Shen Yun):From the Judgment of the Human Relationship Ethics in the Late Han Dynasty to the Art Work Figures Appreciation in the Wei & Jin Dynasties
     神韵:从汉末人伦鉴识到魏晋人物品藻
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  相似匹配句对
     Aesthetic Nature(Shen Yun):From the Judgment of the Human Relationship Ethics in the Late Han Dynasty to the Art Work Figures Appreciation in the Wei & Jin Dynasties
     神韵:从汉末人伦鉴识到魏晋人物品藻
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     Justice and Human Relations
     正义与人伦
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     On Human Relation in Education
     略论教育人伦体系
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     THE CHARACTERIZATION OF THE PYROLYTIC PRODUCTS OF POLYTRIFLUOROCHLOROETHYLENE
     聚三氟氯乙烯热解产物的鉴识
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     Identification of pyrethroid insecticides with Gc method
     拟除虫菊酯类杀虫剂的气相色谱鉴识
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Qi - yun" is a term composed of the two words"qi"and "yun", which are two different complicated concepts in themselves. Since the Wei and Jin Dynasties, the concept of "qi - yun "has been applied to the field of artistic appreciation in addition to human qualities evaluation. Some basic requirements revealing the theoretical features of Chinese arts can be drawn. The two main points are: 1. Artistic works should not take satisfaction from describing outer configuration of the subject only. It should attach more...

Qi - yun" is a term composed of the two words"qi"and "yun", which are two different complicated concepts in themselves. Since the Wei and Jin Dynasties, the concept of "qi - yun "has been applied to the field of artistic appreciation in addition to human qualities evaluation. Some basic requirements revealing the theoretical features of Chinese arts can be drawn. The two main points are: 1. Artistic works should not take satisfaction from describing outer configuration of the subject only. It should attach more importance to its inner spirit. 2. Artistic works should not take satisfaction from descri bing the object's outer configuration and its inner spirit only. It should reveal graceful ness and noble character of the artists and their profound understanding of life, history and the universe.

“气韵”由“气”和“韵”这两个本身便是有着复杂含义的概念历史地组合而成。魏晋以后,“气韵”自人伦鉴识用到艺术鉴赏上,使用者所指并不完全一致,但仍然可以从中归纳出显示了中国艺术理论特色的基本要求。这主要有两条:其一,艺术作品不能满足于描绘对象的外部形态,更要表现出对象的内在精神,神似重于形似;其二,艺术作品不能满足于描绘对象的外部形态和内在精神,更要表现出艺术家本人的高雅的思想风貌,表现出艺术家本人对人生、对历史、对宇宙的感悟。

Aesthetic nature(Shen Yun), the core of Chinese aesthetic history, comes etymologically from Classic Paintings Criticism Collection by Xie He of the Northern and Southern Dynasties, and originates philosophically from Lao Zi and Zhuang Zi’s life conception. As an aesthetic concept, Shen Yun has gone through a process from philosophic idea to the appreciation of the object and to the grading of aesthetic enjoyment. The realistic and humanistic environment of this process is the Late Han’s judgement of human relationship...

Aesthetic nature(Shen Yun), the core of Chinese aesthetic history, comes etymologically from Classic Paintings Criticism Collection by Xie He of the Northern and Southern Dynasties, and originates philosophically from Lao Zi and Zhuang Zi’s life conception. As an aesthetic concept, Shen Yun has gone through a process from philosophic idea to the appreciation of the object and to the grading of aesthetic enjoyment. The realistic and humanistic environment of this process is the Late Han’s judgement of human relationship ethics and the appreciation of the figures in the art works of The Three Kingdoms Period and Jin Dynasty. The former puts great premium on political pragmatism, and the latter, the nature of the objective form of life. The aesthetic attitude with much consideration of life paves the way for the birth of Shen Yun.

“神韵”是中国古典美学史上的核心性范畴。这一范畴的语源学根据 ,来自南北朝时谢赫的《古画品录》 ,其哲学根源是老庄的生命哲学。“神韵”作为美学范畴 ,有一个从哲学理念到主体现实生命形态欣赏、再到审美观念渐次递变的过程 ,而从汉末人伦鉴识到魏晋人物品藻正是这一递变的现实人文环境。汉末人伦鉴识重在政治实用目的 ,魏晋人物品藻则是对主体生命形态、精神本身的欣赏 ,这种对生命观照的审美态度为“神韵”这一艺术审美范畴的产生铺平了道路

In ancient times, the Western female nude art stressed sex worship while its Chinese counterpart emphasized the genital worship with strong connotation of blood relations. In Ancient Greece of the Slavery Society, sex worship, conditioned by its cultural context, had naturally evolved into the admiration for and the creation of body beauty, which contributed to the further development of the nude art. Meanwhile, ancient China, stressing patriarchal idea and blood relations, repelled the nude as something immoral...

In ancient times, the Western female nude art stressed sex worship while its Chinese counterpart emphasized the genital worship with strong connotation of blood relations. In Ancient Greece of the Slavery Society, sex worship, conditioned by its cultural context, had naturally evolved into the admiration for and the creation of body beauty, which contributed to the further development of the nude art. Meanwhile, ancient China, stressing patriarchal idea and blood relations, repelled the nude as something immoral and obscene. Western people focused on the creation of the formal beauty of the body and tried to reflect its intrinsic beauty through the form. On the other hand, the Chinese emphasized the overall aesthetic beauty and the evaluation by the principles of human relationships. The Western painting evolved from the nude, to the nude in the scenic background and to the scenic painting with the nude in which body beauty became the important element. The Chinese painting, up to the South and North Dynasties, had turned to scenery because of the influence of metaphysical ideas. Consequently, the nude art enjoyed little development. Hence the differences of the Sino-Western nude art.

在远古时代 ,西方女性裸体形象强调的是性崇拜 ,中国强调的则是生殖崇拜 ,带有明显的血缘内涵。奴隶社会的古希腊 ,性崇拜在当时特定的大文化背景下 ,理所当然地演变为对于人体美的迷恋和创造 ,使人体艺术得以发展和繁荣 ;非常强调宗法观念和血缘继承关系的中国古代 ,则本能地反对“伤风败俗”、“诲淫诲盗”的人体艺术。西方非常注重人体形式美的塑造 ,并力图通过人的形体美去显现人的内在美 ;中国却非常注重人物神韵的传达和人伦的鉴识 ,甚至可以在“离形得似”中实现对审美理想的追求。西方绘画经历了人体画———有风景的人体画———有人体的风景画的演变过程 ,人体美是其中不可或缺的元素 ;中国绘画发展到南北朝时 ,由于受到玄学的深刻影响 ,很快便进入到山水风景画的成熟期 ,人体画没有得到充分发展。如此 ,造成了中西人体艺术的巨大差异

 
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