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古代绘画
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  ancient painting
     Thought of Confucianism and Taoism and the Aesthetic Sense of Chinese Ancient Painting Art
     儒道思想与中国古代绘画艺术的审美观
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     On the Artistic Characteristics of Chinese Ancient Painting and Poetry Works
     论古代绘画诗歌作品的艺术特征
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     The Theory of the Chinese Ancient Painting——Aesthetic Appreciation Creates Subject
     中国古代绘画审美创造主体论
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     and as the big treasure trove of ancient painting in China, the mural painting of Mogao Caves in Dunhuang also provides us with a lot of materials for studying the inkwash painting in Tang Dynasty.
     而作为中国古代绘画艺术的巨大宝藏——敦煌莫高窟壁画也为我们提供了研究唐代水墨画的丰富资料。
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     In chapter two, the exploration and practice of non-brush painting texture Chinese ancient painting are elaborated from the historical origin of creating the texture.
     第二章从肌理制作的历史渊源谈起,鸟瞰古代绘画艺术中前人对非笔绘肌理语言的探索与实践。
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  ancient paintings
     OVERSEAS ANIMALS IN CHINA'S ANCIENT PAINTINGS
     我国古代绘画中的域外动物
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     Brief Introduction to the Theory of Figure and Soul in Chinese Ancient Paintings
     浅谈中国古代绘画中的“形神论”
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     Style is Personal Integrity——on the Role of the Temperament of Artists in the Works from the aspect of ancient Paintings
     风格即人格——就古代绘画艺术看艺术家的气质在作品中的作用
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     After a brief depiction of focus shifts between Image structure and Pen & Ink in ancient landscape paintings, the author clarifies his view: even among ancient paintings featured strict cultural limitations, Image structure was still the most influential element to move the viewers.
     作者在简要阐述古代山水画中图像构架与笔墨审美间的重心转移过程后,阐明了自己的观点:即便是在文化感统辖更加严密的古代绘画中,图像构架也是作品打动观者的第一要素。
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     This paper, Analysis of the Album of Ten Sites in West Lake, mainly expresses my views on the characteristics, the theme and the historical development of the album of the ten sites on the basis of historical documents, ancient paintings and first hand profiles.
     《西湖十景图册考析》一文综合运用历史文献、古籍资料、古代绘画资料和实地调查资料相结合的方法,深入系统的阐述了作者对此《十景图》的特征、历史源流以及描绘主题的认识;
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     Human Body Structure in Ancient China Drawings
     中国古代绘画中的人体结构
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     Influence of Thoughts Of Zhuangzi on Traditional Chinese Painting Production Theory
     庄子思想对我国古代绘画创作理论之影响
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     Studying the moulding law of ancient China's arts enables us to appreciate China's painting better.
     对中国古代绘画的造型法则———意象审美进行学习 ,才能使我们更好地认识中国古代绘画 ,在继承中求发展
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     the drawing theory exceptionally was rich in China, which has continued more than 2,000 years history, recorded each time painter, works and situation of the drawing development.
     中国古代绘画理论异常丰富,绵延了两千多年的历史行程,记录各个时代的画家、作品与绘画发展状况。
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     This is evidenced by the abundant ancient Chinese paintings on Tao Yuanming.
     古代绘画中大量关于陶渊明的作品,从一个侧面印证了这个论断。
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  ancient painting
Proteinaceous organic materials used as ancient painting media were investigated by capillary gas chromatography (GC) and capillary gas chromatography - mass spectrometry (GC/MS).
      
This phenomenon is studied here via X-ray and FTIR micro-analysis of an ancient painting dated from 1610.
      


Paintings are a kind of important historical material. A large number of overseas animals had been introduced in past dynasties as articles of tribute to emperors, through purchasing or by other means, and drawings of some of them have been handed down. In this article, the author collects overseas animals from ancient paintings, appraises their scientific names, and makes philological studies of ancient texts.

绘画是一种重要史料。经由进贡或购入等方式,我国历代曾引进大量域外动物,其中少数留有图象。该文从古代绘画中搜罗域外动物;鉴定其学名,并作考释。

A symposium "Issues of Authenticity in Chinese Art" was held On December 11 1999,and expertsdiscussed whether "Riverbank", a picture newly acquired by New York Metropolitan Museum of Art isan anthentic work or a fake copy. An expanded version of the author' s presentation at the meeting, thisessay approaches the problem from the perspective of painting history and visual configuration as a replyto the questions raised by Prof. James Cahill.

1999年12月11日,美国纽约召开了《中国画鉴定问题国际讨论会》,就纽约大都会艺术博物馆新入藏的传为中国五代董源绘《溪岸图》真伪问题进行了讨论。方闻从古代绘画的发展和视觉结构角度阐述对《溪岸图》的看法,也顺便答复高居翰教授等的各项质疑。

Our ancient Chinese painting art constantly fows on how to deal with the relationship of "apperance" and "spirit" for the ideal pursuing of both appearance and spirit of painting.How to develop the long standing Chinese cultural tradition of emphasising on both apperance and spirit in painting is an universally siginificant project for the present art work of stressing apperance and skills or ignoring spirit and theory.

我国古代绘画艺术 ,常常是着眼于如何处理“形”与“神”的关系 ,以达到神形兼备的理想境界。如何将源远流长的“神形兼备 ,不可偏废”[1] (P2 16) 的民族文化传统发扬光大 ,对现今颇有些重形轻神、玩弄技法、疏忽理论的艺术创作倾向来说 ,是一个具有普遍意义的重要课题。

 
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