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山水意象
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     The Integration of Man and Nature:the Best Mental State of Scenic Poetry——On the Image of Scenic Poetry of The Wei and Jin Dynasties
     天人合一:山水诗歌的最佳心灵境界——魏晋诗歌山水意象
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     Landscape Design of Chinese Painting and Humanistic Imagination
     山水图式与人文意象
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     On the Image Expression Forms of the Freehand Landscape Painting
     浅谈写意山水意象表现形式
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     Speculations on 'Imagery'
     “意象”的断想
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     On Imagery
     意象
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     Dream of Landscape
     梦幻山水
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  landscape image
We present an image retrieval system based on a city-landscape image database comprising of 3,009 images.
      
A landscape image is the result of these combined images and displays, TV, HMDs exploit this comfortable format.
      
Each landscape image represented one stochastic realization based on an assigned level and type of spatial autocorrelation.
      


Using the concept of “image” and borrowing the method of studying settlement space from sensitive forms, this paper makes a preliminary study on polydimensional space of Chinese ancient villages. The characteristic of Chinese ancient villages is “recognizable” and “impressive” because of their perspicuous symbols and sensitive forms, which consist a livid psychological picture of memory space. The ancient villages in the southern watery area can be considered as an excellent illustration: houses built by rivers,...

Using the concept of “image” and borrowing the method of studying settlement space from sensitive forms, this paper makes a preliminary study on polydimensional space of Chinese ancient villages. The characteristic of Chinese ancient villages is “recognizable” and “impressive” because of their perspicuous symbols and sensitive forms, which consist a livid psychological picture of memory space. The ancient villages in the southern watery area can be considered as an excellent illustration: houses built by rivers, stone bridges above the brooks, and busy boats…. What a beautiful polydimensional image of an ancient village. This paper discusses four kinds of images in Chinese ancient village: (1) image of mountains and rivers; (2) image of ecology; (3) image of patriarchal clans; (4) image of pursuing auspiciousness. It also compares the images of landscape among different regions: (1) image of the southern watery area is “bridge, river, and houses”; (2) image of mountainous region in southern Anhui province is “Living in picture, unaware of the deep valley”; (3) Image of the Kejia villages at the joint of Fujian, Guangdong and Jiangxi is “Muddy house makes me safe, Fengshui brings me luck”; (4) Image of the Dai villages in Yunnan is “a view of bajao banana, bamboo houses and temples”; (5) Image of cave dwelling villages in northwest is “a combination with Nature”; (6) Image of Do villages in the joint of Hunan, Guizhou and Guangxi is “towering drumhouse and capped Fengyu bridge”; (7) Image of villages along the rivers in Sichuan province is “Diaojiao housing and building downward the slopes”; (8) Image of the Chayang traditional fishing villages in Guangdong province is “short slope roofs with a lively rhythm”; (9) Image of Xiagxi area is “gorgeous Mato walls and rich Tianji lines”.Carl O.Sauer, a famous American geographer claimed the core of human geography research was to explain cultural landscape. The ancient village images discussed in this paper can be regarded as a new form of cultural landscape research. I wish the paper can offer some new angles of thinking in cultural geography, village landscape planing and tourist cultural village designing.

引入“意象”(image)的概念,借助从感觉形式研究聚落空间形象的方法,对中国古村落景观的多维空间立体图象作了初步研究。文章把中国古村落景观的基本意象概括为:①山水意象,②生态意象,③宗族意象,④趋吉意象等四个方面;并对不同地域古村落景观意象的差异作了比较。

Buddhism makes natural landscape into a vehicle of Buddhi st conceptions by imagizing it. It depicts the vacancy, nothingness, hollownes s and tranquility of natural landscape in terms of the hollowness derived from t he mind. The scholars in the Tang Dynasty accepted the profound truth revealed w ith few words of Buddhist principles through their personal experience and under standing of life. Moreover, they rid themselves of the utilitarian shackles of t he society in terms of a freedom realized in mind and...

Buddhism makes natural landscape into a vehicle of Buddhi st conceptions by imagizing it. It depicts the vacancy, nothingness, hollownes s and tranquility of natural landscape in terms of the hollowness derived from t he mind. The scholars in the Tang Dynasty accepted the profound truth revealed w ith few words of Buddhist principles through their personal experience and under standing of life. Moreover, they rid themselves of the utilitarian shackles of t he society in terms of a freedom realized in mind and sought an implicit mood ou t of their poems and prose in the same manner as "establishing a word without w riting" and "getting suddenly enlightened under the thunderous threat of a hug e club" in the Chan Sect. Consequently, the landscape literature in the Tang Dy nasty as a whole is characterized by a pursuit of an appeal for a hollow, tranqu il, simple and elegant air of nature and of a quiet, beautiful and peaceful mood.

佛教把自然山水“意象化”,使自然山水成为佛理依附的对象。以心悟的虚空来描绘自然山水的空无虚静。唐代文人从体悟生命境界的角度接受佛理的“微言大义”。以心悟的自由摆脱社会的功利性束缚,以禅宗的“不立之字”、“棒喝悟道”的修行方式追求诗文意境的含蓄,使得唐代山水文学在总体上呈现出追求虚静、淡雅的自然山水意趣和意境清幽、恬淡的时代特征。

Liu Zongyuan's landscape essays on Liuzhou are descriptions of the nature animated by the sorrow and ideal of life. The words in the essays are filled with metaphors and symbolic colours. This forms his language patterns of expressing emotions with metaphors, and constructing tableaus with scathing and depreesed expressions. 

柳宗元的柳州山水诗,寄寓世相悲苦和人生理想于山水意象中,诗歌语言具有很浓重的隐喻意味和象征色彩,从而营构了语言隐喻抒情方式,写意性画面构造,冷峭沉郁的语言风格。

 
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