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中国画色彩
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  “中国画色彩”译为未确定词的双语例句
     The Inheritance and Development of Color Concept in Traditional Chinese Painting
     浅议传统中国画色彩观念的继承与发展
短句来源
     By expounding the reform of concept and material, the article elaborate that traditional Chinese Painting needs new painting language for its development. Therefore it is inevitable to apply the new color concept and artistic language of modern western art as a reference so to enrich the color language of traditional Chinese painting for restructuring the color system of modern Chinese landscape painting.
     从传统中国画的观念和材料的变革论述,阐明走向现代的中国山水画需要新的绘画语言,借鉴西方现代艺术色彩观念和材料语言,丰富中国画色彩语言是重构中国现代山水画色彩体系的必然。
短句来源
     According to the research of the formation and the continuous changes and the development of the Chinese painting , the paper will find the conclusion that the changes and the development of the Chinese painting is influenced by the consistof the cociety and the mentality.
     本文通过对中国画传统色彩观的形成以及对中国画色彩观的变化发展的研究,得出中国画色彩观的变化与发展是受中国的社会存在与社会意识的影响的结论。
短句来源
     Color expression function lost it' s ground in Chinese paint are due to the limits of history which exactly provided a broad space for the modern development of the Chinese traditional paint.
     中国画色彩表现功能的落寞,是其历史发展的局限,但恰恰为中国画的现代发展,提供了宽广的余地。
短句来源
     The color view of the China draw will push forward the development of the Chinese painting.
     中国画色彩观在未来的变化必然会推动中国画向前发展。
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  相似匹配句对
     An Elementary Study on Color in Chinese Traditional Painting
     中国画色彩刍议
短句来源
     Deep Study of Hues in Chinese Painting
     中国画色彩探微
短句来源
     The Color of Holocaust
     毁灭色彩
短句来源
     DRAWING AND COLOUR
     素描·色彩
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     Lines in the Traditional Chinese Painting
     中国画的线
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查询“中国画色彩”译词为用户自定义的双语例句

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Educational administrators from academies all over the country gathered in Hangzhou in June 8th to have a seminar of Chinese Painting Education. After reviewing previous formal teaching, they focused on questions they had met and tried to make some sug- gestions of the education of traditional painting. Someone criticized that the formal educational system introduced by Mr. Xu Beihong hed damaged our traditional painting philosophy and appealed for setting up a new academy of Chinese painting completely based...

Educational administrators from academies all over the country gathered in Hangzhou in June 8th to have a seminar of Chinese Painting Education. After reviewing previous formal teaching, they focused on questions they had met and tried to make some sug- gestions of the education of traditional painting. Someone criticized that the formal educational system introduced by Mr. Xu Beihong hed damaged our traditional painting philosophy and appealed for setting up a new academy of Chinese painting completely based on our traditional educational way before Mr.Xu. Most attendants at the seminar had written their articles on how to develop our tra- ditional art education in new ways.

“中国画应该在保存并拓展、职守并创造的历史境遇中争取与西方霸权文化同等的话语权,以民族文化弘扬的角度搞好学科建设。” “中国画的色彩问题会成为问题吗? “讨论21世纪中国画学科建设课题应从自身院校所处的地域及其地域文化特征为发端。” “应有实例地分析和阐述教学与学生中存在的问题及应对方法。” “不求所有,只求所用”——关于人才利用问题。 “应对现代教学模式与传统教学模式进行对比。” “中国画教学中从事管理的人员的教学决策应以专业教师为中心。” “中国画教学在高等师范美术院校应如何施教?!” “如何对当令中国画教学的基础必修课程作认定。” ──(编者按:以上为研讨会上部分发言人观点摘录)

With the modernization trend of the Chinese art circle, there has appeared "rock painting", a new form of painting, which, superficially speaking, may result from the revolution of materials and renovation of techniques. However, this form of painting owes much to the revolution in the color beliefs of the Chinese paintings, i.e. a surpass beyond the traditional color belief of giving touches of painting depending on categories and division of colors into five groups. Moreover, the probe into rock painting which...

With the modernization trend of the Chinese art circle, there has appeared "rock painting", a new form of painting, which, superficially speaking, may result from the revolution of materials and renovation of techniques. However, this form of painting owes much to the revolution in the color beliefs of the Chinese paintings, i.e. a surpass beyond the traditional color belief of giving touches of painting depending on categories and division of colors into five groups. Moreover, the probe into rock painting which is a fusion of eastern and western styles and renowned for its novelty and uniqueness, has amounted to satisfactory achievements. Yet, judging from the development of the Chinese painting, such a breakthrough can only be viewed as a beginning; what is more crucial is to establish a harmonious relation between tradition and modernity to command the future development of rock painting.

中国画坛在由传统走向现代的大趋势下 ,出现了“岩彩画”这一新的绘画样式。从表面上看 ,岩彩画的出现 ,是由于绘画材料的变革和相应技法的翻新。从本质上来说 ,则是与中国画色彩观念的革新紧密相联 ,即对“随类赋彩”与“墨分五色”传统色彩观的不断超越。岩彩画是以色彩的新颖、独特来显示其艺术魅力的。近年来 ,岩彩画取得了令人可喜的成绩 ,但从中国画发展的整体进程看 ,目前取得的突破 ,仅是一个开始 ,如何把握岩彩画未来发展趋势 ,关键在于解决好传统性与现代性的关系问题。

Line structure and color structure are the basic structures of meticulous figure painting. Line painting has formed a very rich cultural accumulation. The combination of the two structures without interfering one another formed the main characteristics of meticulous figure painting. It is very rewarding to modern meticulous figure painting to study the structure of ancient traditional meticulous figure painting.

线描结构与色彩结构是工笔人物的基本结构,线描在长期的发展过程中形成了极为丰富的文化积淀,色彩结构在色服从于线的前提下,在“色不碍形,线不碍色”的合作之中共同形成了工笔人物画的画体特征。中国画的色彩观基于中国古代哲学的五行观念而有青、黄、赤、白、黑五行之说,形成了“五彩彰施”、“随类赋彩”的设色准则和要求。学习研究中国古代传统工笔人物画的色彩结构,对发展现代工笔人物画有极为重要的意义。

 
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