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中国画
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  traditional chinese painting
    A Brief Analysis on the Connection between the Ceramic Art and the Traditional Chinese Painting
    浅析陶瓷艺术与中国画艺术的关联
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  “中国画”译为未确定词的双语例句
    Ceramic figure painting art is one of the important parts of ceramic painting, figure is the direct or indirect expressing subject in all painting.
    陶瓷人物画艺术是陶瓷绘画艺术重要的组成部分,人物是所有绘画直接或间接表现的主题,本文通过阐述中国画与陶瓷人物绘画艺术表现,揭示了陶瓷人物绘画艺术的典型特征。
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    Artist Achievement of Chinese Line Drawing according to the Paintings of the Mogao Caves 3
    从莫高窟第3窟壁画看中国画线描的艺术成就
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    Picturesque Hongcun Village Is the Dreamland of Anhui Merchants
    徽商梦回处 宏村景如画——中国画里乡村行
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    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.
    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。
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  相似匹配句对
    CHINESE PAINTING AND CERAMIC FIGURES’ PAINTING
    中国画与陶瓷人物题材绘画
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    A PROBE INTO THE INFLUENCE OF CHINESE PAINTING OVER PORCELAIN DECORATING
    中国画对陶瓷装饰的影响探析
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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。

This article aims to share the years experiences in copy the Dunhuang murals and comprehension to interpretation of the Dunhuang Murals, by analyzing the close relationship between the Chinese painting and the Dunhuang murals respectively: such as the color applying and contrast colors in Chinese painting, especially the practices in color applying at all the different historic periods of the Dunhuang murals At the same time, this article conducts a comparative study of terminology for the pigment in the past...

This article aims to share the years experiences in copy the Dunhuang murals and comprehension to interpretation of the Dunhuang Murals, by analyzing the close relationship between the Chinese painting and the Dunhuang murals respectively: such as the color applying and contrast colors in Chinese painting, especially the practices in color applying at all the different historic periods of the Dunhuang murals At the same time, this article conducts a comparative study of terminology for the pigment in the past and the way of the applying and the nature of the pigments and the cause of color changes and the natural environment facts that caused the color changes of the Dunhuang murals

本文是多年来对敦煌壁画的解读与临摹的一点感受 ,分析了敦煌壁画与中国画之间的关系 ,从中国画的绘画色彩等方面分析、对比 ,对敦煌壁画的敷色技法及各时期色彩应用演变过程等作了分析。同时 ,阐述了敦煌壁画色彩变化的自然条件、客观原因及规律 ,并对颜料的古今称呼与用法等作了研究

Based on the study and analysis of the Chinese traditional art theory of the painting, this article is trying to comparing the Chinese traditional Eighteen craftsmanship of techniques in line-drawing to the techniques applying to Dunhuang Mural's line-drawings and the Western Regions techniques in painting. At the same time, this article gives a detail narrative of the presentation forms of the line-drawings of Dunhuang Murals in different historic periods and then draw a conclusion that the elaborate line-drawing...

Based on the study and analysis of the Chinese traditional art theory of the painting, this article is trying to comparing the Chinese traditional Eighteen craftsmanship of techniques in line-drawing to the techniques applying to Dunhuang Mural's line-drawings and the Western Regions techniques in painting. At the same time, this article gives a detail narrative of the presentation forms of the line-drawings of Dunhuang Murals in different historic periods and then draw a conclusion that the elaborate line-drawing of Caoyichushui and glyphic drawing technique of Aotufa which had mentioned in Chinese classics of art theory, the glypgic drawing technigue were the ancient Greek techniques applying in the art of sculpture and it was once adopted by Persian in painting, then the peculiar techniques were introduced along with the Buddhist art into China and gradually emerged into Chinese paintings.

本文通过对中国古代绘画理论的分析。将传统技法“十八描”与敦煌壁画中的线描及古代西域绘画的技法 进行对比。将敦煌壁画中各时期的线描作了详细的论述,认为“曹衣描”、“凹凸法”是古希腊雕塑艺术的一种造型方法, 曾运用于古波斯绘画,然后通过佛教艺术融入中国画

 
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