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   积墨 在 美术书法雕塑与摄影 分类中 的翻译结果: 查询用时:0.006秒
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积墨
相关语句
  accumulated ink
    Artist Style Looks at the Song Dynasty Scenery from the Gong Virtuous Accumulated Ink the Manufacture
    从龚贤积墨画风看宋人山水的制作
短句来源
    The accumulated ink law of Gong Xian originates from the traditional drawing technique.
    龚贤的积墨法来源于传统而又能自具面貌,成为塑造其山水画风格的内在力量。
短句来源
    This article take his accumulated ink law as the detailed elaboration core, divide the accumulated ink method formation course into three stages, and elaborates the problems of drawing style, artistic style, significance and influence.
    本文的研究是从龚贤的山水画作品入手,以他的积墨法为详细论述的核心,对积墨法的形成历程进行分期,并对与此相关的绘画风格、艺术格调、意义和影响等问题,也做出相关阐述。
短句来源
    The miniatural research of Gong virtuous accumulated ink law is helpful for us to understand the creativity and the evolution way of Chinese traditional painting.
    通过这种对龚贤积墨法具体而微的个案研究,有助于我们更好的理解中国画笔墨语言自身的创造性和演进方式。
短句来源
    But the Gong Xian accumulated ink style also has its traditional the origin, its many duplicate Canada, by is chapped the generation dyes (or is chapped little dyes) style, the innate its goal, the old age Gong virtuous establishment whole style actually is wants to go upstream Dynasty Song artist compared to deep "black Gong", its vertical stroke wants to achieve "is whole" the effect is spring young time sees Mi Yunshan chart, this is cannot neglect in its artistic profession influence.
    但是龚贤的积墨画风也有其传统的渊源,其多遍复加,以皴代染(或多皴少染)的画风,自有其目的,晚年的龚贤创立的浑沦幽冥的“黑龚”画风其实是想上溯宋人,其努想达到的“浑沦”效果是其年青的时候看见米氏的云山图,这在其艺术生涯中的影响是不能忽视的。
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  “积墨”译为未确定词的双语例句
    Ink master Gong Banqian
    积墨大师龚半千
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The painting techniques of trees in Gongxian’s landscape paintings have developed through three stages: “Light Gong”, “Grey Gong”, and “Dark Gong”. The paper traces back to Gongxian’s life, compares his works with those of his teachers’, then analyzes his special skills at using China ink. Finally it reaches a conclusion that Gongxian expresses deep spiritual meanings in his landscape paintings which put emphasis on the natural characteristics against the traditional drawing regulations.

龚贤山水画中树的演变分“白龚”、“灰龚”、“黑龚”三个时期。本文对龚贤的生平和师承关系作了探寻 ,并对这三个时期的不同特征和画法尤其是积墨法作了具体分析论述 ,最后得出龚贤山水画反“法”重“道”的深层精神内涵

Li Keran in his painting puts forward some innovative concepts as paying attention to observation,painting against background,borrowing and using foreign skills.He creates a "Milingyanshu" method in his painting practice,and with his works featuring combination of western paintings focusing on perceptual reality and special personality with the Chinese paintings he makes a breakthrough in the use of light and ink,which makes a solid foundation for his mountain-water paintings.

李可染在写生中提出注重观察、对景创作、洋为中用这些有创新意识的写生观念,并且在写生实践中创造了“密林烟树”的画法,在光的运用和积墨法上也有新的突破,从而使他的写生作品将西洋近代绘画注重感性真实和对象个性特色与中国画的笔墨相融,颇具现代特色,为他的山水创作打下了坚实的基础。

Aestheticism originated in literature of the Wei and Jin dynasties. It gradually extends to fine arts field and breaks the limitation of politics and ethics. The aesthetics of traditional Chinese painting consist of stoke, form and composition, and stroke is the core element. In the development history of traditional Chinese painting, the element of stoke is an important subject for painters. The process of stoke development is also that of abundance and development of aesthetics connotation.

唯美思维起萌于魏晋时期的文学艺术,之后延伸到美术领域,使之逐渐脱离了政治或伦理教化的局限。唐王维创立水墨画打开笔墨技法发展的新空间,及造纸业发展成熟,为笔墨技法完善提供了物质保障,同时也加速唯美理念的形成并确立。中国画的唯美性主要由三大部分组成:笔墨、造型、构图,其中笔墨因素是核心因素。在中国画的发展历史上,笔墨因素一直是画家们探求的重要课题,荆浩提出作画须“有笔有墨”,到米芾运用积墨、破墨、积点造境,赵孟主张以书入画,石涛的“一画”论,纵观历代大家对笔墨所持的观点,可以理出一条思路,先有笔再有墨,复归到书画结合,再升华到笔墨的有机融合成一画论。这是笔墨发展过程也是唯美内涵充实和发育的过程。

 
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