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| | DONG Qi-chang's painting philosophy mixes Dhyana and New Confucianism,reflecting the features of that age.The relationship between Dhyana and his painting thought has been noted by the academic circles while the effect of New Confuciacism has been negleted.In fact,DONG Qi-chang builds a complete system of painting philosphy under the influence of New Confucianism. | | 董其昌画学兼融了禅宗和心学思想,这是那个时代思想面貌在他的绘画思想中的反映。董其昌画学和禅宗的关系受到学界的注意,但他的思想所烙上的深深心学印迹,学界却少有人论及,实际上,董其昌在心学思想的影响下建立了一套具有完整体系的画学思想 | | 文摘来源 | | Qi is a very important category which has close relation with the life spirit in Chinese classical aesthetics. In Son Dynasty, influenced by Chinese ancient Qi philosophy, HAN Zhuo built the painting philosophy withQi at the core in his works Shan Shui Chun Quan Ji. This essay, try analysing his theory from the angles of theprincpe of Qi, the moving force of Qiandthe wholeness of Qi. | | 气是中国古典美学中重要的范畴,它和美学中的生命精神密切相关。宋代棉拙的《山水纯全集》深受中国古代气化哲学的影响,建立了以气为核心的画学思想,本文从气之理、气之势、气之全三个方面试对这一思想进行剖析。 | | 文摘来源 | | This paper focuses on the study of the “Zi Ren” concept of “Tao chis Hua Yulu” on the base of Chinese philosophy, painting theory, and the semantic interpretation of Chinese language. The author argues that this concept of “Zi Ren” embodies five levels of inter related meaning: “Shou Ren”, “Qu Ren”, “Sheng Ren”, “Bao Ren”, and Zi Ren". Each of them shows a characteristic of Tao chis painting theory. | | 文章以被学界称为“谜团”的《石涛画语录》中的“资任”说为研究对象 ,从中国哲学、画学以及汉语语义阐释的广阔背景 ,对这一概念作了细致的辨析 ,认为这一概念包含着受任、取任、胜任、保任和自任五个层面的内容 ,这几个层面具有内在理论联系 ,从一个侧面展现了石涛画学思想的个性特点。文章在此基础上得出结论 :“资任”是《石涛画语录》中仅次于“一画”的重要概念 ,它被置于《画语录》结尾 ,有收摄全篇的用意 | | 文摘来源 | |   | | << 更多相关文摘 |
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