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中国现当代艺术
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  chinese contemporary art
     Through the development of Chinese contemporary art is an in-depth analysis of social and historical background, stated after the reform and opening up, the establishment of the socialist market economy and China's modern art tremendous impact artists.
     本文通过对中国现当代艺术发展的社会历史背景进行深入的分析,阐明改革开放后,社会主义市场经济的建立对中国现代艺术及艺术家的巨大影响。
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     The question of participating characteristics of Chinese contemporary art (viz. how the artists penetrate into real- life and keep attention to the changes of the society while they are applying themselves to purify the artistic language) has become an unavoidably individual issue to all the artists nowadays.
     中国现当代艺术中的“介入”性问题(即艺术家在纯化艺术语言的同时,如何深入现实生活并保持对社会深层的关注和体验)已成为艺术家不可回避的涉及到个体本身的人的问题。
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  “中国现当代艺术”译为未确定词的双语例句
     Through analysis of contemporary Chinese political revolutionary change and Western culture and the impact of Chinese artists. Study overall survival of Chinese male and female artist's in historical context.
     通过分析当代中国政治上的革命性变革以及东西文化思想的交融对中国现当代艺术和艺术家的影响,把中国男、女性艺术家的总体生存状态放入中国社会历史的上下文中研究。
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     This paper tends to be a historical survey of modern and contemporary Chinese art theories focusing on the three transitions outlined here.
     本文以中外文化交汇和艺术理论的三次现代转型为坐标,对中国现当代艺术理论研究的正反两方面的历史经验和教训进行了探索性的总结。
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  相似匹配句对
     The Linguistic Predicament of Contemporary Chinese Art
     中国当代艺术的语言困惑
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     Akward Predicament of Art Film Development in Contemporary China
     当代中国电影的艺术困境
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     A Cursory Inspection of Contemporary Chinese Arts in Foreign Countries
     当代中国艺术在国外掠影
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     On the Contemporary Female Art of China
     浅谈中国当代女性艺术
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     The Way in Which China's Contempory Art is Getting Metropolitanized
     中国当代艺术的都市化方式
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  chinese contemporary art
He is also a consultant to the newly established Chinese Contemporary Art department at Sotheby's in New York.
      


In the history of the modern and contemporary Chinese Literature,Mao tse-tung,as a literary man has not been being valued enough.But Mao Tes-tung has had a great influence on the modern and contemporary Chinese literatupe history through his own literary and artistic theory′s system and practice with high ideological content and artistic quality Mao Tse-tung as a literary man,should be studied.And the fields of the study on Mal Tes-tung should be widen.

现当代文学史上对毛泽东作为文人相对重视不足 ,毛泽东通过自己的文艺理论体系和思想性艺术性很高的创作实践对中国现当代艺术产生了相当深刻的影响 ,应把毛泽东作为文人加以研究 ,拓宽毛泽东研究的领域

At the beginning of the 20th century, the “Eastward Expansion of Western Learning” ushered in the New Cultural Movement of May 4th, leading to a high tide of cultural interaction between China and the West and the transition from the classic to the modern—the European, American and Japanese models—in Chinese traditional aesthetics, and art criticism and theory was enhanced. From 1950s to 1970s, this tended to be one-way interaction which resulted in the second transition to learn from the Soviet Russia. It was...

At the beginning of the 20th century, the “Eastward Expansion of Western Learning” ushered in the New Cultural Movement of May 4th, leading to a high tide of cultural interaction between China and the West and the transition from the classic to the modern—the European, American and Japanese models—in Chinese traditional aesthetics, and art criticism and theory was enhanced. From 1950s to 1970s, this tended to be one-way interaction which resulted in the second transition to learn from the Soviet Russia. It was at this time that the passive one-way development of art theories entered a complete self-enclosure characterized by “the politicization of art” in China. From 1980s to the end of the century, the turning point came with the Third Plenary Session of the Eleventh National Congress of CCP, and the Chinese art theories entered a new historical epoch, which is the third modern transition. The general feature of this transition is the construction of art theories with specific Chinese characteristics which are defined as opening up to foreign countries, self-reliant, dynamic dialogues, and development in multiple directions. This paper tends to be a historical survey of modern and contemporary Chinese art theories focusing on the three transitions outlined here.

20世纪初叶,在近代“西学东渐”中迎来的“五四”新文化运动,掀起了中西文化交汇的大潮,推动了中国传统美学和艺术批评理论由古典形态向现代形态———欧美和日本模式的首次转型。50至70年代,中外文化交汇先是呈现“一边倒”的状态,中国艺术理论界出现了以苏联美学、文艺学模式为学习样板的第二次现代转型;继之,由单向受动的艺术理论发展模式向中国化的“艺术政治化”方向发展,走向了全面的自我封闭。80年代至世纪末叶,以中共十一届三中全会为转折点,中国艺术理论研究跨入了新的历史时期。中外文化交汇由对外开放、自主受动,步入能动对话、多元发展的途径,中国的艺术理论研究开始了第三次的现代转型———建设有中国特色的艺术理论体系。本文以中外文化交汇和艺术理论的三次现代转型为坐标,对中国现当代艺术理论研究的正反两方面的历史经验和教训进行了探索性的总结。

The question of participating characteristics of Chinese contemporary art (viz. how the artists penetrate into real- life and keep attention to the changes of the society while they are applying themselves to purify the artistic language) has become an unavoidably individual issue to all the artists nowadays.

中国现当代艺术中的“介入”性问题(即艺术家在纯化艺术语言的同时,如何深入现实生活并保持对社会深层的关注和体验)已成为艺术家不可回避的涉及到个体本身的人的问题。

 
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