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早期绘画的
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  early painting
     From the aspects of idealistic images in the early painting, typical images in Renaissance painting, the rising of citizen art, the leading role of artists on social aesthetics, mysticism in current context and self-exposure, this article illustrates the influence of aesthetic interaction on the creation of oil painting.
     从早期绘画的理想主义形象、文艺复兴绘画形象的典型性、市民艺术的崛起、艺术家对社会审美的引领、现代语境中的神秘主义与自我宣泄等方面,可以看出审美互动对油画创作的影响。
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  “早期绘画的”译为未确定词的双语例句
     hrough discussing the early color conception, and combining with review of the early color practice in paintings, the author concludes that it is red and black ink made the basic and usual tone of early paintings in China, and the original foundation of Blue-green painting could hardly be found in the same period.
     本文通过对中国早期色彩观念的探讨,并结合中国早期绘画的色彩运用,认为以朱、墨二色为主的暖色调,构成了中国早期绘画的基本色调,而在中国早期色彩观念中,并没有以青绿为表现主要手段的自身基础。
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     The Rhythm of Paintings
     绘画的节奏
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     PREMATURE MENOPAUSE
     早期绝经
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     Early Osteoporosis
     早期骨质疏松
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     Judging the Symbolism Painting
     象征主义绘画的判断
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     Part III analyzes that the International Gothic Style expresses a kind of revival of earlier Gothic style.
     第三部分剖析意大利国际哥特式绘画是意大利早期哥特式绘画的复兴;
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By checking the paintings and pictorialarts of different periods such as the patternson the colored pottery of the Neolithic stage ,cliff and rock paintings, paintings on silks,illustrated stone and brick, frescos and theexisting painting works of Jin, Tang andWudai Dynasties etc., the author try todemonstrated the portrait - centered characteristics of the ancient Chinses paintings,then she traces the change of the topics andforms in the development of the early Chinese paintings art.

本文从实物资料出发,证明中国早期绘画从新石器时代的彩陶图纹、岩画,经战国秦汉时期的帛画、画像石刻、壁画到传世的卷轴画以人物为主流题材的特点,同时勾勒出这一漫长历史过程中选材与构图方式的阶段性变化。

At the 2001 Conference at the British Museum on the ancient Chinese painting titled Admanitions of the Lady Historian (Nvshi zhan tu), I argued - from the perspective of our knowledge of the lines of development of landscape painting and of the pictorial materials we have of costume and apparel - that this painting could not he the work of Gu Kaizhi, hut is instead the work of a court painter active during the reign of Emperor Xiaowen - di of the Northern Wei. In understanding early paintings that have been...

At the 2001 Conference at the British Museum on the ancient Chinese painting titled Admanitions of the Lady Historian (Nvshi zhan tu), I argued - from the perspective of our knowledge of the lines of development of landscape painting and of the pictorial materials we have of costume and apparel - that this painting could not he the work of Gu Kaizhi, hut is instead the work of a court painter active during the reign of Emperor Xiaowen - di of the Northern Wei. In understanding early paintings that have been handed down in the absence of documentary materials, the only way to resolve many questions of authentication is to rely on pictorial materials unearthed by archaeologists. Adopting this method I argue that while the scroll painting attributed to Gu Kaizhi and titled The Compassion and Intelligence of Virtuous Women (Lienv renzhi tu) is acknowledged to be a Song dynasty copy, the original work would have been painted much earlier than Admonitions of the Lady Historian . Much conclusion was based on knowledge provided by the lacquer screen painting titled The Ancient Virtue of Virtuous Women ( Lienv guxian tu ) unearthed from the tomb of Sima Jinlong and so the original work could date from as early as the Eastern Han dynasty. The preservation through many stages of transmission of such an early work reflecting the life of its day endows this copy with uncommon value and regardless of whether or not it is a work by Gu Kaizhi is unimportant.

2001年在大英博物馆举办的《女史箴图》国际学术讨论会上,我曾从山水画的发展脉络并辅以服饰、器具等图像资料,论证了《女史箴图》非顾恺之作,而应是一幅北魏孝文帝当政时期的宫廷绘画作品。在认识传世早期绘画作品的过程中,当文献严重失载的情况下,借助考古发掘图像资料是解决一些问题的惟一办法。从这一方法入手,我认为传为顾恺之的《列女仁智图》虽然被公认为宋人摹本,但是它的原本要早于《女史箴图》,这不但有司马金龙墓出土的漆屏风画《列女古贤图》为证,而且从衣冠服饰及其它器具的图像也可证明,它的原本可以早到东汉时代。从反复传模中能保存这样久远的图像并且能真实地反映当时的生活,这件摹本的价值就非同寻常了,至于是否顾恺之作,就不甚重要了。

Born out of the technological decoration, the painting of the Han Dynasties always stuck to the composition methods of decoration from the early copy pictures to the later realistic painting. The artisan-painters adopted the notion that a picture was a subjective reflection of an object instead of something with a realistic look, and they followed the composition model of equal division and parallel spread without considering the spacious rate from a perspective viewpoint. This painting model eventually formed...

Born out of the technological decoration, the painting of the Han Dynasties always stuck to the composition methods of decoration from the early copy pictures to the later realistic painting. The artisan-painters adopted the notion that a picture was a subjective reflection of an object instead of something with a realistic look, and they followed the composition model of equal division and parallel spread without considering the spacious rate from a perspective viewpoint. This painting model eventually formed the unique painting language and aesthetic consciousness, which laid the foundation for the basic style of Chinese painting composition.

汉画作为从工艺装饰中脱胎的早期绘画 ,在从图案到写实的演进中 ,没有脱离“影绘”的装饰构图手法 ,加之汉画工匠独特的创作理念 :要表现对象应该怎样 ,而非看上去怎样 ,所以汉画构图沿袭了工艺装饰“分段平行”、“并列展开”的构图模式 ,以填充手法构成画面 ,而不考虑“透视”的空间比例。从汉画像石 (砖 )发端的中国传统绘画 ,秉承其一贯的构图模式 ,终于形成了独特的绘画语言和审美意识 ,也由此奠定中国绘画构图的基本样式。

 
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