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wisdom and emotion
相关语句
  “wisdom and emotion”译为未确定词的双语例句
     With All Wisdom and Emotion In
     Cassina:智慧与情感的全心投入
短句来源
     Literature is crystallization of human wisdom and emotion.
     文学是人类智慧与情感的结晶。
短句来源
  相似匹配句对
     wisdom
     智慧
短句来源
     Wisdom Quotations
     名人论“智慧”
短句来源
     Wisdom and Its Expression
     智慧及其表达方式——读冯契的《认识世界和认识自己》
短句来源
     Morality and Wisdom
     关于伦理道德与智慧
短句来源
     With All Wisdom and Emotion In
     Cassina:智慧与情感的全心投入
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Poetic beauty is the most important element of a poem. The main task of a poet is to look up poetic beauty by sense organs as well as passing it with the help of language. The movement of writing a poem is a kind of creative work in which poetic beauty is created through understanding the natural information and rebuilding with language under the condition of human wisdom and emotion. The construction of poetic beauty shows the relationship of poetry and the world and of poetry and man; writing of poetry...

Poetic beauty is the most important element of a poem. The main task of a poet is to look up poetic beauty by sense organs as well as passing it with the help of language. The movement of writing a poem is a kind of creative work in which poetic beauty is created through understanding the natural information and rebuilding with language under the condition of human wisdom and emotion. The construction of poetic beauty shows the relationship of poetry and the world and of poetry and man; writing of poetry is a language art of understanding the world and life. There is poetic beauty in the world (objective and subjective world). A poet should discover and extract poetic beauty that is realized as beauty of substance (beauty of nature), beauty of structure of language (beauty of style) and beauty of emotion (beauty of expressing emotion). It is a result of combining three of them harmoniously. The Poetic beauty of the poetic texts which contain the beauty of form and of content is characterized by stable beauty and obscure beauty.

诗美是诗存在的本质基础 ,通过人的感官去发现诗美、借助语言来传递诗美是诗人的主要任务。诗歌创作活动是诗人构建诗美的创造活动。诗人进行的是在人的智能条件下和情感状态下 ,对自然信息解码和用语言符号重新编码的工作。诗美的构建反映出诗与世界及人的关系 :写诗是认识世界及生活的语言艺术手段 ,诗美是存在于世界 (客观与主观世界 )中 ,由诗人去发现和提炼 (再创造 )。诗美具有物质美 (自然美 )的价值、语言结构美 (文体美 )的价值和情感美 (抒情美)的价值 ,是物体的美、艺术的美和生命的美的和谐统一。诗的文本的诗美具有稳定性与模糊性 ,可以分为形式的美和内容的美两大类

Sketch, or line drawing, was originally introduced from the West. The teaching of it is based on the theory that fine art is a mold - making training guided by the aesthetic idea of the imitation of the nature. The main training contents are as follows: the trainings in anatomization, physical shape, structure, dynamic, perspective , and the relationship of chiaroscuro. Guided by this idea, the painter's attention and sight can only be concentrated into the imitation and reappearance of the object. And its reflected...

Sketch, or line drawing, was originally introduced from the West. The teaching of it is based on the theory that fine art is a mold - making training guided by the aesthetic idea of the imitation of the nature. The main training contents are as follows: the trainings in anatomization, physical shape, structure, dynamic, perspective , and the relationship of chiaroscuro. Guided by this idea, the painter's attention and sight can only be concentrated into the imitation and reappearance of the object. And its reflected estate is short of initiative spirit. As for a sketcher, "IDEA" is a thought, an exhibition and expression of the attitude of the object. Only when the sketcher actively exhibits the object, does the object give off its special charm. The idea of sketch should be an interpretation full of wisdom and emotion and be a way that is a link between the heart of the sketcher and the nature.

素描源发于西方,其教学基于艺术是对自然的模仿的美学思想为指导下的造型训练,是以对解剖、形体、结构、动态、透视、明暗关系技能训练为主要内容的,在这样的理念指导下,描绘者就只能把自己的眼光和注意力关注在对对象本身形象的描摹和再现之上,其表现的状态是缺乏主动精神的。对于描绘者来说“理念”是一种思想,是观察对象的一种态度的表达和表现,只有主动地去表现对象,对象才会绽放其独有的魅力。素描理念的核心应是对客观事物充满智慧和感情的阐释,是描绘者的心灵与自然相沟通的一种形式。

The commentary of Tongguang-style poems in the Shi Yishi Poetry Critique by Chen Yan looked into poems of Song Dynasty from the perspective of the evolution of poems, advocating the hannonious development between the "poems with both wisdom and emotion" and those with pure emotions. It studied various theoretical issues like the individuation of poems and how to achieve a proper expression of emotion, thus providing firm basis for the research into modern poems and theories of poetry. However,...

The commentary of Tongguang-style poems in the Shi Yishi Poetry Critique by Chen Yan looked into poems of Song Dynasty from the perspective of the evolution of poems, advocating the hannonious development between the "poems with both wisdom and emotion" and those with pure emotions. It studied various theoretical issues like the individuation of poems and how to achieve a proper expression of emotion, thus providing firm basis for the research into modern poems and theories of poetry. However, among all the poetry schools existing at the end of Tsing Dynasty, Tongguang style exerted the greatest influence, but also came under the greatest condemnation. This should mainly be attributed to the political factors. Therefore, it becomes imperative to make rational analyses into the comments about Tongguang-style poems in Shi Yishi Poetry Critique

陈衍的《石遗室诗话》论“同光体”,从诗歌发展史的视角观照宋诗,提倡“学人之诗与诗人之诗合”,研究诗歌的个性化、“至”的境界等诸多理论问题,对思考中国近代诗歌及诗歌理论具有重要启示和借鉴意义。然而,“同光体”诗派在晚清“众多的诗派诗人中,影响最大,也最为人们所诟病”,究其原因,主要是政治因素使然,因此,对《石遗室诗话》中的同光体诗论进行一番去蔽还真的探讨是必要的。

 
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