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ink painting
相关语句
  水墨画
     A brief Analysis of the Modernity of Ink Painting
     浅析水墨画的现代性
短句来源
     At last, the ink painting's new developing direction is studied according to approaching the ink painting and thinking about the future of the ink painting spirit.
     最后还通过探讨水墨画的方向和对水墨精神未来的思考,研究水墨画的新的方向。
短句来源
     No matter the source of the philosophy thought, than aesthetic principle they follow the natural planting form and Chinese ink painting is related by flesh and blood.
     无论是哲学思想的源泉,还是它们所遵循的美学原则,自然式植物种植形式和中国水墨画都有血肉相连的关系。
短句来源
     There have great similar between modern Blue and White landscape and Chinese ink painting are in inheriting Chinese culture,reflecting China’s unique aesthetic view etc.
     现代青花山水艺术与中国水墨画在秉承中国文化、体现中国独特的美学观等方面,有着很大的相似性。
短句来源
     This paper seeks to analyse how with social reforms and outside influences the characteristics of the composition in Modern Chinese Ink Painting came into being.
     本文通过对当代水墨画现状的分析,试图寻找中国现代水墨绘画的图式特点,并通过社会变革和外来因素介入两方面的影响论述了它的形成,同时将这个新的特点与传统模式进行了比较。
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  笔墨
     Against a background of expressing the subjective senses with objects and emphasizing the expression of subjective emotions of the Yuan Dynasty, many painters favoring the ink style appeared at that time, among whom Wang Yuan represented the greatest achievement of the flower and bird ink painting of the dynasty.
     因此,在元代强调超然的缘物寄情、注重主观意兴心绪的抒发的时代背景下,涌现出一大批追求笔墨气韵的画家,其中以表现水墨花鸟题材为主的画家王渊代表了元代花鸟画的时代成就。
短句来源
     From the view of the development of "Pen and Ink" based on the different circumstances which Chinese Traditional Painting exists, this article is mainly on the "Pen and Ink's" function in Chinese traditional Ink painting and its development in Chinese modern Ink painting, and also its evolvement in different periods of art history.
     本文从“笔墨在中国水墨画不同语境下的演化”的角度对笔墨在传统水墨画中的作用以及其在现代水墨画中的演化进行研究,探讨中国水墨画在不同时期的演变历程。
短句来源
     As a result of having a unique origin of ideology and history, of the feature of Pen and Ink, Chinese Traditional Ink Painting regards "Pen and Ink " as its key plastic method.
     传统水墨画以笔墨作为主要造型手段,是有其独特的思想渊源和历史渊源的,当然这也与笔墨自身的特征不可分割的。
短句来源
     From the development trajectory of Chinese landscape paintings,"personalized" ink painting is certainly true flesh and blood and soul,but its "procedures" of the painting as a language arts tectonic landscape image indispensable "skeleton."
     从中国山水画的发展轨迹来看,“个性化”的笔墨固然是山水画真正的血肉和灵魂,但其“程式化”的绘画语言成为了构造山水画艺术形象不可或缺的“骨架”。
短句来源
  水墨艺术
     On three cultural features of ink painting
     水墨艺术的三种文化面相
短句来源
     While Lin Fengmian creates the art of modern ink painting, in the aspect of constitutes, colors, themes, artistic conception, tools and lines, innovating in regard of amalgamation.
     而林风眠在继承传统与借鉴西方的同时,从构成、色彩、题材与意境、材料与用线等方面入手,于融合中求创新,创造出全新的现代水墨艺术
短句来源
     "National character" is a practical character that ink painting out of classical from participates contemporary life.
     水墨艺术的“民族情怀”,则是走出古典形态的书斋领域而参与当代生活的实践品格。
短句来源
  “ink painting”译为未确定词的双语例句
     Discussion of Ink Painting with Modern Ideas
     论现代观念水墨
短句来源
     Inseparable affection of modern Chinese ink painting and watercolor
     当代中国水墨与中国水彩的关系
短句来源
     Secondly, it points out its origin of freehand brushwork style through the analysis of Fachang's life and drawing style, and analyzes its Zen interest among its ink painting skills by specific works.
     其次,从对法常生平与画风的分析入手,指出了其水墨写意画风的渊源,并结合具体作品分析了其水墨技巧中的禅趣。
短句来源
     Non-Photorealistic Rendering (NPR) injects aesthetic and stylized elements into computer graphics. NPR primarily aims to conveying not only compressed information but also a certain artistic spirit, by simulating various artistic styles such as pencil sketching, watercolor painting, or Chinese ink painting.
     非真实感绘制(Non-Photorealistic Rendering, NPR)是计算机技术和绘画艺术相结合的一个研究领域,其主要内容是用计算机软硬件手段来模拟具有不同风格效果的画面和动画。
短句来源
     In a word, this paper emphasizes to proceed with the artistic sketch and creating practice, and it is a beneficial attempt for the comprehension and holding of Chinese ink painting spirit.
     总之,本论文着重从艺术写生和创作实践入手对中国水墨精神的深入理解和把握的一次有益的尝试。
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  ink painting
His publications reflect his continued interest in ink painting and art of the Muromachi period.
      


Prof. Hou Defeng is a well known geologist, and expert in many fields in geological sciences. He possesses a noble morality and a quality of both solemn and enthusiastic. He had many conducing contributions to the development and progressing of Institute of Geology, Chinese Academy of Sciences.He was the first Director of our Institute since the establishment of our Institute in 1950 untill his death in 1980. Within this 30 years, he was working ever so hard, under the hearty support of our government and the...

Prof. Hou Defeng is a well known geologist, and expert in many fields in geological sciences. He possesses a noble morality and a quality of both solemn and enthusiastic. He had many conducing contributions to the development and progressing of Institute of Geology, Chinese Academy of Sciences.He was the first Director of our Institute since the establishment of our Institute in 1950 untill his death in 1980. Within this 30 years, he was working ever so hard, under the hearty support of our government and the unite struggle of our colleagues to push the reformation of our old, almost out of date, small Institute to a fairly large modernized new research institute, with almost every necessary research branches of investigation and relevant well equipped laboratories, together with several hundreds of research personals. This is surely a big jump of our Institute. And this big jump was led directly by Prof. Hou Defeng.Untill the early 60's, the constituentes of our Institute had grown very much.Besides the original Department of Straitigraphy and Paleontology, Department of Geotectonics, Department of Crystalography and Petrology, etc., six additional departments and Laboritories were erected, including Sedimentology and sedimentary mineral deposits; Isotopic geology; Rare earth Geochemistry; Continental oil and gas geology; and Engineering geology. Besides, the Department of Quaternary Geology had expanded, and 4 modernized analytical laboritories were built, including the Differential-thermal analysis lab., the Synthetic Quartz Crystal lab.; Paleomagnetism lab.; and Central Lab. of Chemical Analysis. Many of the equipments or apparatus were selfmade, such as the mass spectrometer, the differemtial-thermal apparatus,and the apparatus of synthetic quartz crystals. This spirit of own-struggle was urged on and conduced by Prof. Hou as well.Hou is serious and solemn on works, but quite humorous in leisure gossips instead, he would murmurring "from south of the mountains to north of the seas".Hou knows also Chinese Beijing Opera and Chinese water-ink painting. His paintings possess some sort of geological taste, you can just read the “strike” and “dip” of the rocks where he showed.I always feel a deep loss wherever I fell in recalling of the 30 years good times that we shared. During those 30 years we constantly worked together in the field and interchanging our scientific thinkings in the office or laboratories. Hou is surely not only my friend, my comrade, but most important also my teacher. I surely learned much from him. I remembered, that was in the autumn of 1952, just before the official establishment of the Ministry of Geology, there was held a convention of “Surveyings that awaiting the efforts of Geologists” in Beijing. In the plenary symposium. Hou was one of the 4 specialists invited to deliver a key speech.He talked about “The hunting of Fe, Mn mineral deposits based upon the stratigraphic view-point”. This talking was apparently designed to meet the national need for the iron deposits works then organized surrounding the Anshan District. No long after the erection of our Institute in 1950, Hou led us to begin the investigation of manganese deposits, because this was the hot-need material for our steel industry at that time. And we were blessing to discovered a huge high grade manganese carbonate deposits. With the experience of these practices, Hou presented two important papers, viz., “The geochemical geography and geochemical historical geology”, and “The Paleoclimate of China”.From these three papers ascribed above, it can be clearly seen, that the motive of Prof. Hou's geological investigations were based firstly upon the need of the national reconstructions and his doctrine of thinking was mainly conducted by his “Stratigraphical view-point”, and his princples were derived from “The Geochemical Geography and Geocbemical Historical Geology” and “Paleo-climate”. From these view points and principles, it seems quite clear that in Hou's idea, the kernel points of metallogeny lies two-fold; th

侯德封教授是一位道德高尚、学识渊博,为中国地质科研事业的开拓做出了贡献的著名科学家。侯老以其地层观点、化学地理及化学地史观点、古气候观点和成矿元素本质特征为基点的学术思想,指导和带动全所同志完成了国家经济建设中的许多资源、能源方面的急需任务;有所发现,有所突破。侯德村同志晚年,由于对成矿理论方面的深入探索,开始了“核子地质”方面的追求,出版了论著。但因侯老的过早谢世,这项工作还有望于后人的接力。

The paper talks about touches and strokes in oil painting and ink painting.It observes great masters,different strokes and suggests that the most important feature of ink painting is the "calligraphic strokes".

文章论述了中西方绘画中的两大画种油画和中国画中点的意义和作用 ,并对中西方各名家的各种点法艺术进行了分析研究。文章提出中国画的视觉造型特色在于存乎点划笔法中的汉字书法精神 ,这是中国画的最后警戒线

In the situation of "supernatural style works" and Chinese realistic painting of the overall painting in the Tang Dynasty,the "ease works" in liberal style of flowers and birds painting on ceramics from the Changsha Tongguan kiln in the Tang Dynasty appeared and became very popular at that time.In the history of Chinese painting,the reason why Chinese realistic painting has done the historical contribution that is of perspective significance and it turned out not to be accidental is because that Tongguan kiln...

In the situation of "supernatural style works" and Chinese realistic painting of the overall painting in the Tang Dynasty,the "ease works" in liberal style of flowers and birds painting on ceramics from the Changsha Tongguan kiln in the Tang Dynasty appeared and became very popular at that time.In the history of Chinese painting,the reason why Chinese realistic painting has done the historical contribution that is of perspective significance and it turned out not to be accidental is because that Tongguan kiln possessed technological conditions and the bold emotion and unrestrained Chu cultural tradition as well as Changsha countryside environment far away from the Capital Changan.Therefore,the concept of "ease work"by the scholars from this region since the middle Tang Dynasty has been acceptable.Though the flowers and birds painting from Tongguan kiln was just a work of painter,it was considered to be more mentally healthy compared with the overbearing Chinese ink painting of flowders and birds in liberal style by the scholars in the Ming and Qing Dynasties.

在唐代整体绘画“神品”性质、工笔画法的形势中 ,陶瓷绘画的唐代长沙铜官窑花鸟画以大写意“逸品”性质迥出时风。在中国绘画史上 ,对大写意花鸟画具有前瞻性意义的历史贡献。之所以有这样的贡献并非偶然 ,是由于铜官窑工艺技术方面具备条件 ,情感奔放的楚文化传统具备条件 ,远离京城长安的长沙地野逸环境具备条件 ;从而对于中唐后该地域产生的文人“逸品”观念呈接受状态。铜官窑花鸟画虽为画工作品 ,却比明清文人牢骚感的狂墨大写意花鸟画来心理要健康得多。

 
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