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人物画
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  figure painting
    New Thought Research of Traditional Chinese Realistic Figure Painting Curriculum Teaching
    工笔重彩人物画课程教学新思维研究
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    Study of Color of Traditional Meticulous Figure Painting
    传统工笔人物画色彩研究
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    On Composition of Traditional Chinese Figure Painting and Spirit of Chinese Painting
    论传统中国人物画构图与中国绘画精神
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    A Brief Talk on the Teaching of Meticulous Figure Painting
    浅谈工笔人物画教学
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    Historical Evolution of " Vivid Touch" of Ancient China Figure Painting
    中国古代人物画“传神”说的历史演进
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  figure paintings
    Teaching Research on Meticulous Figure Paintings
    工笔人物画教学研究
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    A Contrastive Study on Figure Paintings of the Tang Dynasty in China and Those of Renaissance Period in Italy
    中国唐代与意大利文艺复兴时期人物画比较研究
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    On Decorating Beautification of Chinese Fine Brushwork in Figure Paintings
    论中国工笔人物画的装饰美
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    Selected Figure Paintings by Huang Zhenzhong
    黄镇中人物画
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    Study on the Development of Ink Image and Figure Paintings
    水墨墨象与水墨人物画演进历程试探
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  “人物画”译为未确定词的双语例句
    Association of the Development of the Chinese Figure Wash Painting in the 20th Century
    形与意关系的转化——20世纪水墨人物画发展脉络联想
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    The Teaching and Reference of Art Lan guage in Chinese Figure Panitings
    中国人物画艺术语言的转化与教学
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    On the Psychology of Learning Water Colour Painting
    水彩人物画学习心理探究
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    Conception and Practice of Teaching Washing Painting of Figures Systematically
    水墨人物画系统教学的构想与实践
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    Modernization of Chinese Rreehand FigurePainting in 20th Century
    二十世纪中国意笔人物画的现代化
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  figure painting
Cast drawing, portraiture and figure painting will be the focus of instruction.
      
Painting problems may include figure painting and the figure in relation to architectural forms.
      
  figure paintings
Single-figure portraits head canted less than subjects in multiple-figure paintings.
      


This article expounds the important position occupied by true spirit conveyance in Chinese ink and wash painting esthetics,designates true spirit as the very core of artistic spirir of Chinese painting in particular and Chinese arts in general,and elucidates the arristic characteristics and creation formulas of Chinese figure painting under the guidance of the principle of true spirit conveyance.

本文论述了传神在中国绘画美学中的重要位置,“神”是包括绘画在内的中国艺术精神的核心,并阐述了在传神的原则提导下,中国人物画的艺术特点和创作方法

Rev. Dashan (1633-1705), a poet\|monk who lived in Guangdong in the early Qing Dynasty, has attracted the close attention of some art historians such as Prof. Jao Tsung\|I, Yu Zhenhua, Wang Bomin, with his distinguished achievement in art studies. According to the postscript attributed to his Vimalakīrti and Majus' ri in 1680, a work which has been lately discovered in the Lingyan Monastery of Suzhou, Rev. Dashan had then raised the issue of “Southern and Northern Schools” of figure painting. Previously...

Rev. Dashan (1633-1705), a poet\|monk who lived in Guangdong in the early Qing Dynasty, has attracted the close attention of some art historians such as Prof. Jao Tsung\|I, Yu Zhenhua, Wang Bomin, with his distinguished achievement in art studies. According to the postscript attributed to his Vimalakīrti and Majus' ri in 1680, a work which has been lately discovered in the Lingyan Monastery of Suzhou, Rev. Dashan had then raised the issue of “Southern and Northern Schools” of figure painting. Previously this issue used to concern with landscape painting. Rev. Dashans inspiration was provoked by “Hua Zhu,” an article written by his teacher Shen Hao (also named Shen Langqian, 1586-1661), who was also a famous art critic. These new discoveries are much helpful for the improvement of our understanding of Rev. Dashans position in the field of art in the early Qing Dynasty.

饶宗颐、俞剑华、王伯敏等美术史专家 ,十分关注清初在广东活动的诗僧大汕 ( 16 33~ 170 5)的画学成就。新发现苏州灵岩寺藏大汕 16 80年《维摩诘变相图》有大汕跋文 ,提出人物画的“南北宗”问题。以往 ,人们多讨论山水画南北宗 ,大汕提出人物画南北宗问题 ,是受其老师著名画学理论家沈颢 (沈朗倩 ,1586~ 16 6 1)《画》 (HuaZhu)的影响 ,这些新发现 ,大大提升了我们对大汕在清初画坛中地位的认识。

This article has a comparative study on figure paintings by Chen Hongshou,a painter in the later Ming dynasty,and Ren Benian,a painter in the later Qing dynasty.The formation of their respectivestyles and the influence they exerted upon later generations are analyzed in the comparison of thir subjects and forms of paintings.

本文就明末画家陈洪绶、晚清画家任伯年的人物画的绘画题材、形式等方面进行了比较研究,分析了其各自风格形成的原因及其对后世的影响。

 
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