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artists
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  艺术家
    On the Solitary Experience of Artists
    论艺术家的孤独体验
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    The Aesthetic Presentation of Artists' Awareness of Death
    艺术家死亡意识的美学体现
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    The Spiritual Rights of Visual Artists In US Law
    美国法中视觉艺术家的精神权利——以美国《1990年视觉艺术家权利法》为中心
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    The Psychological Quality of Female Artists and the Development of Female Visual Art
    女性艺术家的心理基质与女性视觉艺术的发展
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    Artists' Loneliness and Sympathy
    艺术家的孤独感与同情心
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  “artists”译为未确定词的双语例句
    "0+1" Six Chinese Artists' Exhibition in Kongju Biennial
    光州艺术双年展之中国当代六人展——“0+1”
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    Artists' Cultural Accomplishments and their Improvements
    浅谈艺术工作者文化素养的具备及提高
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    Artists' cultural accomplishments should be divided into general culture,artistic companion culture and specialized culture.
    艺术工作者的文化素养分为一般文化素养、姊妹艺术文化素养、专业文化素养三个层次。
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    Script for Storg-Telling of Artists and Text of Man of Letters
    艺人话本与文人话本
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    Rereading Words to Chinese Artists
    重读《寄语中国艺术人》
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  artists
In this article I discuss numerical sequences of potential interest to physicists, engineers, and artists.
      
The sacrifice by fathers of their own children, prototypically illustrated in the legend of the "Sacrifice of Isaac", is a subject that has fascinated artists throughout history.
      
Many depictions of the "Sacrifice of Isaac" by great Renaissance artists are shown, some of them sadistic, some others rather masochistic, followed by slides demonstrating the deeply torn sculptural and pictorial creations of modern Israeli artists.
      
The binding media used in fifteen paintings by different artists and from different eras were investigated by the new method.
      
The growing segment of artists and journalists provides rich insights into the possible future of the labour market.
      
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There are different motives of artistic creation in ancient China, viz.,those of voicing one's feelings and expressing one's emotions; those of self-entertaining and entertaining others;and those of for the benefit of the country and society. The motive of voicing one's feelings differs from that of expressing one's emotions, but they are related to each other. They had given a positive impetus in the development of ancient art. However, either of them have some drawbacks. If the two are to be cut apart or even...

There are different motives of artistic creation in ancient China, viz.,those of voicing one's feelings and expressing one's emotions; those of self-entertaining and entertaining others;and those of for the benefit of the country and society. The motive of voicing one's feelings differs from that of expressing one's emotions, but they are related to each other. They had given a positive impetus in the development of ancient art. However, either of them have some drawbacks. If the two are to be cut apart or even treated antithetically, an erroneous trend in artistic creation will be created. The motives of self-entertaining and entertaining others outstandingly embody the aesthetic nature of the art. Under this outlook, aesthetics is assiduously pursued, which continuously pushes to renovate the content, form and means of artistic expression. However, if creation is simply motivated by personal temperament and interest, the content tends to be vague and shallow, and the form and style tend to be over-stilted. The creation tries to please people intentionally, which lnevitably leads to fawning on vulgarism and mean taste. The motive of for the benefit of the country and society focuses on the influenece of the works on society. It is against formalism, and approves of the tradition of "art for life", but it has another side:leading a life by pursuing personal fame and gain. Utilitarianism is also an lmpetus to artistic creation. Only in the case when deeply-embedded feelings are amalgamated with the characters which meet the aesthetic need of the people, call successful works be produced. The motive of artistic creation reflected on the artists often reveals sophisticated situations.

中国古代关于创作动因论的理论主要有言志缘情说、畅神娱人说、经世致用说等几种。“言志”说和“缘情”说既有不同,又有联系,都对我国古代艺术的发展起了积极的作用,但又都存在某种缺陷,如果把二者割裂甚至对立,就会导致艺术创作错误倾向的产生。“畅神”说和“娱人”说,突出地体现了艺术的审美本质。在这种创作观的指导下引起的孜孜不倦的审美追求,推动着艺术内容、形式和手法的不断更新。但仅为个人情趣、爱好而创作,也易造成思想空泛、过于雕琢形式的弊端;一心想取悦于人,还必然会媚俗,格调低下。“经世致用”说,着眼于艺术的社会影响,形成反对形式主义、主张为人生而艺术的传统,但也有为个人名利或谋生的。功利也是艺术创作的推动力,但只有蕴含深沉的情感,能与艺术创作应满足人们的审美需要的性质相融合,才可能产生成功的作品。艺术创作的动因,表现在一个艺术家的身上,往往显现复杂的情况。

The requirements for artistic creation are multi-faceted.Chinese ancient artistic theory laid especial emphasis on the individual qualities of the artists, among which personality and moral quality of artist are highly regarded.Hence,the first thing to learn creation is to learn how to behave.Another requirement for artistic creation is profound learning which calls for a lot of reading.The third irnportant requirement is travelling.During travelling,creation passion and inspiration are liable to...

The requirements for artistic creation are multi-faceted.Chinese ancient artistic theory laid especial emphasis on the individual qualities of the artists, among which personality and moral quality of artist are highly regarded.Hence,the first thing to learn creation is to learn how to behave.Another requirement for artistic creation is profound learning which calls for a lot of reading.The third irnportant requirement is travelling.During travelling,creation passion and inspiration are liable to be aroused which in turn serve as the material source for creation and help foster the artist's character and unique style.Finally,artistic talents and skills are required to help mold thoughts,feelings and things seen and heard into lmpressive artistic images.The theory on the requirements for artistis creation in ancient China still serves as a useful reference up the present day.

艺术创作的条件是多方面的,中国古代艺术理论尤为强调艺术家的个体条件,而在艺术家个体条件中最重视艺术家的人品、人格,认为学习创作首先要学习做人。提高学识修养,则是艺术创作的又一个条件,因此要通过多读书等途径,使学博识卓。第三,游历最能触发创作激情和灵感,提供创作素材,塑造艺术家的人品,形成独特的风格,也是创作的重要条件。最后,还需要有艺术才华和艺术技艺把思想情感、所见所闻炼铸成感人的艺术形象。中国古代的艺术创作条件论至今仍有借鉴意义。

Art criticism is not the referee of artistic creation. What it does is to explore into the possibilities. It is the writer and artists who transfer the possibilities into works of art. The task for art critics is to study the possibilities and impossibilities in the creation of art. This is art criticism.

艺术批评不是艺术创作的裁判员。它能做到的仅仅是对可能性的洞察。作家、艺术家将某种可能性转化为艺术作品,艺术批评家的主场和素养,使他能对极多的可能性有较广泛深入的洞察,在已转化为现实的可能性与尚末转化为现实的可能性间比较探求,探幽烛隐,形成独特的艺术创作领域——艺术批评。

 
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