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yuan painting
相关语句
  元代绘画
     The examination of these questions enables us to appreciate anew the impact of contemporary art historians on the development of Yuan painting.
     这些疑问之厘清有助于当今美术史家对元代绘画发展之重新认识。
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  相似匹配句对
     Yuan & C.
     Yuan & C.
短句来源
     The Appreciation of the Landscape Painting in Yuan Dynasty
     元代山水画的审美
短句来源
     Evolution and Elevatiou of the yuan-dynasty Landscape Painting
     元代山水画嬗变与升华
短句来源
     Creativity in Painting
     浅谈绘画过程中的创意
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     Subconsciousness in Painting
     画中的潜意识
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Compared with poems for paintings by other poets of the Yuan Dynasty,Wu Cheng's poems have distinctive features which are characteristic of the poet who could grasp the essence of the paintings,understand the artistic spirit of the Yuan paintings and be critical of the than society. Based on the paintings and in conformity to Zhu Xi's and LU Jiuyuan's idealist philosophy of confucianison,Wu could add profound poetic meaning to the landscape paintings.

与同时代其他诗人的题画诗相比,吴澄的题画诗有如下特点:能透视元画特点,把握元画的艺术精神;以画面为依托,讽谕时政、寄旨画外;借助画面宣扬其会合朱(熹)陆(九渊)的理学观点,将隐逸诗情付于画卷,使山水画具有无限深意。

From the interpretation of Yige (a state of privacy and reclusion), we can see the mentality of privacy of the four painting masters of Yuan Dynasty, the privacy subject matter of the Yuan paintings, and the ’without me’ picturesque scene and their spirit of the freehand brushwork in painting and the configuration of objective landscape. And we can explain the landscape spirits of Yige and point out the emotional symbolic spirit of the Yuan paintings in which the Yuan literati...

From the interpretation of Yige (a state of privacy and reclusion), we can see the mentality of privacy of the four painting masters of Yuan Dynasty, the privacy subject matter of the Yuan paintings, and the ’without me’ picturesque scene and their spirit of the freehand brushwork in painting and the configuration of objective landscape. And we can explain the landscape spirits of Yige and point out the emotional symbolic spirit of the Yuan paintings in which the Yuan literati require the mentality of privacy and the Yi. It makes the mountain-forest spirit and the freehand brushwork spirit greatly developed and promoted. The contradictory unification of the advocating of the freehand brushwork spirit and the realistic representation has deeply embodied the real exertion of the trees and waterfalls higher in the mountains in the Yuan paintings.

通过对“逸”格的诠释 ,从元四家的隐逸心态、元画的隐逸题材、元画的无我画境以及元四家对写意精神与客观山水形态的矛盾统一诸方面来阐释元四家的逸格山水精神 ,指出由于元代文人的隐逸心态和对“逸”的整体性要求而使山水画的山林精神和写意精神得到空前的发挥 ,抒情写意成为元画的标志性精神。元画对写意精神的推崇和客观山水形态的“表现性写实”的矛盾统一 ,正深深体现了林泉高致在元画中被真正阐发。

Themain aim of thispaper is to correct the date when Tang Hou, theearly Yuan connoisseurof painting, wrote his work Hua’jian. This book was originally regarded as having been written at some time in the Zhizhi- Zhishun reign periods (1320s-1330s), but the author’s research establishes that Hua jian was written in the Zhiyuan-Dade periods (1280s-1290s). The author also presents new research on the editions, transmission and content of Hua jian, as well as examining the motivation behind its writing...

Themain aim of thispaper is to correct the date when Tang Hou, theearly Yuan connoisseurof painting, wrote his work Hua’jian. This book was originally regarded as having been written at some time in the Zhizhi- Zhishun reign periods (1320s-1330s), but the author’s research establishes that Hua jian was written in the Zhiyuan-Dade periods (1280s-1290s). The author also presents new research on the editions, transmission and content of Hua jian, as well as examining the motivation behind its writing and its potential readership, and its influence on the development of contemporary painting and later works on painting. The examination of these questions enables us to appreciate anew the impact of contemporary art historians on the development of Yuan painting.

  本论文之主要目的是将被误定的元初书画鉴赏家汤之《画鉴》的写作年代加以更正。此书原定为至治到至顺年间(即1320或1330年代),经考证乃撰于至元、大德年间(即1280及1290年间)。此外,作者对《画鉴》之版本、流传及内容亦作进一步之研究,并探讨汤写作《画鉴》的动机及潜在读者,以及《画鉴》对当时绘画发展及后来有关画论著作之影响。这些疑问之厘清有助于当今美术史家对元代绘画发展之重新认识。

 
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