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   媒介 在 美术书法雕塑与摄影 分类中 的翻译结果: 查询用时:0.178秒
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媒介
相关语句
  media
    MEDIA SPACE, 1996
    媒介空间
短句来源
    Opinion on the cartoon education and the digital media
    数字媒介艺术与动画教育刍议
短句来源
    New Media Art Design——Inspiration from 2005 Japan International Fair
    新媒介艺术设计的思考——2005年日本国际博览会的启示
短句来源
    Through Media Trend See Logo Design
    从媒介发展看标志设计
短句来源
    The Research on Divergent Thinking and Design Media in Industrial Design
    工业设计活动中发散思维与设计媒介研究
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  medium
    Study on Sketch, Medium, Carrier and Technology
    素描媒介、载体与技法研究
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    Space Medium Art On Modern Fiber Art and Modern Architectural Space
    空间媒介艺术——论现代纤维艺术与现代建筑空间
短句来源
    4.The expression of advertisement and the choice of medium.
    4、广告表达与媒介选择。
短句来源
    The special medium of digital painting technology and its background of information explosion display its special artistic modes of thinking different from traditional medium.
    数码图像艺术的介质特点以及数码图像艺术所处的信息时代背景决定了它异于传统媒介艺术的艺术思维方法。 媒介材料与技术背景的不同,也会要求艺术家思维方式的不同。
短句来源
    Medium Function of the Rock Painting for Chinese Primitive Society in the Northern Grassland
    岩画在中国北方草原原始社会的媒介作用
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  “媒介”译为未确定词的双语例句
    (2) Brand store is a 3 dimension advertisement communicating the brand information and constructing the brand image, it also is a special exposition and a special museum for displaying brand.
    (2)品牌专卖店是传播品牌信息、创建品牌形象的三维立体广告,并以其独特的媒介优势成为展示品牌和商品的“博览会”和“博物馆”, 并在市场营销中发展出了一套展示品牌的专卖店体系:品牌博物馆、品牌展厅、品牌旗舰店。
短句来源
    Image is the most simple and direct way to interpret information, and fits into the rhythm of modern life.
    图像是最简单、直接的信息诠释方式,又与当代生活节奏同步,因而图像文化具有比文字媒介更明显的优越性。
短句来源
    The first part of it analyzed the reason why Chinese lines which continued the traditional linetype developed constantly according to it’s self-discipline, and the influence of classical philosophy, aesthetics, correlative art(calligraphy) and social fashion for the main thought of painting.
    首先,在第一部分中对中国线条之所以延续了前人以线造型的模式并按自律性得以不断的发展的原因进行了分析,包括古典哲学—美学、相邻艺术(书法)以及社会风尚对绘画主体思维的影响,还有绘画工具——绘画所借助的物质媒介对中国水墨人物画线型生发及变革的作用。
短句来源
    THE SIGNIFICANCE OF THE MEDIUM FOR CONTEMPORARY CERAMIC ARTISTIC CREATION
    论陶艺创作中的媒介意义
短句来源
    Preparation and Utilization of Masfllil Gum in Oilpainting
    油画的马蹄树脂媒介剂的制作与运用
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  media
A Fast, Bandlimited Solver for Scattering Problems in Inhomogeneous Media
      
The numerical treatment of two-dimensional scattering in inhomogeneous media
      
PRODUCTION OF ANTIBACTERIAL AND ANTIFUNGAL METABOLITES BY STREPTOMYCES VIOLACEUSNIGER AND MEDIA OPTIMIZATION STUDIES FOR THE MAX
      
Plane elastic problems of different media with cracks on the interface
      
The equilibrium problem for the infinite elastic plane consisting of two different media with many cracks on the interface is discussed.
      
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  medium
Production medium was optimized for antibiotic production.
      
We consider a nonlinear parabolic system describing compressible miscible displacement in a porous medium [5].
      
The objective of this paper is to deal with a kind of fuzzy linear programming problem based on interval-valued fuzzy sets (IVFLP) through the medium of procedure that turns IVFLP into parametric linear programming via the mathematical programming.
      
The conclusion that the equilibrium is the continuous function of the dilution rate and substrate concentration in medium in a certain range is concluded.
      
Many food algae and red tide algae were cultivated in the f/2 medium, and the nitric oxide (NO) concentration of the medium and the cell density were determined.
      
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The common defects of ceramic works and imcompletement of the creative shapes also possess potential aesthetic value. There are three aspects to judge aesthetic potential ability, that is, coincidence, randomness, and unequilibrium in structure style. Ceramists can make good use of them ingeniously so as to turn them into workable mediums. Thus, they create ceramics various in style, meaning and aesthetic requirements enjoyed from different angles.

陶瓷器的通常缺陷以及形体上的残缺等,同样具有潜在的审美价值,其审美潜能包括三个方面:偶然性、随机性以及不平衡結构样式;陶艺家可巧妙地加以利用,使之转化为有效的表现媒介,创作出内涵多样和适应多元审美需要的陶艺作品。

Based on an investigation of the long process as well as the artistic practiCe of the mergence of Chinese ink and wash painting with poetry in the history of Chinese art, this paper expounds the things in common in the two, and is of opinion that both of them are expressinnal arts which call for the mutual promtion of the real and the unreal, but each of them has an attraction for complementarity from the other because of difference in material medium, hence the esthetic basis for the mergence of the two. The...

Based on an investigation of the long process as well as the artistic practiCe of the mergence of Chinese ink and wash painting with poetry in the history of Chinese art, this paper expounds the things in common in the two, and is of opinion that both of them are expressinnal arts which call for the mutual promtion of the real and the unreal, but each of them has an attraction for complementarity from the other because of difference in material medium, hence the esthetic basis for the mergence of the two. The paper goes further to elaborate the "Soil" and "climate" for the evolution of the artistic tradition of the mergence of Chinese ink and wash painting with poetry.

本文在考察了中国艺术史上诗画结合的过程之后,依据中国诗画结合的艺术实践,论述了中国诗画艺术原理的共通性:都是表现艺术,都讲究“虚实相生”,以及他们之间物质媒介不同的差异性与追求互补的吸引力,从而以此为中国诗画融合的美学依据。进而阐述了中国诗画融合艺术传统形成的“土壤”和“气候”。

The influences of clay and fire on the aesthetic perception in ceramic artistic creation have been dbmonstrated inthe paper by the differences of artists thinking modes among contemporary ceramic art, traditional ceramic art andgeneral pure art. Thls shows that ceramic artists fail to see clearly the whole of ceramlc artworks at one time in theobJective world, they can only notice or find out medium's aesthetic factors so as to have creative impulses, and thenaccomplish the creation in a process of incessant...

The influences of clay and fire on the aesthetic perception in ceramic artistic creation have been dbmonstrated inthe paper by the differences of artists thinking modes among contemporary ceramic art, traditional ceramic art andgeneral pure art. Thls shows that ceramic artists fail to see clearly the whole of ceramlc artworks at one time in theobJective world, they can only notice or find out medium's aesthetic factors so as to have creative impulses, and thenaccomplish the creation in a process of incessant consideration and choice - making. The significance to master andcreatively use these media like clay and fire, have been emphasized by stating the latent relations between theformation of ceramic artistic style and medium characteristics.

本文通过对现代陶艺、传统陶艺与一般纯艺术的主体在思维方式上的差异进行比较,阐明了泥与火对陶艺创作审美想象的影响。认为陶艺家在客观世界中不可能一次就看清完整的陶艺作品,而只是觉察到了或寻找到了媒介的审美因素,产生了创作冲动,然后是一个不断思考和选择的过程。分析了陶艺风格的形成与媒介特征的潜在关系,强调充分掌握并创造性地运用媒介审美特性的重要性。

 
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