在中国文化中，比例就是一切，从建筑到人工产物，再到绘画空间。
In Chinese culture, proportion is everything, from architecture, to artefacts, to pictorial space.
但是，他却用较少的绘画空间，更多表现了不同比例和观念的冲突。
However, this is done less by using pictorial space, than by confronting various views and proportions.
绘画的“动态性”研究是对原有绘画空间概念与行为的附加，是对当代绘画空间模式的补充。
Study "Kinetic" painting is affixation of the originally concept and behaviour of the painting, is subjoin of modern painting space mode.
从这里我们可以看到，绘画空间和教育空间虽没有直接的联系，但却有着间接的、必然的联系。
We can see from here, although there is not direct connection between painting space and educational space, but there are indirect, inevitable connections.
布局合风水及绘画空间经营之要，讲究远近高低、前后左右方位、山水结合、花木结合、四季有花和步步成景。
It is very important in height and distance, orientation, combination of mountain and water, combination of flowers and trees, blossom in every seasons, and sceneries by steps.
直观工作室艺术总监，直观工作室创始人，多重领域创作：架上绘画、空间装置、实验影像、戏剧编导。
Visual studio art director, intuitive, multiple fields founder studio creation: on-canvas, space device, the image, drama director.
该空间由延伸到一侧的五个嵌壁式的艺术盒子构成，它可以用来展示不同类型的艺术——从图纸&绘画，到雕刻和织物装置。
The space is narrated by five recessed art boxes to one side, which allow the display of various mediums of art - from drawings & paintings, to sculptural and textile installations.
第一章我们将在绘画和电影中寻找同时营造的艺术氛围，空间的情绪。
The first chapter we will look for in painting and film at the same time the art of creating atmosphere, space emotions.
我用线条绘画，大的画作直接贴到空间内的墙上，有时长达几十米。
I make line drawings, large drawings applied directly to the walls of a space, sometimes measuring dozens of meters.
哈迪德经常用书法草图去描绘想法和空间，有时用绘画作为建筑的初期形式。
Hadid often used calligraphic sketches to visualise ideas and Spaces, sometimes using paintings as precursors to buildings.
舞蹈是艺术之母，音乐和诗篇存在于时间；绘画和建筑存在于空间。然而舞蹈生存在时间和空间中。
The dance is the mother of the arts. Music and poetry exist in time; painting and architecture in space. But the dance lives at once in time and space.
作为造型艺术，绘画、雕塑的空间问题一直是倍受关注的。
As it's a plastic art, more attentions should be paid to the space problem of paintings and sculptures.
在中国，传统的笔墨绘画有很大空间，也有单色绘画和多色绘画的空间，也有一切事情的空间，就像纽约一样。
In China, there is room for the traditional brush drawing. There is room for monochrome and polychrome. There is room for everything, as there is in New York.
博物馆力图通过多角度的理论观点，空间层次，雾气与水的扩展等几个主题，来探索中国古代绘画深层次变化的空间奥秘。
The museum explores the shifting viewpoints, layers of space, and expanses of mist and water, which characterize the deep alternating spatial mysteries of early Chinese painting.
绘画中形象的轮廓变化也是直接表现形象的量感，实体感，空间位置和质地特征的方法。
Variations in the painted contours of images also provide a direct method of describing the volume, weight, spatial position, and textual characteristics of things.
相反，他们已经开始尝试利用线、面、节奏、笔触等绘画的基本语言来反映画面的空间关系。
On the contrary, they began to try to depict space with basic language of painting such as line, surface, rhythm and brushwork.
为了表现出对象的空间感，浮雕使用绘画中透视法来表现三维空间。
To show that the object, the dimensional feeling of relief use paintings of perspective to represent the three dimensional space.
对闫平而言，真正的挑战是关于绘画的空间处理。
To Yan Ping, the real challenge is the spatial processing in painting.
在这个既定的像木虱一般的形式内，建筑如同一个集装箱，内部的空间可以用于各种用途，如木工，钢铁工艺或是绘画等。
Within its defined shape, evocative of a woodlouse, the building is a container whose spaces can be use for various purposes with workshops for carpentry, cabinetmaking, ironwork, and painting.
本文主要探讨这样一个问题：当西方传统绘画面临危机时，是如何从异域文明中寻找新的活力，扩展再生的空间?。
This thesis is about the following issues: How did western traditional painting in crisis search for fresh energy from exotic civilization to explore new space for resurgence?
车库位于房屋扩建部分，屋主将这部分空间交给他的女儿来使用，后者热爱绘画和建筑，因此需要一件工作室。
The garage was located in an extension to the house. The owner decided to give this space to his daughter, who is keen on drawing and architecture and therefore needs a studio.
多元的艺术观念催生不同的绘画试探，她画面的空间结构处理也越来越富有戏剧性。
Diverse artistic concepts have spawned a variety of painting exploration, and processing of spatial structure in her paintings has become increasingly dramatic.
它以计算机的技术承诺和网络空间的魅力，制造一种新的视觉审美潜质，引发了传统架上绘画语言形态的嬗变。
It has created new potential of visual aesthetic appreciation by its technical promise network charm, and brought about the evolution of traditional frame-painting language form.
量感和空间中，在绘画平面中表现它们的感性和理性方式与理解空间关系的两种层次有关。
For volume and space, the perceptual and conceptual methods of representing them on the flat surface of a painting are related to the two levels of understanding spatial relationships.
量感和空间中，在绘画平面中表现它们的感性和理性方式与理解空间关系的两种层次有关。
For volume and space, the perceptual and conceptual methods of representing them on the flat surface of a painting are related to the two levels of understanding spatial relationships.
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