在徐州，汉画像石已然成为汉文化的代表。
In Xuzhou, stone relief of Han Dynasty has become the representative of Han culture.
汉画像石中有许多鸟形人，反映了早期的鸟图腾。
Man similar in form of bird in Han Dynasty stone portraits was reflex of the Bird-worship.
对汉画像石的研究，需要在方法上来一个根本的变革。
Researches on the han Dynasty stone reliefs require a fundamental change in methods and ideology.
汉画像石和画像砖的平面造型亦是其较为突出的成就之一。
The graphic portrait of stones and bricks in Han Dynasty is one of the prominent achievements.
在这篇论文中，笔者试图运用美术考古的方法研究汉画像石。
In this Thesis, we try to applying the way of art archaeology to research Han dynasty stone relief.
南阳汉画像石有着众多的古代建筑物的装饰物，很值得研究。
Han Stone Relief in Nanyang City has a lot of decorations of ancient architecture which is valuable to study.
南阳汉画像石是我国现存汉代画像石中最具代表性的艺术成就之一。
The Nanyang Han Dynasty's stone reliefs are one of the most representative artistic achievements of extant Dynasty's stone reliefs in China.
汉画像石中，射鸟图像是个特别的现象，目前学术界的认识有待商量。
In the portrait brick of Han Dynasty, the bird-shooting picture is a specific phenomenon and today's academic understanding of it remains to be discussed.
南阳汉画像石在散点透视、以线造型和意象造型三个方面具有独特的艺术表现。
There are three distinctive artistic expressions of the Nanyang Han Dynasty's stone reliefs:scattering perspective, modelling with lines, modelling with images.
第一部分主要考查汉画像石出现的背景及其区域分布，同时简要阐述了沂南汉墓画像石的成因。
First, it studies the background and regional distribution, and meanwhile introduces briefly the forming causes of the stone paintings in Yinan.
徐州汉画像石作为汉墓壁画的一种形式，通过稚拙的外在“象”体现出内在的象征性的“意”之美。
Xuzhou stone relief in the Han Dynasty, as a form of the grave fresco, expresses the beauty of the internal and symbolic spirit through the crude and childish external picture.
汉画像石艺术作为一种独特的艺术表现形式，与汉以后的部分绘画名作在表现形式上有很多惊人的相近。
As a distinctive art form, the portrait stones in the Han Dynasty are very similar to the masterpieces in painting after the Han Dynasty in terms of their expressive forms.
汉画像石艺术既没有此前彩陶、青铜器的神秘威慑图腾的羁绊，也没有其后佛教艺术统治的束缚，而是深受楚文化的影响。
Han figure stone art was deeply influenced by Chu culture, without earlier fetters of mysterious totem of ancient pottery art or bronze art, nor the yoke of rule by Buddhist art.
第四部分探讨了沂南汉墓画像石刻造型艺术在汉画像石中的地位和影响，其与汉代及其前后其他造型艺术形式之间的内在联系。
Fourth, it discusses Yinan stone paintings' status and influences on the whole Han paintings and their inherent relations with the other forms of arts before and behind them.
汉画像石画像砖夸张、变形、象征、装饰的手法以求神似，在形的处理上丰富了水墨画造型在“似与不似”之间广阔的空间的选择。
With the method of exaggeration, distortion, symbolic and decorative, Han portrait stones and bricks enriched the choice of wide space in Chinese brush drawing.
笔者通过大量查阅汉代工艺美术史料及美术史论并通过翻阅大量汉画像石和画像砖的图片资料对其平面造型进行了较为深入的研究和探讨。
Author of this article make a deep study in the plastic arts through looking up large Numbers of Han dynasty art history and Han dynasty stone and brick pictures.
笔者通过大量查阅汉代工艺美术史料及美术史论并通过翻阅大量汉画像石和画像砖的图片资料对其平面造型进行了较为深入的研究和探讨。
Author of this article make a deep study in the plastic arts through looking up large Numbers of Han dynasty art history and Han dynasty stone and brick pictures.
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