在结论中总结出作为理性绘画代表的古典艺术对于学生来说不可替代的珍贵价值。
In the part of conclusion, the irreplaceable value of classical art for the students will be summarized, which is typical of the rational painting.
自古以来，人们一直争论绘画和雕塑是否只需要眼力和手上的工夫，还是也需要理性的把握能力和训练。
Since antiquity, there has been a continuing debate as to whether painting and sculpture demand skills of eye and hand alone or intellectual grasp and training as well.
产品设计绘画是技术与艺术的融合，是理性和感性的结晶，是内在结构和外在表现的统一。
The product design drawing is fusion of technique and art, is crystallization of rationality and perceptual and is unification of intrinsic structure and external performance.
具象绘画若能既不失传统手段的优势，又能将理性及个性相统一而一展其独特的表现手法，那么，将会有更多的具有时代感的作品得到展现。
If concrete painting holds the advantages of both traditional means and its unique expressional skill of rationality and individuality, it will produce more paintings imbued with The Times.
而仇晓飞的绘画行为是通过感性对这个理性胜利过程重新观照。
Qiu Xiaofei's painting technique goes beyond the perception of this rationality to successfully manifest a fresh vision.
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.
“理性的控制”则表明绘画并非仅仅是情感的参与，缺失理智将意味着绘画者不仅把握不住情感更把握不住语言。
In "Rational Control", the writer explains that painting is not only the participation of emotion, besides, lacking reason means that painters can grasp neither emotion nor language.
西方绘画与此相反，它以人文主义的精神内核与理性的探索世界的方式始终保持着与主体文化的同步行进。
Western painting is contrary to this, it advances keeping pace with subject culture all the time by way of the spirit kernel of humanism and rational exploration world.
形象地阐叙了绘画过程是一个由表入里，由感性到理性，由整体到局部再回到整体的这么一个创作过程。
Visually describe the painting process is a form which from appearance to interior, from here to there, from geist to nous, and from the whole to the part.
他将传统的写实绘画，经过抽象和极简主义的提炼，理性地建构出具有个人独特风格的现代艺术理念。
He refines traditional realistic painting with abstractionism and minimalism approach, and rationally constructs a modern art concept with unique personal style.
第四章，集中探求西方现代绘画对“恶”的表现的深层的非理性依据，从而发现其中隐含着的深刻的回归意识。
Chapter IV, Focused on the exploration of inner irrational cause of the representation of "evil" in modern western painting, thus detecting implied profound sense of the reversion of humanity in it.
第四章，集中探求西方现代绘画对“恶”的表现的深层的非理性依据，从而发现其中隐含着的深刻的回归意识。
Chapter IV, Focused on the exploration of inner irrational cause of the representation of "evil" in modern western painting, thus detecting implied profound sense of the reversion of humanity in it.
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