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.
陕北的榆林地区是全国著名的画像石产区之一。
Yulin of northern Shaanxi is the important production areas of stone reliefs in the whole country.
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.
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.
但是，当时的这种形式也大多只是出现在壁画和画像石上。
However, the form of which has mostly appeared in murals and portraits of rock.
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.
如一些剪纸继承汉代画像石风格，外轮廓极其简练、饱满。
For example, some paper-cut stone succession of the Han Dynasty style, the outer contour is extremely concise, full.
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.
画像石大多集中在经济富庶，文化发达、附近石料充足的地区。
Most of the stone relief have been found in economically and culturally developed areas with plentiful stone materials.
砖雕是从汉代画像石演变而来的一种艺术，属于雕塑艺术的一部分。
Brick sculpture evolved from figure stone of Han dynasty, it belongs to sculpture art.
画像石是研究汉代建筑、生活、习俗、观念等有很高价值的艺术品。
They are also valuable art works for research into the architecture, lives, customs and thought of the Han Dynasty.
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.
作为特定历史时代背景下的产物，汉代画像石具有丰富独特的文化内涵。
As a product under the given cultural background, the painted stone of Han Dynasty has rich and unique cultural connotations.
目前关于汉代画像石艺术的研究在对地下的墓室建筑、石棺等方面已很深入。
Deep studies on stone carvings and brick carvings of coffin Chambers, stone coffins and other funeral appliance has been made till now.
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.
画像石主要出现在墓葬中，用来装饰和祈愿， 或者叙述墓主人生前的生活。
They were mainly placed in tombs for decoration and sacrificial purposes, and some were also used to depict the life of the tomb owners.
画像石通常是作为建筑装饰，镶嵌在祠堂、陵阙、更多是墓室内的门侧的砖室上。
The stone relief were put in ancestral halls and tombs as architectural decorations, but most of them are found on the brick walls in tombs.
本文主要通过汉代画像石中的桥梁图像，并结合画像砖、壁画等，探讨了汉代的桥梁建造状况。
This article studies bridge- building conditions of the Han Dynasty mainly through bridge images in stone relief together with brick relief and murals of the Han Dynasty.
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.
汉代艺术是象征型的艺术，无论诗赋、乐舞、画像石还是明器，都以其数量的巨大来表达潜在的审美情感。
The art in Han Dynasty is symbolic art, and poetry, music, stone portraits, or funerary objects all use a huge number to express their potential aesthetic emotion.
即使在今天，汉代画像石仍散发着迷人的艺术光彩和精神魅力，引起我们深深地震撼和感动，具有重要的现代意义。
Even today, the painted stone of Han Dynasty is still playing a vital role. It is still emitting a fascinating artistic brilliance and spirit of the charm. We are still deeply moved and shocked by it.
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.
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.
应用推荐