这幅中国早期作品中丝毫没有生硬之处，因为画中特别喜欢使用起伏的线条，这就赋予了整个画面一种运动感。
There is nothing rigid in this early Chinese work, because the predilection for undulating lines imparts a sense of movement to the whole picture.
从画面出发，线条作为一种语言，它的表现形式是丰富的，它能够在曲直不一中体现艺术的真谛。
Set out from the appearance, the lines is a kind of language, its manifestation is abundant, it can in right and wrong differently body now the true meaning of the art.
在上图的表达中，一点透视所产生的很多垂直和水平的线条与画面中的斜线产生对比，突出了要表达的斜线元素。
Above, the camera is placed perpendicular to the train pavilion bridge. This creates a lot of horizontal and vertical lines in the image as opposed to diagonal lines dominating the composition.
交织扭曲的线条形成了令人惊奇的图象，灰色的背景突显了不规则，画面中佛像的脸也是支离破碎。
Lines twist and turn forming surprising images, and the unevenness of the gray background suggests that the surfaces on which the faces of the Buddha appear are crumbling.
交织扭曲的线条形成了令人惊奇的图象，灰色的背景突显了不规则，画面中佛像的脸也是支离破碎。
Lines twist and turn forming surprising images, and the unevenness of the gray background suggests that the surfaces on which the faces of the Buddha appear are crumbling.
应用推荐