赵力：你回答（得?）很好。
赵力：为什么没有脸，没有脸部表情的表现?。
Zhao Li: But why is there no face, and no facial expression?
赵力：但成功或不成功，那是百年以后才知道。
Zhao Li: But to achieve success or not, we can only tell after a hundred years.
赵力：在90年代你可能主要是往回看，找根源和基础。
Zhao Li: in the 90s, maybe you looked back for origin and base.
赵力：从这个时间角度看，整个90年代大家都在找一个出路。
Zhao Li: In terms of the time, all of us were searching for a way out during the entire 90s.
赵力：敦煌壁画的颜色非常丰富，但“供养人”更多是黑白灰的微妙变化。
Zhao Li: the color of Dunhuang fresco is very profound, but "the Providers" shows more refined variations of black, white and gray colors.
赵力：你提到了佛教主题性的问题，你对佛教是怎样认识的，你是佛教徒吗？
Zhao Li: you just mentioned themes in Buddhism, so what's your opinion on Buddhism, are you a Buddhist?
赵力：敦煌壁画的早期窟型是中心塔柱式的，有一个主像，周围是连续变化的壁画。
Zhao Li: The early form of Dunhuang fresco is of central tower style with a major character surrounded by continuous variations of murals.
赵力：在脸上画一些东西，美术史里叫双重镜像，就是在一个部分去表现一种关系。
Zhao Li: to paint something on the face is called "Double Mirror" in art history, which is to express a relationship through one part.
赵力：很多艺术家画孩子是因为他有了孩子，对孩子有一种关心，比如四川的一些画家。
Zhao Li: For many artists, the reason to paint children is that they have children and care about children, such as some painters in Sichuan.
赵力：这个系列里面的人物，早期和后面很不一样，尤其后来好像是修版过的、概念化的，为什么和前面不一样？
Zhao li: as to the Characters in this series, the former are quite different from the latter, especially as the latter seem to be retouched and conceptualized, so why the difference from the former?
赵力：从美术史和批评的角度来看这个阶段的你实际上是受到了一些影响，或者你开始思考一些问题，比如画面出现了人物。
Zhao Li: In terms of art history and criticism, you received some influence in this phase actually, or you began to think about some questions, for example, characters appeared in your paintings.
赵力：在后面阶段你做了大量拼图，突出了人物的脸，并改变脸的属性，把它越来越变成一个清楚的、载体的、符号的东西。
Zhao li: you made a great number of collages in your later phase, emphasized them on the characters' faces, changed their features, and turned them into clear and symbolic carriers.
季军赵玲曦所呈现的《雨、生活、家》被一名评委认为是最优美且最富诗意的讲词，惟其演讲表现力略有不足之处。
The third prize went to "A Chuva, a Vida ea Casa" (Rain, Life and Home) presented by Dinis Zhao, a text regarded by one of the judges as the most beautiful, the most poetic yet not the best presented.
赵祥林嫂（1980）提出，“如今，约翰·杜威的实用主义保持其只要作为的无效传统的学校形式保持生命力。”
Zhao Xianglin (1980) putsthat "nowadays, John Dewey's Pragmatism maintains its vitality as long as the void traditionalschool forms remains."
赵祥林嫂（1980）提出，“如今，约翰·杜威的实用主义保持其只要作为的无效传统的学校形式保持生命力。”
Zhao Xianglin (1980) putsthat "nowadays, John Dewey's Pragmatism maintains its vitality as long as the void traditionalschool forms remains."
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