现代中国画构图，不管在内容上，形式和经营位置上，都张扬了一种个性的东西和思想的灵光。
Modern Chinese paintings composition, no matter in its content, form and management position, presents a personality things and thoughts in the twinkling of an eye.
因此上，对中国文化的不了解，也造成其(中国画与西方绘画)价格因素与影响力的不足的重要原因。
Therefore, the understanding of Chinese culture, but also cause its (Chinese painting and Western painting) price factors and the lack of influence of the important reasons.
传统中国画以毛笔、水墨、矿物质颜料、绢帛、宣纸等为工具(原料)从表现形式上分工笔画和写意画。
Chinese traditional painting Writing brush, with ink, mineral pigments, silk silk, Xuan paper as the tools (raw materials) the fine brushwork and freehand brushwork paintings from the form.
在了解民族艺术文化的基础上，研究不同区域思想文化体系，合理的将其纳入中国画的创作中。
Third, on the base of national culture to study different culture and bring into creative work of art of Chinese painting in rational form.
传统中国画以羊毫、水墨、矿物资颜料、绢帛、宣纸等为工具(原料)从表现情势上分工笔画和工笔画。
Traditional Chinese painting with a brush, ink, mineral pigments, silk silk, Xuan paper as the tools (raw materials) from the performance of the Fine brushwork form and freehand brushwork paintings.
与西洋画不同，中国画在透视法上不受焦点的限制。
Differemt from western paintings, a Chinese painting is not restricted by the focal point in its perspective.
从某种意义上讲，中国画形式语言的时尚性，有益于中国画的流传。
In some sense, the fashion of the formal language in traditional Chinese painting is beneficial to spreading of traditional Chinese painting.
这些审视需要破除固有的中国画概念，将“笔墨”还给一般意义上的媒材意识；
Such review should make a breakthrough out of inherent concept of Chinese paintings and restore "brush and ink" back to the normal sense of material.
在明末清初的中国画坛上，项圣谟是一个非常值得注意的人物。
Xiang Shengmo is a noticeable artist in the field of painting during the period of the end of Ming Dynasty and the beginning of Qing Dynasty.
再也没有比在我们时代当一个中国画家更困难了，客观上的压力和主观上的不满这种双重负担，大大限制了他们的创作才能。
No one suffers more than a Chinese painter in our times whose creativity was restricted by outer pressure and inner dissatisfaction.
但在油画如何民族化或者说如何在油画中融入中国画传统精神的具体途径和创作方法上，还有很多需要探讨的问题。
But how in the oil nationalization in the oil or how the integration of Traditional spirit of Chinese painting and creative way of specific methods, there is still plenty of discussion.
油画和中国画从材料上讲是油彩与水墨，从形态上讲是渊源和意识的差别。
The difference between oil painting and Chinese painting is the difference between oil and water color in materials. They are also different in ideology and origin of forms.
在当今的中国画坛上，象他这样如此专注内心景象又了无陈规的画家是不多见的。
In contemporary painting circles in China, we can rarely find at present any painter such as Lei Liang, so devoted to his own interior sight without any antiquated conventions.
实际上他们手中只有中国画的外壳，中国文化的本质已经丢掉了。
Chinese painting is actually in their hands is only the shell, the essence of Chinese culture has been lost.
虽然他们在艺术上也获得了必定的成绩，研究出一些新的技法，然而并未从理论上基本解决中国画的翻新与发展问题。
Although they have made some artistic achievements, developed some new techniques, but did not solve the fundamental theory of Chinese painting from the innovation and development.
在炫耀上是艺术家的58幅传统的中国画和八幅陶瓷的设计图画 ， 和被潘设计的一组咖啡杯子和在 1948 年被中国窑业工厂生产。
On display are 58 traditional Chinese paintings and eight ceramic design drawings by the artist, and a set of coffee cups designed by Peng and produced by the China Ceramics Factory in 1948.
他们的名字将伴随着美丽的中国画面和在过去十七天伴随你我的一幕幕奥运镜头出现在电视上。
The names of these talented men and women accompany this final montage of the images of China and Olympic moments-moments we hope resonate with you as they have with us.
自上世纪90年代中期以来，画家忻东旺的现实主义油画艺术在中国画坛上无疑是一朵绚丽的奇葩。
Since the twentieth century, since the mid-90s, the painter Xin Dongwang realism oil painting art of Chinese painting, is doubtless a brilliant wonderful work.
这就客观上为一种在构思立意模式和创作方法上与文人画大相径庭的中国画新品种的出现，提供了条件。
It comes as no surprise that a new school of Chinese painting has emerged which differ drastically form the literati school in both concepture pattern and compositional techniques.
2005年中国画坛上59岁盍然而逝的著名画家陈逸飞就是一位典型的现代“大美术”家。陈逸飞曾以他的绘画闻名画坛。
Chen Yifei, 59-aged, known as the famous painter in China, who died in 2005, is one of the great "Big Arts".
所以，传统中国画的用笔实指借物咏情之行迹本质，非指一般意义上的线条概念。
Therefore, the stroke is the trace of expressing the painters' various feelings by means of objects, rather than the general concept of …
所以，传统中国画的用笔实指借物咏情之行迹本质，非指一般意义上的线条概念。
Therefore, the stroke is the trace of expressing the painters' various feelings by means of objects, rather than the general concept of …
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