唐宋，是古典诗歌意象最为灿烂辉煌的时期。
The Tang and Song Dynasties are the golden periods of classical poetic imagery.
新月派现代意象的营造对古典诗歌意象模式的解构。
Modern image is used by New Moon School to deconstruct the image pattern of classical poetry.
中国现代歌词在意象的选择和营造上追求古意，可谓与古典诗歌意象追求方式不谋而合。
Chinese modern lyrics images usually pursuit of old-fashioned. and emphasizes its antique aesthetic conception. so it coincide with the pursuit ways of classical poetry image.
最后，从内视觉形式分析意象派诗歌与中国古典诗歌在意象营构的趋同点。
Thirdly, the author expounds the convergence of internal visual form between the American Imagist poetry and the classical Chinese poetry in terms of imagery.
中国古典诗歌无论是在哲学思想还是意象创造上都对意象派产生过深刻的影响。
Chinese classic poetry has exerted impacts on Imagism in terms of both philosophic thought and image-creating.
“意象”和“意境”是中国古典诗歌的灵魂，也是古诗的审美评价标准。
Imagery and artistic conception function as the soul of classical Chinese poems as well as the standard for aesthetic appraisement.
在中国古典诗歌作品中，太阳意象不仅出现的次数多，而且涉及的内容也十分丰富。
In classic Chinese poetry, the image of sun appeared many times and it has rich connotation.
中国古典诗歌中的意象可分为非文化意象和文化意象两种。
Images in classical Chinese poetry can be classified into non-cultural and cultural ones.
深受中国古典诗歌影响的意象派诗歌，曾先后几次反弹回中国，对中国诗歌产生了巨大的冲击和影响。
Imagism, greatly influenced by ancient Chinese poetry, dramatically came back to China several times and exerted great influence upon both modern and contemporary Chinese poetry.
在中国古典诗歌的自然意象中，黄昏意象颇为突出。
The presentation of the image of dusk is the most impressive in all natural images in classical Chinese poetry.
中国古典诗歌对20世纪初在英美诗坛盛极一时的意象派诗歌创作曾产生了深刻影响。
The Chinese classic poems had impacted much upon the poetic composition of the imaginary school that dominated the field of poetry in both America and British in the early 20th century.
本文立足诗学中的意象研究成果，结合语言和文化因素对中国古典诗歌英译中的意象翻译进行研究。
After that the paper presents the categorization of imagery in Chinese classical poetry and its multiple functions in order to make the notion more full-fledged.
本文立足诗学中的意象研究成果，结合语言和文化因素对中国古典诗歌英译中的意象翻译进行研究。
After that the paper presents the categorization of imagery in Chinese classical poetry and its multiple functions in order to make the notion more full-fledged.
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