“形”与“神”时中国画论中两个基本的概念。
Form and verve is two basic concepts of Chinese Painting theories.
古代画论中的推理也是传统的模型类推结构，并非命题推理。
The discursion in ancient painterly theory was traditional model analogize configuration not proposition discursion.
龚贤的画论为我们指明学习中国画“源”与“流”的关系问题。
Gong Xian's art theory told us the relation between "the fountainhead"and "the evolution" in the Chinese painting study.
本文旨在从中国古典画论的视角探讨中国山水诗歌的鉴赏与翻译。
This thesis tries to make an expatiation on the appreciation and translation of classical Chinese landscape poetry from the perspective of Chinese painting theories.
我们是怎样我们正不断导致新的艺术风格和传统题材真实油画论帆布。
We are constantly leading the new art fashion and traditional subjects of real oil paintings on canvas.
《德隅斋画品》是他画论思想的表达，也是宋代文人画论思想的体现。
"Deou painting studio corner" is the expression of his paintings ideas. And also are the Song literati paintings of the embodiment of thinking.
师徒教育内容有画理、画法和画论等，民间工匠美术和师徒制走向成熟。
Secondly, the teaching content of the craftsman art included the painting theories, the painting skills, and so on;
形“与”意“在画论与绘画中的不同表现，形成了中国画丰富多彩的格局。”
Diversified representations of "Shape" and "Artistic Concept" in paintings and theories created colorful...
因此，临摹教学与实物写生、画史画论研读鼎足而三，是传统中国画教学的津梁。
Thus, the three main factors are teaching copying, painting from life and studying art history and theories.
中国古代画论中同样存在类似判断、推理等逻辑形态，但它不同于西方的形式逻辑。
The logistic form of resemble judgement, discursion were also into the Chinese ancient painterly theory , but it's different from western formal logic.
在此基础上，又以他的作品、画论、钤印为依据，进一步探索边氏的绘画美学思想。
Generally speaking, as an influential painter and man of letters, Bian is worthy of being further studied from the aspects of painting characteristics and aesthetics.
仅仅用传统《画论》研究中国园林终究有2点不足：一是偏于静观，二是偏于视觉。
After all there are two shortcomings in simply using the traditional On Painting to study Chinese gardens: first, too much emphasis on contemplation, and the second, too much emphasis on vision.
宗先生画论不仅深得中国传统诗学的精髓与灵魂，在一定程度上也深受西方诗学的影响。
Zong not only caught the essence and soul of China's traditional poetics, but also was deeply affected by western poetic to some extent.
从图画论角度，还对语言哲学中的意义理论作了适当评论，对其中的意象说作了重新阐释。
From the Angle of picture theory, it discusses properly on the meaning theory of language philosophy and re-explains the imagery.
国外学者的同类研究大多集中在画史画论部分，针对中国画临摹教学法的专业论述尚不多见。
Researches by Chinese scholars almost focus on the history and theories, but professional discuss aiming at copying teaching is rare.
在中国古代画论里就有许多美学观点值得我们在现代设计中去探索，而且已得到了很好的运用。
Quite a lot of viewpoints of China's ancient aesthetic values worth exploring in modern design and they have been properly adopted.
中国古代画论有独特的逻辑结构，其特点是注重现实、关注现象、形式多样，过程具有连续性。
Chinese ancient painterly theory have peculiar logic configuration, with paying attention to reality and phenomenon, having varied forms and continuity course.
“力”在古今书画论中多有提及，所指有技术方面、审美方面、自然方面的，也有情感方面的。
The "strength" was mentioned in many ancient paintings theory, which includes in the technical, aesthetic, natural, and emotional aspects.
论坛总主持、艺术家鲁婷婷宣布由四川美术学院主办新媒体艺术系承办国际实验动画论坛展览开幕。
Forum host, artists always ting-ting lu announced sponsored by sichuan academy of fine arts and new media art to undertake international experimental animation exhibition forum.
谢赫提出“绘画六法”作为评画标准，作为中国古代画评画论第一个有系统的画论体系，影响至深。
As the first system of comment on painting in Chinese ancient times, Xie He's "Six Techniques of Painting" has great impact on the painting field.
山水画及山水画论充当了中国古典园林设计与营造的指导书籍，后来的园林专著有计成的《园冶》等。
Landscape painting and landscape paintings of Chinese classical gardens served as a design and create a guide book, then there is the garden of monographs into the "Yuanye" and so on.
洪凌作品中的物象，有平面化的简洁，也有重叠笔触的肌理，正如中国画论中的“密不通风，疏可走马”。
The imagery within Hong Ling's works present a planar simplicity along with overlapping strokes of texture, much like the "dense yet sparse" qualities of Chinese painting theory.
在一个绘画论坛里的讨论中，Julie Anne的回答是：“这意味着他们嫉妒你而你应该觉得骄傲。”
A discussion got started on the Painting Forum, where Julie-Anne's response was: "It means they are jealous and you can be proud that they are."..
在一个绘画论坛里的讨论中，Julie Anne的回答是：“这意味着他们嫉妒你而你应该觉得骄傲。”
A discussion got started on the Painting Forum, where Julie-Anne's response was: "It means they are jealous and you can be proud that they are..."
本论文以晚明画家和画论家董其昌的文人画艺术为主要研究内容，从艺术理论和艺术实践两大方面进行分析和阐述。
Dong Qichang was a drawer and a drawing theorist of Ming Dynasty, his literator brush drawing theory and practice were the investigative central content of this thesis.
《汤文选谈艺录》画论思想里反映出的天人合一的哲理境界，融化着民族历史绘画、人类绘画、人性自然化的一切理论思想。
The thoughts in "Tang Wenxian on Art" show this philosophical concept, reflecting the thoughts of the national painting history, all the paintings of mankind and the naturalization of personality.
黄庭坚是宋代著名的文学家与书法家，也是著名的书画艺术鉴赏家，他的画论在北宋的艺术理论中非常重要，也与其艺术创作有不可分割的关系。
As a famous litterateur, a calligraphistas well as a connoisseur in painting and calligraphy, Huang Tingjian occupied an important position in the literature and art of the Northern Song Dynasty.
黄庭坚是宋代著名的文学家与书法家，也是著名的书画艺术鉴赏家，他的画论在北宋的艺术理论中非常重要，也与其艺术创作有不可分割的关系。
As a famous litterateur, a calligraphistas well as a connoisseur in painting and calligraphy, Huang Tingjian occupied an important position in the literature and art of the Northern Song Dynasty.
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