艺术本体论研究已是20世纪的显学。
Art ontology research has been a renowned discipline in the 20 ~ (th) century.
华语电影和中国戏曲在艺术本体上的互通保证了此项研究的可行性。
The similarities between these two types of artistic forms make this research possible.
从艺术形式角度研究这一时期的小说，属于小说艺术本体论的研究范畴。
This research is an ontological research, which is based on the analysis for the fictions' text.
从此出发可以勾勒出席勒客观唯心主义美学理论和艺术本体理论的基本思想。
Based on this, we can sketch basic thought of aesthetic theory and artistic ontology of objective idealism of Schiller.
李渔是唯一一个自觉地站在戏曲艺术本体的高度去关注戏曲艺术实践的理论家。
Li Yu is the only one with conscious art practice theory at the height of opera art noumenon.
本文就是对艺术本体情境生成的背景预设进行系统论述，同时寻求文化辨识层面上的智力保障。
This article just states background of artistic environment and also seeks the intellectual ensurance for distinguishing culture.
席勒最后更为直接地把美和艺术的根据建立在了“游戏冲动”之上，从而形成了自己的艺术本体论。
Since the foundation of beauty and art was built on the term of "game impulsion", Schiller formed his own artistic ontological, finally.
本文第一部分，论述马蒂斯绘画与东方绘画形成同构性的社会的、艺术本体的以及马蒂斯个人的原因。
Section I discusses the social and personal causes as well as the causes in art itself bringing about the isomorphism between Henri Matisse's painting and Oriental painting.
但它也并不是刻意回避或者是排斥这些问题，相反，它是在艺术本体的范围之类找到一种更有效的手段。
However, it does not try to avoid these problems on purpose. On the contrary, it attempts to find a more effective means within the range of art ontology.
虽然中国当代抽象艺术面临的情境仍是惨淡的，但抽象艺术家仍以孤独而又高贵的姿态在探索艺术本体之路。
Although the situation that Contemporary Abstract art of China faces is miserable, Abstract artists of China who stand lonely and noble posture is probing into the essence of art.
它只是直接涉及音乐艺术在全球经济环境下经营管理的问题，而不是直接涉及音乐艺术本体自身的运行规律。
It relates directly to the issue of music art's management under the global economic environment, rather than the operational rules of the music art itself.
“境界”作为艺术本体，它与西方的艺术本体有着不同，它是对中国传统艺术本体的延续，是中国美学思想的结晶。
As ontology of art and literature, the "visionary world" different from western, it come from Chinese traditional ontology of art and is essential of Chinese aesthetic idea.
对艺术创作和艺术欣赏而言，从审美“意象”入手，以之作为核心，展开对艺术本体的研究，会使艺术创作与欣赏进入一个新境界。
Regarding to artistic creative and appreciating, starting from "aesthetical imago", looking it as the center, to take up the research of artistic substance. Such will attain a new artistic kingdom.
只有在观者对《风声水起》的功能产生怀疑的时候，它可能又会再次还原到艺术本体，没准才可能恍然顿悟艺术的真正魅力——永恒而崇高。
Only when viewers throw doubt about the functions of this artwork, can it go back to art ontology. Chances are they may suddenly come to realize the true art charming-the eternal and lofty.
伽达默尔在《真理与方法》一书中对艺术作品偶缘性问题的讨论，是他超越主观论美学而从艺术本体论向普遍意义的诠释学本体论过渡的一座桥梁。
Transcending subjectivist aesthetics, Gadmer s discussion of occasionality in his "Truth and Method" Bridges his artistic ontology and hermeneutical ontology on a universal level.
文学是语言的艺术，文学语言在文学作品中具有本体地位。
Literature is an art of language. The language takes the main position in literature.
实践不仅是社会本体论的本体，而且是审美、美、艺术的本体。
Praxis is not only the body of social ontology, but also the body of aesthetics, beauty and art.
意象在中国文论中一直是一个重要的概念，因为它关涉到艺术的本体问题。
The image is an important concept in Chinese traditional literature theories, because it refers to the essence of the art.
因此，对于高品味审美眼光的培养必须从环境艺术创作开始，我们将从中获得以本体为中心的充分的艺境体验。
Therefore, the cultivation of decent aesthetic taste must begin from the creation of environmental art, in which we will obtain abundant experience of ARTMIA Living centered on noumenon.
就像哲学家搁置对现实的本体论讨论一样，艺术家也要放弃去表征任何一种现实的企图。
Just like philosophers who suspended ontological discussions on reality, also artists have to abandon any attempts to represent reality.
正文三、四、五部分从诗歌本体的角度，具体由抒情、写景、语言三个方面探讨储诗艺术特色。
Viewed from the aspect of poem's noumenon, Chapter Three, Four, and Five are devoted to lyric art, describing scenery art, language art of his poem.
第二部分主要是对蒙汉调艺术的民族交融性特点以及其音乐本体特征进行描述。
In the second part, it mainly describes the characters of the national blending of Menghandiao art as well as the characters of its music noumenon.
本文从影像艺术的本体出发，从剧情体裁、结构与节奏等方面探讨了戏曲电视剧的叙事艺术。
In this article, the author probes into the narrative art of theatrical TV play, starting from its style, structure and rhythm.
我最近的这批作品总的说来是围绕我的艺术工作本体为中心来展开的，也就是说，创作的过程就是我创作的目的。
My recent works focus on the ontology of my art. That is to say, the process of art making is exactly the purpose of it.
当媒材从物理载体转换为本体语言后，也就意味着媒材承载艺术理念的空间扩大。
When the media from the physical carrier is converted to body language, means that the concept of media arts space that hosts the expansion.
艺术文本的本体存在方式是解释学的对话。 文本将在读者的理解中复活。
The noumentionalexisting pattern of arts text is Hermeneutical dialogue, and text will revive inreaders' comprehension.
科学技术渐趋成为一种“本体性”的存在操纵着当代艺术的生产和消费。
Technology will become a ontological exist to control the production and consumption of modern art.
成熟期转向注重油画本体语言的挖掘和对西方艺术传统的系统学习。
The maturation period changes to excavating attaching importance to oil painting body language and the system to west art tradition study.
在批判主体论美学的基础上，伽达默尔提出了艺术作品本体论。
By criticizing the subjective aesthetics, Gadamer proposes the ontology of artistic works.
在批判主体论美学的基础上，伽达默尔提出了艺术作品本体论。
By criticizing the subjective aesthetics, Gadamer proposes the ontology of artistic works.
应用推荐