最后得到的负性透明片，在色调和颜色方面均和原景物成互补关系。
The resultant negative transparency is essentially complimentary to the original scene in both tone and color.
在非同时同地的景物片段中，局部的关系先后呈现。
In the fragment of the scenes, relationships come to emerge one after another.
并在此基础上进一步论证了山水画是画家主观情感与客观景物之间辩证统一的关系。
Furthermore, it is demonstrated that the landscape painting is based on the dialectical unify of relation between the painter's subjective emotion and the objective scenery.
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