画论包括绘画审美理论、绘画批评、绘画技法理论等内容。
Study in the close relationship between them is a breakthrough and deepening both to Chuang Tzu’s aesthetic and Chinese ancient painting theory.
研究二者之间源远流长、融合无间的关系,无论对于庄子美学抑或是中国古代画论而言都是一种突破与深化。
参考来源 - 庄子美学与中国古代画论The different standpoint is closed to the epoch characteristic of art spirit, which was reflected by the theory of art.
这种古今迥异的观点是与艺术精神的“时代性”分不开的，而艺术精神的“时代性”都体现在各个时期的画论之中。
参考来源 - 化石与潮流In the comments of painting theory of ancient China and novel and drama criticism,"having-expression" and "getting-expression" refer to that creation of innovatory characterization attains a "lifelike" realm.
在中国古代画论与小说戏曲评点中,"有态"、"得态"等术语指的是,以人物为主体的艺术形象的塑造达到了"活"的境界。
参考来源 - 中国古代写人论中的“态”范畴及其现代意义·2,447,543篇论文数据，部分数据来源于NoteExpress
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.
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.
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.
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