片语

ancestor of literati painting文人画祖

chinese literati painting文人画

literati s painting文人画

the literati ceramic painting文人瓷绘家

the literati ceramic painting art文人瓷绘艺术

traditional literati painting传统文人画

literati painting theory文人画论

new literati painting style新文人画风

viewpoint of literati painting文人画观

英汉例句

• the key point here is that how the literati painting get independent in the arts field and constructing of photographic final say through making the rules and construction independent language system.

  主要论述通过游戏规则的制定和独立话语体系的建构来实现文人画艺术场域的独立和文人画图像话语权的建立。

• the intricate interspersing of formal structure transforms the flat visual feature of literati painting into a fierce, exciting emotional experience.

  也以繁复错落的造型结构改变了文人绘画扁平的视觉特性，呈现一种激烈、刺激的情绪。

• giorgio morandi「s paintings are similar with the carefree and leisure characters of literati painting on mental level and artistic pursuit.

  乔治·莫兰迪的绘画在精神境界、艺术追求上与中国「文人画」之「逸品」近乎一致。

• sushi was a well known writer in the northern song dynasty, whose viewpoint of literati painting occupies an important place in the history of chinese painting.

  北宋中期着名文学家苏轼的文人画观在中国绘画史上占有特殊的地位。

• the four masters」 works have had an immense impact upon the literati painting of the following ming dynasty (1368-1644).

  元四家「的艺术观念和绘画风格对明代文人画发展有着巨大影响。

• poetry of traditional literati painting and calligraphy art lost.

  传统文人的诗文书画技艺丧失殆尽。

• however, he is related to traditional literati painting in terms of friends he made, subjects, style and technique of painting.

  但他又自觉不自觉地在交友、绘画题材、风格和技法资源等方面 ，与传统文人画发生着关联。

• initiation of chinese literati painting led to historical archivement of chinese painting and had become the core of the aesthetic paradigm of chinese traditional art.

  文人画的出现将中国绘画的“写意性」推向高峰，并成为中国美术样式的核心审美范式要求之一。

• the research of chen shizeng and chinese literati painting aims to explore the academic meaning of chen shizeng in the fine arts history and have some reference values in the current theory situation.

  研究陈师曾与中国文人画的现代延伸，旨在对陈师曾在美术史上的学术意义进行发掘，同时也希翼在当今的理论语境中对中国画的发展与价值取向具有一定的借鑒意义。

• literati painting and freehand brushwork can be mentioned in the same breath but not equivalently.

  在今天的绘画当中，文人画和写意画是绝对可以相提并论，但不能视为等同。

• from chinese literati painting to japanese yamato-e, from romanticism to dadaism, different forms of art serve as the instrumentality to educate the public.

  从中国的文人画到日本的浮世绘，从浪漫主义到达达，艺术的不同表现方式被看作是一种向公众进行观念教育的媒介。

• painting the development of yuan, ming and qing literati painting was a prominent development.

  绘画发展至元、明、清，文人画获得了突出的发展。

• but sushi「s idea of literati painting took shape due to special sociological and psychological reasons.

  但苏轼文人画观的形成，有其社会学和心理学方面的特殊原因。

• in addition, the doctrine of nature, when being reflected in the traditional chinese painting, is the doctrine of painting, and the doctrine of literati painting is the doctrine of image modeling.

  自然之道引申到中国传统绘画之中就是绘画之道；文人画的绘画之道就是意象造型。

• gentry literati painting by the time their appreciation to the main sectors of the transition. the main change in the time to enjoy the landscape and affected the artist」s ideas and style.

  此时书画的欣赏主体由文人士绅向市民阶层转轨，山水画欣赏者的主体改变在此时也影响了画家创作的思路及风格。

• most of the ancient literati painting for more than depending on, with the calligraphy used to enrich themselves as the spiritual home, get emotional venting, the spiritual purification.

  古代文人大多视绘画为余事，同书法一样用来充实自己的精神家园，情感得到宣泄，心灵得到凈化。

• poetry is a traditional chinese literati painting trinity identification codes, and poetry painting ruin has become the standard assessment of literati painting.

  诗书画三位一体是中国传统文人的身份识别符码，诗书画三绝也就成为评定文人画的标準。