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毛笔

与 毛笔 相关的网络例句 [注:此内容来源于网络,仅供参考]

The English words"Beijing 2008"are written with aChinese brush below it.

汉字下方用中国毛笔书写了"北京2008"的英文字样。

It is a world beyond description by a stroke of the brush made of animal hairs.

他的作品世界用毛笔描绘是远远不可能达到的。

Calligraphy is a traditional art of the Chinese nationality, which is completed by a brush pen.

书法是中华民族传统的艺术,是用毛笔书写的方法。

On the inside of the door the figures 52 had been traced with a couple of strokes of a brush dipped in ink, and above the scantling the same hand had daubed the number 50, so that one hesitated.

在门的背面,有一个用毛笔蘸上墨水胡乱涂写的数字:52,横条上面,同一支毛笔却又涂上了另一数字:50,因而使人没法肯定。

On the inside of the door the figures 52 had been traced with a couple of strokes of a brush dipped in ink, above the scantling the same hand had daubed the number 50, so that one hesitated.

在门的背面,有一个用毛笔蘸上墨水胡乱涂写的数字:52,横条上面,同一支毛笔却又涂上了另一数字:50,因而使人没法肯定。

See teacher ZHU only to put the spirit lamp, a Chinese brush-pen, a white paper and milk respectively on the platform, the teacher spread the paper even first, then took a Chinese brush-pen 蘸 milk in the measuring cup of 蘸, then wrote four big words on the white paper.

只见朱老师分别把酒精灯、一支毛笔、一张白纸和牛奶放在讲台上,老师先把纸铺平,然后拿了一只毛笔蘸了蘸量杯里的牛奶,然后在白纸上写了四个大字。

The owner just to stick with a brush ink, brush put too much ink rejection of the.

主人刚用毛笔去沾墨,毛笔就把墨甩得远远的。

The brush pen is sharp, soft and elastic so that Chinese calligraphy and painting is likely to become an art of line. Chinese ink can be diluted and attempered. Moreover, it is neither sticky, nor astringent nor stagnant. These properties make people able to write or paint freely. The paper for Chinese calligraphy and painting, especially rice paper, can absorb Chinese ink of various kinds. It is suitable for calligraphy and painting using brush pen.

其中,毛笔笔锋尖细、质地柔软而富有弹性,这使得中国书画更易成为一种自由表达的线的艺术;松墨和油墨易于稀释和调和,而且不粘、不涩、不滞,可以保持运笔的灵活,并通过墨汁的浓淡变化实现写意的目的;中国书画的用纸具有吸附软笔水墨的特性,不仅适宜于毛笔的书写,也有利于发挥墨的特性。

According to tentative,if grass hand is a sort of process of movement that it was mastered by person,and was condensed on rice paper to show being'mood,well then how is it before wrote and after wrote?

根据假说,如果草书是人用毛笔把人的主观情绪用人的掌控毛笔的运动过程,从而凝固在宣纸上的线条来返照人的情绪的表象,那么书写前与书写后的空间与时间的位置上发生的变化到底是如何的呢?

They have only drilled the soil moist, like a small purple bamboo-like "small head", to Zhang looked at this world full of vitality; has grown some of the straight thin "pen" with each other competition in a match, the first plants have already been out a "small brush," is just like a painted brush magic spring; some have extended the 45 "arm," the green open "palm", as if waved in welcome to you in your arrival; also has clusters of green "bamboo", which holds together tightly with each other out,"arm", but are not entangled, and do not cover .

它们有的只从湿润的土壤里钻出一个个像小竹笋似的紫红色的&小脑袋&,探头探脑地张望着这充满生机的世界;有的已长出了笔直纤细的&笔杆&,互相竞争着比高低,花茎的头上面已冒出了一个个&小毛笔&,活像一只只正在描绘春景的神奇的毛笔;有的已伸出了四五只&手臂&,张开了绿色的&手掌&,好像在向你招手欢迎你的到来;还有的已形成一簇葱绿的&竹林&,它们紧紧地聚拢在一起,互相伸出&手臂&但又互不缠绕,互不遮掩。

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推荐网络例句

The physiology of the skin machine body for the sake of the environment in the maintenance stability, but eject a body metabolism creation of metabolism thing BE'grease', summer perspire many various skin disease light or good, autumn perspire little metabolism thing metabolism don't go out, various skin disease made, this be the skin machine body of various burning disease.

皮肤机体的生理为了维持内环境稳定,而排出身体代谢产生的代谢物是'油泥',夏天出汗多各种皮肤病就轻或好了,秋天出汗少代谢物代谢不出去,各种皮肤病就犯了,这就是皮肤机体的各种炎症。

If I had anything tender in me, I shot it dead.

如果我有什么招标的话,我枪死亡。

The argumentation way in which this literary grace using is based on color painting, setting out from two angles separately " color"、" ink and wash", making criticizition in texts of Chinese ancient drawing history; analyzing how "color" painting was on the way from ripe to losing; emphatically analyzing the reason of losing in color center, that is to say the reason of "the change of ink and wash ", and its reconstructional way of combination, development with "ink and wash" it was "replaced" by the afterward manner. In a word, the developing "replaced"by the afterward manner.

本文所采用的论述方式是:立足于色彩绘画,分别从&色彩&、&水墨&两个角度出发,先对它们在中国古代画史论著中作一考证;分析隋唐时期&色彩&绘画是如何从体制的成熟、完备而走上&失落&的道路;着重分析色彩绘画中心&失落&亦即&水墨之变&的原由;及其在被水墨&替代&后与&水墨&结合、衍变的重建之途。