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Chinese traditional music has lively,euphemistical and ornamental rhythm as the main langu...

气韵生动&使音乐产生&余音缭绕,回味无穷的审美效果,成为中国音乐追求的上乘境界。

First is the Chinese esthetic idea, the Chinese drawing is fastidious "is mad the rhyme vividly""gufa with the pen", the line not only has the modeling the function, moreover also has the function which flirts to express one"s ideas, compares western the line, in the Chinese drawing line subjective initiative stronger, the load bearing content is richer; Second was describes the object differently to decide line utilization rich; Third, China always is fastidious "the calligraphy and painting homology, therefore calligraphy line consciousness melted into the drawing in the very great degree.

首先是中国审美观念,中国绘画讲究&气韵生动&&骨法用笔&,线条不仅有造型的功能,而且还有传情达意的功能,相比较西方的线条,中国绘画中的线条主观能动性更强,所承载的内容更丰富;第二就是表现对象的丰富性决定了线条形式的多样化;第三、中国历来讲究&书画同源&,所以书法的线条意识在很大程度上融入到了绘画当中。

Mr Dimbleby loves Russian literature, and he hears Tolstoyan and Gogolian echoes as he travels.

丁伯柏先生爱好俄国文学,他在俄国之行中也感受了到了托尔斯泰和果戈理的气韵精髓。

The style and space of Jataka murals is the inevitable result of the unbreaking development of history in spit of it"s investor, it"s material condition, and the attitude of public .It finally reveals the return and unity of space appearance, and the mature process of the prone of Chinese localization, i.e., the dynamic show of space awareness promoted by spirit-resonance life-motion.

无论是主体的窟主和画工,还是客观的物质条件与信众的接受程度,本生故事壁画的图式与空间形态的演变是历史的必然,其最终显现出空间形态的回归和统一,是中国本土化空间的探索和成熟的历程,意即&气韵生动&要求下空间意识的动态化体现。

The large area of grey tone to create a background that covers the whole painting and the thin color with an intense vividness of water-color paintings brings the paintings to life; the use of small-area color as flamboyant as fluorescence in the creation of the subject gives the paintings a fable touch; both implements and sets against the other perfectly well. Each implements and sets against the other with perfection.

画家大面积的使用灰色调营造整个画面的大背景,较薄的油彩带有强烈的水彩画的灵动,让画面气韵横生;荧光般艳丽的色彩小面积被用在主体事物的塑造当中,让画作保持着一种寓意性的格调;两者互为衬托,关系处理的很好。

I have been there for many times to do sketches. The cracked old roots and fissures of the truck touched the bottom of my heart again and again. In the painting "Cypresses in the Forbidden City", I used a so-called method of scattered dots to depict the fissures which is extremely rare in similar paintings, while for the walls I used the crimpling skills to reveal its weathering nature. It is because I believe that all techniques and effects should be centered on the main themes, to make paintings more profound in humanism.

我曾无数次地到那一带去写生,那苍茫的老树根,那干裂的树纹肌理,曾一次次地触动我的心扉,《皇城古柏》这幅画我用散笔法来表现柏树的纹理效果,由上至下,气韵贯通,这种方法在画柏树里并不多见,用打点的方法来点树叶,层层打点积厚,但又注意疏密的关系对比,形成密不透风,疏可走马的效果,而皇城的城墙我则采取皱纸法来做出墙面的沧桑肌理效果,以此来传达出皇城这一历经风雨的历史厚重感,我的创作理念是:一切技法和效果为主题服务,让画面丰富起来,让画面融入人文内涵。

The brown on the top of the painting is not a static patch of solid brown paint, but a dancing brown pool oozing with gleans of earthy yellow, and pale streaks of white, as if it were a piece of velvet fluttering in sunlight, teasing up and down in a play of light and shade infused with the energy and motion of a three-dimensional space.

在画面上方的棕色,不是死实一片的棕色,而是可以隐约看到土黄、淡白色彩隐约其中,好像一块亮丽的丝绒在阳光下抖动,於是起伏错落,或明或暗,好像有立体的空间感,或是有一种气韵、动势在流动。

In Tang dynasty and Wu generation, character became an independent category in vast works, so the"high-level character"became an important studying object, an inditing standard and an inditing method.

偏向外在的审美,是六朝体物美学的特点。这时期绘画理论中&气韵&的出现对后来的诗学理论有重要意义,但此时还未进入到诗学理论中来。

To briefly conclude Huang Gang's artistic innovation, there are threefold: a. succinct inner meaning of post-minimalism. b. the momentum of abstract expressionism, speed, and sentimental limning. c. the mystery and buildup of Tibetan cultural signs.

黄钢的绘画艺术语言创新性,概括而言有三种相互辩证、相互融合的意向,其一是后极简主义的简约和内敛;其二是抽象表现主义的气韵、线条运动速度、情感化的涂绘和灵动多变;其三是西藏雪域历史文化符号的神秘与厚重。

It is not until 1956 to 1957 that Zao created a new brand of art synthesizing features of ancient Chinese lithographs with his artistic depiction of the natural world. He had gradually integrated Chinese art and its cultural elements with his Western-style work.

直到1956-57年期间,赵无极创作了融合甲骨文、描写自然气韵的作品,逐渐把中国艺术及文化元素融合於创作之中。

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