中国画论
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中国画论视野中的油画创作教育
Education of Oil Painting Creation Based on Visions under Chinese Painting Theory
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形与神时中国画论中两个基本的概念。
Form and verve is two basic concepts of Chinese Painting theories .
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气韵生动是中国画论一个传统话题。
The vivid artistic conception is a traditional topic of Chinese drawing .
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中国画论中的简化意识及其艺术表现
The Consciousness of " Simplicity " in Chinese Ancient Painting Theory and Its Expression in Art
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形与神的关系是中国画论研究反复探讨的一个重要理论问题。
The relation of form and verve is an important theoretical problem of Chinese Figure Painting creation which is repeated discussed .
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墨分五色是传统中国画论里涉及的术语,追求墨色的丰富变化是中国绘画表现的一个重要方面,就水墨本身而言,其具有特殊的审美价值。
" Sub-colored ink " is a traditional Chinese painting in the techniques of language , Chinese painting ink change is an important aspect of performance . It also has a special aesthetic value .
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然而,在历代传统中国画论中,经常能够看到用笔成为一幅艺术品优劣与否的评判标准的一个方面,而且是一个重要的方面。
However , in the ages of traditional Chinese painting theory , often able to see the " pen " as a work of art the pros and cons of whether or not one of the criteria , and is an important aspect .
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该文引用借鉴中国画论和园林的相关理论原理,总结归纳了中国盆景的配件技艺,论述其应用与欣赏。
By referring to the principles of Chinese drawing and the related theory of ancient Chinese landscape architecture , the article sums up the use technique of ornamental parts in Chinese penjing ( miniature landscape ) and discusses their application and how to appreciate .
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从我国古代哲学中挖掘中国画论中怪的思想根源,以绘画理论为中心借鉴文学、美学等交叉学科中的正、怪的研究成果,涉及范围广但不空泛。
Excavated from the ancient Chinese philosophy of Chinese painting in the " strange " the ideological roots , to learn painting as the central theory of literature , aesthetics , positive cross disciplines , strange research , broad in scope but not vague .
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中国古代画论的空白,以无形表现有形。
Ancient Chinese painting on blank to intangible manifestations visible .
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论中国古代画论中的艺术接受观
Acceptance of Art in Chinese Ancient Art Theory
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中国古代画论四题
Four Items of Painting Theory of Ancient China
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中国古代画论逻辑结构论
The Logistic Configuration in Chinese Ancient Painterly Theory
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中国古典画论中的文学思想&以宋代为例
Research on Literature Thoughts in Theory of Chinese Classical Drawing : a Case Study on Song Dynasty Drawing
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画与诗,中国古代画论多倾向于论述二者的共性,而西方理论界侧重于分析二者的差异;
About painting and poem , generality is stressed in ancient China , get difference is stressed in the West ;
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中国古代画论有独特的逻辑结构,其特点是注重现实、关注现象、形式多样,过程具有连续性。
Chinese ancient painterly theory have peculiar logic configuration , with paying attention to reality and phenomenon 、 having varied forms and continuity course .
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中国古代画论中同样存在类似判断、推理等逻辑形态,但它不同于西方的形式逻辑。
The logistic form of resemble judgement 、 discursion were also into the Chinese ancient painterly theory , but it 's different from western formal logic .
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中国古代画论是在中国传统文化这一大背景之下生成的,历代的绘画理论著作为中国艺术理论与创作实践的发展留下了值得发掘和研究的成果。
Chinese ancient theory of painting came into being in the background of Chinese traditional culture . Historical painting theories left results worthy of exploration and research for Chinese art theory and creative practice .
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中国古代画论的逻辑结构与西方逻辑思维是不同的,它与中国传统哲学有着密切关联,有的哲学范畴直接被用于画论阐述。
The logistic configuration of Chinese ancient painterly theory is different from western logistic thinking , it has consanguineous relating to Chinese traditional philosophy , some philosophic categories were expounded straightly in painterly theory .
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在中国的画论中,可以找到各种资料,来说明笔用好了,就可以表现出丰富的情绪,用笔本身具有了生命,上升为艺术的本体。
Chinese paintings of all kinds of information can be found to illustrate the " pen ", can be expressed in a rich emotional , and the " pen " lives up to the ontology of art .
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中国造园理论与中国画论一脉相承,在审美基础、创作规律和功能要求等方面具有互通的方法和原则。
With coming down in one continuous line , both of Chinese gardening theory and Chinese painting theory have the intercommunicating method and principle , in aspects of esthetic basis , creation rule , function request and so on .
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儒学与中国画的功能论问题,和道禅思想与中国画论的关系一样,受到了画学界持续不断地关注。
The relationship between Confucian and the Painting-function theory of .
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中国与韩国自古有着密切的交往,中国成熟的画论不可避免地影响到韩国绘画创作与理论批评的成长。
Creation , criticism and aesthetics theory of China . There has been a close relationship between China and Korea since ancient times .