架上绘画

  • 网络Easel Painting
架上绘画架上绘画
  1. 传统的架上绘画受到极大的挑战与冲击。

    Traditional easel painting , face great challenges and impact .

  2. 架上绘画在当代艺术语境下存在的可能性

    The Possibility of Easel Painting Existing in Contemporary Art Context

  3. 壁画的时空建构与一般架上绘画相比体现为一种自由性和永恒性。

    Mostly , it embodies some characteristics of freedom and immutability .

  4. 现实与精神的境界&谈静物方式在当代架上绘画中的体现

    Spirit of the dark The State of Reality & Spirit

  5. 艺术经纬:您最近主要做行为艺术还是架上绘画?

    Editor : Do you do performance act or easel painting recently ?

  6. 形式语言对于架上绘画具有显而易见的重要性。

    Formal language for easel painting has obvious importance .

  7. 这种固守是和架上绘画的仪式感分不开的。

    This persistence is related to a sense of ritual in easel painting .

  8. 现代数字技术对当代中国架上绘画的合理介入在现代艺术情景下谈架上绘画发展的策略

    Using Modern Digital Technology in the Chinese Contemporary Easel Painting Developing Strategies of Easel Arts

  9. 新艺术时代:素描教学与传统架上绘画存在的价值

    On the Importance of Sketch and Traditional Board Painting Teaching in an Age of New-art

  10. 论文同时还集中论述了沃霍尔对中国当代架上绘画的影响。

    The influence of Warhol on contemporary Chinese oil-painting has also been discussed and explicated .

  11. 本文主要探讨图像式的架上绘画形式和内容。

    This paper is mainly to discuss the image type of easel painting form and content .

  12. 技术与形式&论摄影同当代架上绘画的关系

    Photographic Relevance to Contemporary Easel Painting

  13. 在现代艺术情景下谈架上绘画发展的策略

    Developing Strategies of Easel Arts

  14. 架上绘画的空间一般指我们能感知到的长、宽、深三维空间。

    The space in easel painting indicates the traditional three dimensions : length , width and height .

  15. 在中国架上绘画领域,写实油画仍占有很大的份额。

    In the domain of Chinese drawing , the practical oil painting still holds the very big share .

  16. 写实乃至新写实架上绘画一直是学院派教学的主流。

    Realistic as well as new realistic easel painting was the mainstream of academic teaching all the time .

  17. 架上绘画也不例外,要通过一定的形式语言才得以呈现。

    Easel painting is no exception , there should be some form of language before they can be presented .

  18. 面对架上绘画被图像化的趋势,其影响利弊共存。

    Face painting shelves by the image of the trends , the impact of pros and cons of co-existence .

  19. 这种情况并不适用于十九世纪末和二十世纪的架上绘画。

    This case can not apply to the canvas drawing in the end of 19th and the beginning of 20th century .

  20. 由此看来,架上绘画在当代艺术中实际上依然被人们所宠爱。

    By this token , among contemporary arts the easel painting is still favored by people and keeps the exercising influence rank .

  21. 中国油画必须提高自身的修养,继往开来,在架上绘画走向边缘化的时期作出关键性的抉择。

    Chinese oil painting must improve its cultivation as time goes on , and make key choices during the marginalization of easel painting .

  22. 近年来,各种以现代、后现代艺术名义出现的艺术样式,对传统绘画产生了某种意义上的冲击,传统架上绘画存在的价值受到怀疑。

    In recent years , various modern and post-modern art forms have greated affected traditional board painting , whose existence has been challenged .

  23. 他的画表现手法多样,广泛涉及架上绘画、摄影、行为、装置、综合材料甚至雕塑。

    His painting expression diversity , widely involved in easel painting , photography , behavior , equipment , composite materials , and even sculpture .

  24. 架上绘画的死亡有他自身的特殊含义,只有对他的死有所了解,才可能真正理解他的再生。

    The dead of canvas drawing has its own particular implicature , only we have known its death we can understand its reborn actually .

  25. 实际上,我们不难发现到从架上绘画到装置艺术,再到影像艺术与实验动画。

    In fact , we shall find to and from the shelf painting to installation art , again to video art and experimental animation .

  26. 西方架上绘画以外的艺术方式演示出了远比架上绘画更令人眼花缭乱的变奏。

    Outside the western on drawing artistic way demonstrated on the far ratio frame the drawing to make the variation which one was dazzled .

  27. 直观工作室艺术总监,直观工作室创始人,多重领域创作:架上绘画、空间装置、实验影像、戏剧编导。

    Visual studio art director , intuitive , multiple fields founder studio creation : on-canvas , space device , the image , drama director .

  28. 在英国各种前卫艺术已成为整个社会艺术发展主流之时,架上绘画的比例却在不断缩小。

    In Britain , all sorts of avant-garde art have become the mainstream of the whole society but the quantity of easel painting is shrinking .

  29. 壁画的空间不仅包括了架上绘画的三维空间,还可以把现实中不可能同时出现的空间组合在一起,也可以把想象空间、梦幻空间等不真实的空间中组合在一起。

    Space in fresco may not only involve the three traditional dimensions , but also combines the seemingly impossible space in reality and the imagined space .

  30. 本文从架上绘画的当代性转换、架上绘画以人手感痕迹为特征的技艺具有的不可替代性、及架上绘画平面性特征等几个方面论述它在当代艺术语境下存在的可能性。

    This article elaborates its possibility in the contemporary art context from several aspects : easel painting contemporary time transformation , handle trace and flatness characteristic .