山水画,Landscape painting
1)Landscape painting山水画
1.The tendency towards conscious simplicity in landscape paintingsduring the song Dynasty;试论两宋时期山水画的自觉简略化倾向
2.On Cultivation of Ability and Concept of Students in Landscape Painting Teaching;谈山水画教学中学生能力和观念的培养
英文短句/例句
1.Interpretation on Mature Form of the Theory of Landscape Painting: Huashanshui Xu and Xuhua解读山水画理论的成熟形态——《画山水序》和《叙画》
2.He was admired for his landscape, bird-and-flower and occasional figure painting.他的山水画、鸟画和人物画受人仰慕。
3.We have landscape painting，figure painting and flower and-bird painting.我们有山水画、人物画和花鸟画。
4.Landscape is an important branch of traditional Chinese painting.山水画是中国画中重要的画科。
5.This landscape painting is a consummate work of art.这幅山水画已臻化境。
6.Landscape painters of different styles emerged in large numbers.山水画家灿若群星，
7.his are always the kind you often really see. On one such picture he wrote:他一张山水画上题：
parison and Research of Real Scene Landscape and Chinese Modern Landscape;真景山水画与中国现代山水画的比较研究
9.Brief Analysis on the Developing State of Landscape Painting in the Early Reriod of Qing Dynasty and Landscape Painting Education;清初山水画发展格局浅析及山水画教学
10.See the Ecology Aesthetics of Chinese Mountains-and-Waters Painting from 《Hua Shanshui xu》;从《画山水序》看中国山水画的生态审美观
11.On the Formation of the Idea of Adoring Abstraction in the Landscape Paintings and the Poems for Them in Song Dynasty;论宋代山水画及题山水画诗中尚意观的形成
12.The Scenery Has the Boundary--Song Yuan Landscape Painting Composition Evolution and Drawing Thought;山水有境——宋元山水画构图演变及绘画思想研究
13.The Comparison between Traditional and Modern Chinese Landscape Painting;传统中国山水画与现代中国山水画之比较
14.The Skills of Paintings of Traditional and Modern Mountains-Waters --On the Development of Painting Skills;传统山水画与现代山水画——试论笔墨的发展变化
15.The Comparative Study of the Landscape between Dunhuang Frescoes and the Traditional Painting of the Central Plains敦煌壁画山水与中原传统山水画之比较研究
16.Talk of Traditional Chinese Landscape Paintings and Modern Landscape of the Aesthetic Characteristics谈中国传统山水画与现代山水画之审美特征
17.Natural Landscape Painting and Naive Landscape Painter;山水清音 平淡天真——翁同龢山水画赏析
18.On the Spatial Consciousness of Chinese Landscape Poetry and Landscape Paintings;略论中国山水诗与山水画之空间意识
相关短句/例句
Landscape[英]["l?ndske?p][美]["l?nd"skep]山水画
posing features of Chinese landscape painting reflected in the aesthetic ideal of "roaming and residing";从“可游可居”的审美理想看中国山水画的构图特点
2.A Degage and Natural Writing Brush,New and Graceful Calligraphy——Ni Zan s calligraphy and landscape;逸笔草草——倪瓒书法与其山水画
3.New ideas based on tradition Appreciation on Zhang Wenjun s landscape painting;立足于传统基础上的创新——读张文俊教授山水画
3)landscape paintings山水画
1.Fu Baoshi and his Chineselandscape paintings;傅抱石与他的雨景山水画
2.Thelandscape paintings and classic gardens in China both display natural mountains and waters,they are very similar in theories The thesis emphatically compares and analyses in the respect of conception,accepting or rejecting,false or true,perspective,piled up hills and rocks,the method of showing the shades and texture of rocks and mountains by light ink strokes,plant disposition and building山水画与中国古典园林表现的都是自然山水，两者理论上极为相通。
3.Bai Qianshen s books "Fu Shan s Social Intercourse" and "Fu Shan s World",the author proposes some individual views on such issues as the social pictures,Fu Shan slandscape paintings,the ugly writings and Fu Shan s political inclination in his calligraphy.通过研读白谦慎先生《傅山的交往与应酬》和《傅山的世界》两本书,对"应酬作品与‘心画’"、"傅山的山水画"、"关于丑书"、"傅山书法的政治倾向"等问题提出了个人看法。
4)Chinese landscape painting山水画
1.Some thoughts about the modernization of contemporaryChinese landscape painting中国现代山水画的发展历程及其思考
2.By analyzing development ofChinese landscape painting’s history comes to revel the basic making garden law and characteristic of classic gardens in southern china, to stimulate more ideas from others.本文试图通过对中国山水画发展历史的分析来揭示江南古典园林的基本造园规律与特点,以起到抛砖引玉的作用。
3.Wang Zhenzhong sChinese landscape painting art imitates nature and life.王振中的山水画艺术师法自然与生活 ,继承传统 ,是“李家山水”中引人注目的一枝 ,并以自己的艺术个性超越传统而继续奋进。
5)mountains-and-waters painting山水画
1.Chinesemountains-and-waters painting and its theory contains harmonious,inseperable aesthetics conception between human being and nature.中国山水画艺术及其理论包含着人与自然和谐融洽、共生共荣的美学思想。
2.In the creation of Chinesemountains-and-waters painting, "Xujing" is one kind of special psychology which the creator achieved through the clear bosom static worry it is the prerequisite which artistic idea can carry on smoothly.“虚静”是中国山水画创作中创作主体通过澄怀静虑所达到的一种特殊的心理状态，它是艺术构思活动得以顺利进行的前提条件。
3.Mountains-and-waters painting, a distinctive artistic expressive form in Chinese painting, evolved into two different styles, the south and the north, in the period of Tang Dynasty and Song dynasty.山水画在唐宋之际演变成南北两种不同的画风。
6)landscape;land-scape-painting山水画; 山水
延伸阅读
山水画山水画中国画传统画种之一。以自然风景为主要描绘对象。题材有风景佳胜、名山大川、城市园林、村野乡居、舟桥楼宇等。元代以后山水画在画史上占据相当的地位。习惯上，依画法不同分为：勾勒设色、金碧辉煌、富装饰风者称青绿山水或金碧山水；纯粹水墨者为水墨山水或墨笔山水；水墨为主、略施淡赭淡青称浅绛山水或淡着色山水；以水墨勾皴淡色打底且施青绿者为小青绿山水；几无水墨纯以彩色描绘者为没骨山水。沿革中国山水画历史久远，独立的山水画始发于魏晋南北朝之间，文献表明该期山水画理论已趋成熟。至隋唐，展子虔《游春图》展露了隋代或初唐青绿山水之面貌，已见其写实能力之飞跃。盛唐吴道子之山水画简练且写实，李思训之山水画富丽而典雅；张璪及中晚唐画家创水墨山水；敦煌壁画中出现没骨山水；五代北宋则出现荆浩、关仝、董源、巨然、李成、范宽等一批名家，在真实地表现大自然和审美认识上跨入新的阶段。该期荆浩的《笔法记》、郭熙父子的《林泉高致》则较系统地总结了山水画理论。至元代，黄公望、倪瓒、王蒙、吴镇，使山水画走向抒发主观情感、创造多种风格的新途，并使山水画中诗书画的结合趋于完美。明末董其昌简化古人所创山水形象，参照书法法则，使山水画风又一变化。清代山水画一派沿袭董源、巨然和黄公望，变化古法、笔墨；另一派则强调抒发个性，面向自然，将笔墨发挥尽致以传情达意。五代两宋以后山水画的发展变化，产生了数量甚众的名家、流派，理论著述亦趋于完备，从而奠定了近现代山水名家产生的基础。特点中国山水画的特殊传统是创造形神交融、天我合一的意境，即不但表现丰富多彩的自然景物，且往往由有限的取景来表现对整个宇宙自然的由表及里的认识，或于山水之中寄托对于国土家园的感情，因而集中体现了中国人的自然观和社会审美意识，也可以说从侧面间接地反映了社会生活。在形象描绘上，山水画的特点为重宏观、重整体的把握，而非拘泥于细枝末节。对于物象的组织构造，则创造了独特的程式化表现方法，但并非机械照搬，而是灵活地用高度提炼的结构程式来表现物象。在空间的处理方法上，提出高远、平远、深远、阔远等概念，并巧妙加以融合运用。构图上，则较人物画、花鸟画更重“势”与“开合起伏”的表达。“势”为具体形象间的联系，而“开合起伏”为这种联系中的节奏变化。这表现了山水画中在静态的画面和形象组合中对于大自然的内在联系的一种运动的、全面的观察与表现观念。山水画的笔墨技法，较人物、花鸟画丰富多变，各种皴法和点苔法为笔法之要素；而墨法则有染、擦、破墨、积墨等种种手段，笔墨交融，有力地发挥了其表达感情、状物写意的功能。
