董其昌 的英文怎麼說

中文拼音 [dǒngqíchāng]
董其昌 英文
dong qichang
  • 董 : Ⅰ動詞[書面語] （監督管理） direct; superintend; supervise Ⅱ名詞1. （董事） director; trustee 2. （姓氏） a surname
  • 其 : 其名詞[書面語] （周年） anniversary
  • 昌 : Ⅰ形容詞（興旺; 興盛） prosperous; flourishingⅡ名詞（姓氏） a surname
  1. This paper aims to be an academic discussion of the formative process of the concept " dong yuan " from the following four aspects : the conditions of the existed historical texts, the regional transformation of evaluation criteria, the special meeting between dong qichang and " dong yuan ", and the process of establishing the taste and main lines of history of painting

    摘要本文討論了「董源」概念的歷史生成的主要過程，通過已有的歷史文本的條件、品評標準的地域轉變、董其昌與「董源」的特殊際遇與趣味和畫史主線的確立過程等四個環節展開了全新的學術討論。
  2. In the song dynasty monk qing su held jiuhua poets association, and monk xi tan compiled jiuhua collection of poems. many famous poets and artists have visited jiuhua mountain, including li bai, liu yuxi, du mu, mei yaochen, wang anshi, wen tianxiang, tang xianzu, zhang daqian. some of their authentic works of painting and calligraphy remain today, and are preserved in jiuhua museum of buddhism relics

    此後劉禹錫杜牧薩都刺梅堯臣王安石周必大文天祥王陽明湯顯祖董其昌袁枚魏源康有為張大千等歷代大詩人文學家畫家相繼來游，留有不少佳作真足跡，有些至今還保存在九華山佛教文物館。
  3. A new and equally exciting era then emerged during the transition to the qing, in which orthodoxy and individualism co - existed within the literati tradition : the orthodox followed the tenets elaborated by the ming artist dong qichang 1555 - 1636, while the individualists escaped into a private world of eccentricity, thus helping to create new horizons in painting during the early qing period

    遞至清初，強調傳統的正統派與獨創門庭的畫家並起，創造了一個嶄新的局面。正統派畫家追隨明末董其昌1555 - 1636所設立的理論，而獨立畫家則遁入心靈世界，開創繪畫的新領域。
  4. On dong qi - chang ' s drawing and the thought of dhyana

    董其昌的繪畫筆墨語言
  5. Dong qichang and the songjiang school of painting

    董其昌與松江畫派
  6. Classic elegance detached character the beauty of quot; brush and ink quot; in dong qi - chang quot; s painting

    董其昌繪畫中的筆墨之美
  7. This essay, with the materials concerned, makes a further research into " dong qi - chang ' s statements "

    文章結合有關材料，對「董其昌說」作了進一步探考。
  8. We avoid blindly repeating formulae, or being constricted in our choice of brush - modes, colours or themes by external considerations such as their reputation in the eyes of tung ch i - ch ang the late ming critic or anyone else. whatever makes a moving, effective picture, we will adopt

    我們固然要避免重復的模式，同時亦避免受到外在考慮因素的影響譬如董其昌（晚明的畫評家）或其他人的主觀言論，而使自己緊縮在他人所厘訂的范圍之中。
  9. We avoid blindly repeating formulae, or being constricted in our choice of brush - modes, colours or themes by external considerations such as their reputation in the eyes of tung ch i - ch ang ( the late ming critic ) or anyone else. whatever makes a moving, effective picture, we will adopt

    我們固然要避免重復的模式，同時亦避免受到外在考慮因素的影響譬如董其昌（晚明的畫評家）或其他人的主觀言論，而使自己緊縮在他人所厘訂的范圍之中。
  10. Unlike dong qichang, li rihua did not make such clear statements encapsulating his views on art history, but from his works on the appreciation and evaluation of calligraphy and painting, such as weishui - xian riji ( diary of the water taster ' s studio ) and liuyan - zhai biji ( notes from liuyan studio ), we still can discern a systematic view in his grasp and understanding

    摘要明代書畫家、收藏家李日華沒有象董其昌那樣用明晰的語句來概述他對繪畫史的整體認識，但從李日華《味水軒日記》 、 《六研齋筆記》等著作對繪畫作品的品鑒中，仍可看到他對繪畫史有一個自成體系的把握和理解。
  11. The early qing dynasty saw the emergence of a group of artists who focused their efforts on revitalizing the tradition based on the theory of the northern and southern schools of painting advocated by dong qichang ( 1555 - 1636 ) of the late ming dynasty. in his exaltation of the past masters, dong considered the painters of the southern school exemplary models for emulation, and his invocation of orthodoxy and glorification of antiquity laid the foundation for the " six masters " to gain the ascendancy

    中國繪畫的發展至清代初期時涌現了一批以仿古為創作核心的畫家，他們主要繼承了明代晚期由董其昌（ 1555 - 1636 ）所提倡的南北宗論，將過去的畫家劃分成兩大陣營，其中奉南宗為繪畫正脈，並以之為仿效對象。
  12. The early qing dynasty saw the emergence of a group of artists who focused their efforts on revitalizing the tradition based on the theory of the northern and southern schools of painting advocated by dong qichang 1555 - 1636 of the late ming dynasty. in his exaltation of the past masters, dong considered the painters of the southern school exemplary models for emulation, and his invocation of orthodoxy and glorification of antiquity laid the foundation for the " six masters " to gain the ascendancy

    中國繪畫的發展至清代初期時涌現了一批以仿古為創作核心的畫家，他們主要繼承了明代晚期由董其昌1555 - 1636所提倡的南北宗論，將過去的畫家劃分成兩大陣營，其中奉南宗為繪畫正脈，並以之為仿效對象。
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