藝術自由 的英文怎麼說

中文拼音 [yìshùzìyóu]
藝術自由 英文
free of art
  • 藝 : Ⅰ名詞1 （技能; 技術） skill 2 （藝術） art 3 [書面語] （準則） norm; standard; criterion4 [書面語...
  • 術 : 術名詞1. （技藝; 技術; 學術） art; skill; technique 2. （方法; 策略） method; tactics 3. （姓氏） a surname
  • 自 : Ⅰ代詞（自己） self; oneself; one s own Ⅱ副詞（自然;當然） certainly; of course; naturally; willin...
  • 由 : causereason
  • 藝術 : 1. （文藝） art 2. （富有創造性的方法） skill; art; craft 3. （形狀獨特而美觀的） conforming to good taste
  • 自由 : freedomliberty
  1. Add to this the timidity with which unschooled artisans ? originally trained as stonemasons, carpenters, or cabinetmakers ? attacked the medium from which they were to make their images, and one understands more fully the development of sculpture made in the united states in the late eighteenth century

    由於未受學校教育的藝術家們的膽卻，他們通常被訓練成石匠、木匠或傢具師，抨擊了在媒體中他們以前造就的自我形象和一個理解，這個理解就是雕塑的發展在十八世紀晚期的美國更加完全的發生了。
  2. Bunraku is a kind of performing art in which puppets are manipulated by puppeteers on the stage, while joruri chanters and shamisen sit on stage to the audience s right, singing and narrating the puppet performance

    今次也不例外，電影的靈感應當來自日本傳統藝術木偶戲bunraku 。這種藝術主要由一班木偶師負責控制木偶，說書人旁述故事和唱歌解畫。
  3. Li lei chinese avant - courier poet present his own magnum opus of poesy ? rock - and - roll with photography by must be contemporary art center for the first time

    中國先鋒詩人李磊將自己的詩歌代表作?搖滾首次以攝影的方式由瑪斯德比當代藝術中心推出。
  4. Demonstrating the entire process involved in making a relief print, the artist in this programme discusses the aesthetic characteristics related to this printing method

    由版畫家親自向您示範製作色彩斑斕的凸版畫，包括木版畫橡膠版畫及講解其藝術特色。
  5. Initially conceived in 2000 by the song company s artistic director, roland peelman, and hong kong composer, chan hing - yan, six hermits evolved into an international collaboration between the song company from australia, hong kong s chinese music virtuosi, and seven composers from europe, asia, north america, and the pacific region. drawing on the lives of the " seven sages of the bamboo grove, " the work portrays the antics and musings of six of these legendary chinese figures

    "六隱士"的創作靈感源自魏晉時期220 - 420 "竹林七賢"的生平與著作，以其中六人既荒誕又富哲理的事跡為藍本，整套作品由2000年開始醞釀，香港作曲家陳慶恩與歌樂坊的藝術總監roland peelman一起構思，后來發展成澳洲的歌樂坊香港的鳴樂坊與七位分別來自歐美及亞太區的作曲家的國際性合作。
  6. Because dunhuang grotto locates the gobi area having atrocious weather, muras are threatened by many diseases and tum to be very frail

    然而，由於自然風化的破壞以及重大自然災害的威脅，這個人類藝術的寶庫變得非常脆弱。
  7. From tango to samba, from latin classics to bossa nova, and from salsa dance parties to theatre productions adapted from latin american literature, the festival promises programmes for all

    由探戈到森巴，經典拉丁音樂到波薩露華，薩爾薩派對到改編自拉美文學的戲劇，藝術節將會提供多元化的節目，讓觀眾各適其適。
  8. It will be seen that, except where there is an irresistible suggestion conveyed by the surface meaning, that which is extracted from the trumps major by the divinatory art is at once artificial and arbitrary, as it seems to me, in the highest degree

    由此可見，除了牌面所告知不可忽視的建議外，像是我自己解牌程度較高時，從占卜藝術中，我可以馬上隨心所欲且偏向人為的說出自己的解釋。
  9. During a fieldtrip to bali last year, the performance by the university gamelan deeply impressed mr a a gde agung bharata, the mayor of the ginyar regency and a patron of the arts, and presented a painting of sarasvati, the hindu goddess of art and learning, as a token of appreciation

    是次演出得到藝術好愛者，巴里ginyarregency的長官aagdeagungbharata先生贊賞，並將一幅由來自batuanvillage的畫家subrata所繪畫的印度女神sarasvati的畫像贈送給合奏團，以答謝合奏團精湛的演出
  10. Abstract : according to the unearhed porcelain from yao county kiln, from the design point of view, it analyzes the model and decoration style and features of yan china. and it points out that, because of the history and geographical position, the individual choice and trend of yao china have formed the national character and style of chinese traditional china art

    文摘:從設計學的角度分析了耀州窯出土陶瓷造型和裝飾的藝術風格及特點，認為由於歷史文化的積淀和富於民俗的地理位置，耀瓷的造型與裝飾形成了獨自的選擇與傾向，從而構成了中國傳統陶瓷藝術鮮明的民族特徵和氣派。
  11. The focus of the exhibition beautiful strangers reveals what artists believe in, or have an idea of, what the unknown space is all about through their art pieces ; for example solid bubbles, osseous fliers and cream paper weight etc. the exhibition consists of route maps created by four local artists, in which each individual comes up with artworks of great creativity and imagination from their own perspectives

    是次展覽的主題《新物》 ，就是指藝術家對未知范圍的好奇或疑問下的具體產物；例如堅固泡沫、骨質飛行物和膏狀紙鎮等。由4位年輕的本地藝術家，各自以不同媒介去創造他們的私人路線圖，由直與曲的線條引領到未知的角度。
  12. How to represent people s dignity and confidence and how to reflect the real life and the emotions and desires of common people became the subject matter of expression for many holland artists. they turned their attention to the colorful world and began to painted the daily life of the people and the natural scenery

    由於荷蘭人是通過英勇頑強的斗爭而獲得勝利的，他們能夠充分認識到自身的能力與價值，因此如何表現人的自尊心、自信心，如何反映人的現實生活、人的情感與願望，就成為荷蘭畫派多數藝術家關心的主要課題。
  13. Catalogue of an exhibition held at the art museum, the chinese university of hong kong from 10 december 2005 to 12 february 2006. threr are around 100 art works of chen hongshou ( 1768 - 1822 ), including his paintings, calligraphy, seals and teapots, assembled from the collections of the shanghai museum, the nanjing museum and the art museum, the chinese university of hong kong, and with supplements from public and private collections in hong kong

    展覽圖錄。展覽於2005年12月10日至2006年2月12日在文物館舉行，展品為陳鴻壽（ 1768 - 1822 ）各方面的藝術創作，包括書法、繪畫、印章及紫砂壺。該展覽由上海博物館、南京博物院及香港中文大學文物館合辦，展品精選自三館藏品，輔以香港公私收藏，蔚為大觀。
  14. There are three places where the poems of xie lingyun be affected deeply by the " book of chu " : to develop its own preface from using their words simply to absorbing their out - words ; to learn from the cairn indicating patterns of the " book of song " and inprove it ; to learn from the " book of chu " and set up his own artistic form and style

    摘要謝靈運詩受《詩經》 、 《楚辭》的深刻影響，表現在三方面：由簡單襲用二者詞語到自覺吸納熔鑄其意象，獨成面貌；在繼承了《詩經》含蓄蘊藉表情方式基礎上，又有所拓展；借鑒《楚辭》的意境創造，結合自己的創作實踐，在把握山水詩藝術意境創造規律的基礎上，自鑄詩境。
  15. In this case, it is necessary for us to treat art as cultural contact between subjects, to restore the abstract concept of " art " in traditional aethetics to the transmission and sustenance of aesthetic information under specific cultural contexts, to study the generation of " artistic conventions " in different times, and then to display the existencial forms of art in culture by connecting art with real life in a " bottom - up " description

    於是我們必然要把藝術也視作由主體人所參與的文化交往活動，將傳統美學中抽象的「藝術」概念還原為審美信息在特定具體的文化情景中的傳遞與持存，研究「藝術慣例」基於不同時代的生成過程，從而在與生活實踐相聯系的「自下而上」式的描述中凸顯藝術在文化中的生存樣態。
  16. To ms. chen, the most significant characteristic displayed in the supreme masters paintings is letting go. her main artistic trait is a bold, intense style derived from innocence. she uses colors daringly and unpretentiously, revealing her freedom from artificial traits and frills, and indicating her great joy in painting

    她說，無上師的畫作所顯示的最大特色是放，其藝術特色是一種由單純而發展出來的強烈與大膽的風格，畫作的用色極其大膽，不造作，純粹度很高，沒有斧鑿的痕跡，毫不矯飾，顯示無上師作畫自得其樂。
  17. In this paper, traits of post - modernism and cultural studies in ralph ellison ' s texts are discussed at length with jacques derrida ' s " white myth " and roland barthes ' " demystification " in order to touch upon two core ideas : one is ralph ellison ' s anatomy of black / white binary opposition in western myth and rites, and the other is ancestral presence in ellison ' s writing, so as to bring to light his literary originality and foreknowledge

    摘要美國黑人作家拉爾夫?埃利森《無形人》的中心隱喻「無形性」 ，是作者對美國黑人文化及其價值觀長期思考的結果，這一隱喻標志著美國黑人文學創作由自然主義抗議小說，朝注重藝術美學的現代小說轉向。
  18. Tang comments on the works of most of them and offers his original views, which results in his proposal of " he liu " ( confluent ) poetry

    唐?對他們大多數人的作品進行了評介，提出了自己獨特的看法，而且由此產生了「合流」詩的藝術主張。
  19. The summer palace landscape, dominated mainly by longevity hill and kunming lake, covers an area of 2. 9 square kilometers, three quarters of which is under water

    頤和園集傳統造園藝術之大成，借景周圍的山水環境，飽含中國皇家園林的恢弘富麗氣勢，又充滿自然之趣，高度體現了"雖由人作，宛自天開"的造園準則。
  20. Following the examination, the author analyzes factors contribute to the formation of these characteristics, mainly from religious function, historical influence, geographic position and physiognomy. in the end, the essay brings visual impact of the taoist temple into consideration and explores it from the perspective of environmental art. the author strives to find a more feasible and practical environmental designing project, which is, at the same time, aesthetically more valuable

    由此筆者將從道教的源起、發展，道教建築的源流，四川地區道教宮觀建築的實物以及道教美學的主要觀念入手，通過對建福宮現狀的考察，分析其特殊的宗教活動功能、歷史性文化建築和自然地勢地貌以及景觀狀況等方面的要素，然後再針對場所環境藝術設計的視覺感等方面的要求，力圖設計一套更為合理、實用而且更加具備美學意義的環境藝術設計方案。
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