網(wǎng)絡(luò)釋義

用法例句

Why have "Yi" and "Yuan" become the ultimate style of Chinese painting? Xu Fuguan made a Xin Xing Xue study on this problem and accounted that it was the practice of Zhuanzi spirit in painting.

“逸”和“遠”作為中國繪畫的最高風(fēng)格是如何可能的?徐復(fù)觀通過對此問題的心性學(xué)考察,認(rèn)為這是莊學(xué)精神逐步在繪畫中落實的結(jié)果。

On the basis of full documentary information,this thesis studies the original meaning of the word "distance",and then analyzes the influences of metaphysics as well as criticism on persons in Wei and Jin Dynasties to the nature and connotation of "distance",so as to discover the developing process of the word "distance" from the area of semantics to that of aesthetics.

中國傳統(tǒng)山水畫的誕生與"遠"觀念有著緊密的淵源和聯(lián)系,從語義學(xué)、哲學(xué)、美學(xué)以及畫學(xué)的角度逐漸展開,試圖探究"遠"觀念影響下山水畫的產(chǎn)生的內(nèi)在精神因素。

Wang Yuyang posed an aesthetics program whose center is "Distance" in the first period.

第一個時期以作者二十四歲時的《丙申詩序》為標(biāo)志,提出了以"遠"字為中心的美學(xué)綱領(lǐng),可以稱為萌芽階段。

On the basis of full documentary information, this thesis studies the original meaning of the word "distance", and then analyzes the influences of metaphysics as well as criticism on persons in Wei and Jin Dynasties to the nature and connotation of "distance", so as to discover the developing process of the word "distance" from the area of semantics to that of aesthetics.

本文在文獻材料基礎(chǔ)上采取融通綜合的方法，探究了“遠”的本義，分析了魏晉玄學(xué)、人物品藻對其性質(zhì)、內(nèi)涵的影響，揭示了“遠”從語義學(xué)范疇轉(zhuǎn)變到美學(xué)范疇的發(fā)展歷程。