国产激情成人在线,日本人浓密bbw,日韩中文字幕一区

Thomas Pauken II
, B.A. from Thomas More College of Liberal Arts (1999)
BEIJING: Chinese art is lovely and there’s a sense of the delicate, such as the porcelain including the vases and ceramics. Chinese ancient art depicts intricate details of scenery.
When you visit Asian art museums, there’s an air of elegance, you feel captivated by their paintings of nature and old-town villages. Chinese artists love to paint a broad picture without focusing on one of the details.
They will paint villages as if they are standing high on a mountain overlooking the scenery.
When people are drawn there’s a sense of normal village life, people going about their daily activities and they do not pose. The artist is the neutral observer from a distance capturing the real person or community of villagers as they walk, talk and work.
The people drawn were not looking at the painter, nor did they seem aware a painter was watching and drawing them. Whereas in much of Renaissance art in Europe, the painters loved to depict people in poses and highlight their personal character traits.
Hence, we discover significant cultural differences between Westerners and the Chinese. Europeans and Americans think from the aspect of individual liberties and they pride themselves on being different or at the very least assuming they are different even if they happen to be followers.
Accordingly, European painters who sold paintings for a high price had become famous. The painter was expected to draw other people or scenery but the end result - the painter often turned into a person who craved fame for himself more so than drawing beauty and obxts that captured his attention.
Meanwhile most Chinese painters did not care for fame and often lived like hermits worried that if they had become wealthy or popular they would get distracted from pursuing their artistic ambitions.
They cared about art for art’s sake and refused to let patrons or others change their spirit. Hence, you see with their art they tried to be observers and would not place themselves in their paintings.
Meanwhile, my wife has a friend, who married a man who’s father was a famous painter in China. A few years ago, the artist died and his son inherited the art collection and they gave one of the pieces to me as a gift.
I have it placed on my desk and look at it everyday. The painting depicts a mountain landscape with a small home sitting atop one of the mountains, while the weather is foggy and overcast.
You see few details in the painting but know you are seeing mountains in a fog. The sense of blurriness conveys a feeling that nothing in life is certain and that change keeps happening.
Anyway, you can learn more about Chinese ancient artwork from World History. The lix is here:
As reported by World History:
“Landscape painting had been around as long as artists had, but the genre really took off during the Tang dynasty when artists became much more concerned with humanity's place in nature. Typically, small human figures guide the viewer through a panoramic landscape of mountains and rivers in Tang paintings. It should be no surprise that mountains and water dominated landscape painting as the very word in Chinese for landscape translates literally as “mountain-and-water”. Trees and rocks are also featured and the whole scene is usually meant to capture a particular season of the year. Colours were limited in use, either everything in various shades of a single colour (illustrating the roots in calligraphy) or two colours combined, usually blues and greens.”
Art gives praise to beauty and Chinese art saw beauty in landscapes.

北京：中國的藝術(shù)很可愛，能給人一種精致的感覺，比如瓷器，包括花瓶和陶瓷。中國古代的藝術(shù)描繪了復(fù)雜的風(fēng)景細(xì)節(jié)。
當(dāng)你參觀亞洲的藝術(shù)博物館時(shí)，你會感受到一種優(yōu)雅的氛圍，你會被他們描繪的自然和古老的城鎮(zhèn)村莊所吸引。中國藝術(shù)家喜歡描繪大略的畫面，而不會關(guān)注其中的細(xì)節(jié)。
他們會把村莊描繪成好像站在山頂上俯瞰到的樣子。
當(dāng)人被畫出來時(shí)，你會有一種正常的鄉(xiāng)村生活的感覺，人們在進(jìn)行日?；顒?dòng)，他們不會擺姿勢。藝術(shù)家只是一個(gè)中立的觀察者，他從遠(yuǎn)處捕捉真實(shí)的人或村民在社區(qū)內(nèi)的行走、交談和工作的畫面。
畫中的人不會看著畫家，他們似乎也沒有意識到有畫家在畫他們。而在歐洲文藝復(fù)興時(shí)期的大部分藝術(shù)作品中，畫家們喜歡描繪人物的姿勢，突出人物的個(gè)性特征。
因此，我們發(fā)現(xiàn)西方人和中國人之間存在著顯著的文化差異。歐洲人和美國人從個(gè)人自由的角度思考，他們?yōu)樽约号c眾不同而自豪，或者至少假設(shè)自己與眾不同，即使他們碰巧只是追隨者。
因此，那些畫作賣得昂貴的歐洲畫家出了名。畫家本應(yīng)專注于畫其他人或風(fēng)景，但最終的結(jié)果是——畫家往往變成了一個(gè)更渴望名利的人，而不是去畫那些吸引他注意力的美景和物體。
與此同時(shí)，大多數(shù)中國畫家并不在意名氣，他們常常過著隱士般的生活，他們擔(dān)心如果他們變得富有或受歡迎，他們會在追求藝術(shù)抱負(fù)的時(shí)候分心。
他們?yōu)榱怂囆g(shù)而關(guān)心藝術(shù)，他們拒絕讓贊助人或其他人改變他們的志向。因此，你可以看到，在他們的藝術(shù)中，他們試圖成為觀察者，而不會把自己放在作品中。
我妻子有一個(gè)朋友，她嫁給了一個(gè)父親是中國著名畫家的男人。幾年前，這位藝術(shù)家去世了，他的兒子繼承了他的藝術(shù)收藏品，他們把其中一件作為禮物送給了我。
我把它放在桌子上，每天都會看一看。那幅畫描繪了一幅山景，一座小房子坐落在其中一座山上，而天氣是霧蒙蒙的。
你在畫中看不到什么細(xì)節(jié)，但你知道你看到的是霧中的群山。這種模糊感傳達(dá)了一種感覺，即生活中沒有什么是確定的，變化在不斷發(fā)生。
無論如何，你可以從《世界歷史》中了解更多關(guān)于中國古代藝術(shù)品的知識。鏈接如下：

據(jù)《世界歷史》寫道：
“山水畫與藝術(shù)家的存在時(shí)間一樣長，但在唐代，當(dāng)藝術(shù)家更加關(guān)注人類在自然界中的地位時(shí)，這種流派才真正興起。通常，在唐代繪畫中，小人物會引導(dǎo)觀賞者欣賞山水全景。因此，山水畫的出現(xiàn)也就不足為奇了。
在中文中，山水的字面意思是“山和水”，因此山和水在山水畫中占據(jù)著主導(dǎo)地位。樹木和巖石也被描繪了出來，整個(gè)場景通常是為了捕捉一年中的某個(gè)特定的季節(jié)。顏色的使用會受到限制，要么是單一顏色的各種色調(diào)（來源于書法），要么是兩種顏色的組合，通常是藍(lán)色和綠色?！?br /> 藝術(shù)會贊美美（Art gives praise to beauty），中國的藝術(shù)是在山水中看到美。

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Edward Logan
, Former graduate student in China Studies, Johns Hopkins SAIS
Originally Answered: What are some aesthetics of China?
There's a ton to be said on this topic, but I can at least mention a few well-known paintings and how they relate to literature, poetry, aesthetics, etc.
While much of Chinese art and literature is influenced by Buddhism, there is much that is nonetheless distinctively Chinese. In art at least, one interesting thing to note is the power of nature and the distrust of the human eye (in contrast to Western art). Thus you'll notice in a lot of paintings that the perspective seems to be "floating" and it is as if you are the wind flying around while viewing the scene, an otherwise impossible perspective (in Chinese art there are low, level, and high perspectives). Oftentimes trees, humans, and mountains are in unrealistic proportions, and mists are used to suggest a mysterious, unreachable distance that is not otherwise suggested by the actual height of the mountains.
Li Zhaodao's early 8th century Emperor Minghuang's Journey into Shu
Another concept to note with aesthetics is the lack of emphasis placed on time and effort, but more on mastery of the brush and the ability to convey much with simplicity. A high level of abstraction relative to Western art is also common. The following work likely took only a few minutes to paint, but demonstrates extreme virtuosity.
Liang Kai's early 13th century Poet Strolling by a Marshy Bank
The next work demonstrates the value of abstraction through the impression of a certain landscape created via a standard set of brush strokes for the trees and light ink washes to imply water. Consider also that the painting depicts six friends of the artist, but as trees, rather than as human beings.
Ni Zan's 1345 Six Gentlemen
With the next painting, consider the shape of the sheep and goat. They form a yin-yang symbol, a reference that requires basic knowledge of Chinese culture to understand. The word "yang" is also a pun for sheep, a nod to Chinese poetry where such wordplay would be common.
Zhao Mengfu's c.1300 Sheep and Goat
A final example to demonstrate Chinese aesthetics depicts a classic scene of women preparing silk. Here there is an even more explicit reference to poetry in art, with the women pounding silk, a common poetic trope for a woman missing a man. You might also notice the girl's fan depicts mandarin ducks, a Chinese symbol for fidelity.
Emperor Huizong's early 12th century Court Ladies Preparing Newly Woven Silk

關(guān)于這個(gè)話題我有很多話要說，我至少可以提到一些著名的畫作，以及它們與文學(xué)、詩歌、美學(xué)等的關(guān)系。
雖然中國的藝術(shù)和文學(xué)大多受到佛教的影響，但仍有許多具有中國特色的藝術(shù)和文學(xué)作品。至少在藝術(shù)方面，有一件有趣的事情值得注意，那就是自然的力量和對人眼的不信任（與西方藝術(shù)相比）。因此，你會注意到，在許多繪畫作品中，視角似乎是“浮動(dòng)”的，就好像在觀看畫作時(shí)你是四處飛舞的風(fēng)，這是一種不可能的透視法（在中國藝術(shù)中，透視有低、平、高三種）。通常情況下，樹木、人類和山脈的比例都是不切實(shí)際的，霧氣被用來表示一種神秘的、無法到達(dá)的距離，而山脈的實(shí)際高度并沒有暗示這種距離。
李昭道畫于八世紀(jì)初的《明皇幸蜀圖》

另一個(gè)需要注意的美學(xué)概念是不強(qiáng)調(diào)畫畫時(shí)花費(fèi)的時(shí)間和精力，而更多的是強(qiáng)調(diào)對畫筆的掌握和簡單表達(dá)的能力，相對于西方藝術(shù)的高度抽象也很常見。下面這幅作品可能只花了幾分鐘就完成了，但表現(xiàn)出了極高的技巧。
梁楷畫于13世紀(jì)早期的《澤畔行吟圖》

下一部作品通過一套標(biāo)準(zhǔn)的樹木筆觸和淡淡的水墨來暗示水，從而創(chuàng)造出對特定景觀的印象來展示抽象的價(jià)值。我們還要考慮到這幅畫描繪的是藝術(shù)家的六個(gè)朋友，但他描繪的是樹木，而不是人類。
倪贊畫于1345年的《六君子》
圖略
下一幅畫，綿羊和山羊的形狀構(gòu)成了一個(gè)陰陽符號，這需要了解中國文化的基本知識才能理解。“陽”這個(gè)詞也是羊的雙關(guān)語，是對中國詩歌的一種認(rèn)同，因?yàn)樵谥袊脑姼柚?，這種文字游戲很常見。
趙孟頫畫于約1300年的《二羊圖》

最后一個(gè)展示中國美學(xué)的例子描繪了一個(gè)女性準(zhǔn)備絲綢的經(jīng)典場景，這里更明確地提到了藝術(shù)中的詩歌，比如婦女捶打絲綢，這是一個(gè)女人想念男人的常見的詩意比喻。您可能還會注意到女孩的扇子上畫著鴛鴦，這在中國是忠誠的象征。
宋徽宗畫于12世紀(jì)初的《搗練圖》

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Godfree Roberts
, Ed.D. Education & Geopolitics, University of Massachusetts, Amherst (1973)，Lives in Chiang Mai, Thailand
Chinese aesthetics are as different from our own as other Chinese cultural expressions. This make them great fun for the aesthetically broadminded, because they’re often right in front of your eyes but, because Chinese designers see things a little differently from us.
Study this photograph for a minute. What do you notice about its composition? How its color palette relates to its subject. The relationship of the masses in the centre of the image. The aesthetic relationship between the two structures: the launch gantry and the rocket:

中國美學(xué)與其他中國文化表現(xiàn)形式一樣，不同于我們自己的美學(xué)，這讓他們對那些在審美上持開放態(tài)度的人來說很有意思，因?yàn)樗鼈兘?jīng)常會出現(xiàn)在你眼前，也因?yàn)橹袊O(shè)計(jì)師對事物的看法與我們略有不同。
你可以研究一下這張照片。你是否注意到了它的組合方式？它的色調(diào)與主題的關(guān)系，圖像中心的周邊關(guān)系，以及兩個(gè)結(jié)構(gòu)：發(fā)射架和火箭之間的美學(xué)關(guān)系？
原創(chuàng)翻譯：龍騰網(wǎng) http://nxnpts.cn 轉(zhuǎn)載請注明出處

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Profile photo for Chier Hu
Chier Hu
, A native of China, who has worked in a Chinese IT company.
Sometimes when we Chinese see some pictures, we think they are very "Chinese style".
This is because they all conform to the beauty of traditional Chinese patterns. Our ancestors created a whole set of aesthetic ideas by using the methods of symmetry, balance, division, overlap, connection, combination and so on.
These ideas have long been integrated into our traditional culture, into the bones and blood of our Chinese people, and continue to have a profound impact in China and even around the world.
Do you think the following patterns are beautiful?
Picture source: Lotus Mandala. Chinese. | Mandala art
Picture source: Emblem
Picture source: Examples of Chinese Ornament (1867) | PICRYL collections
Picture source: Stock Photo - Engraving of Chinese decorative art, from the book 'Examples of Chinese ornament sexted from obxts in the South Kensington museum and other collections' by Jones Owen
Picture source: temporary tattoo
Picture source: https://www.duitang.com/blog/?id=520994968
Picture source: Carp Painting Stock Illustrations – 2,398 Carp Painting Stock Illustrations, Vectors & Clipart - Dreamstime
Picture source: #Koreantraditionalpattern Instagram posts - Gramho.com
Picture source: https://www.etsy.com/market/koi_fish_art_design
Picture source:
Picture source: Totem
Picture source: Totem
Picture source: Chinese Window PNG clipart images free download
Picture source:
Picture source: Japanese carp
This is a kind of "beauty of artistic conception".
As long as you see them, you can think of something.
Of course, in fact, there are many traditional ornaments on the RMB, such as Cloudscape (cloud and thunder pattern), Rolling Tendril Pattern, fret/Palindrome, stripe ….

有時(shí)當(dāng)我們中國人看到一些圖片時(shí)，我們會認(rèn)為它們很“中國風(fēng)”。
這是因?yàn)樗鼈兌挤现袊鴤鹘y(tǒng)圖案的美感。我們的祖先運(yùn)用對稱、平衡、分割、重疊、連接、組合等方法，創(chuàng)造了一整套美學(xué)思想。
這些思想早已融入了我們的傳統(tǒng)文化，融入了我們中國人民的骨肉和血液之中，并繼續(xù)在中國乃至全世界產(chǎn)生深遠(yuǎn)的影響。
你認(rèn)為下面的圖案漂亮嗎？
圖片來源：蓮花曼陀羅
圖略
圖片來源：會徽
圖略
圖片來源：中國飾品實(shí)例（1867）| PICRYL收藏