本文關(guān)鍵詞：美術(shù)書法雕塑與攝影，由筆耕文化傳播整理發(fā)布。

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美術(shù)書法雕塑與攝影

中國(guó)文學(xué)

中國(guó)近現(xiàn)代史

中國(guó)政治與國(guó)際政治

中國(guó)共產(chǎn)黨

音樂(lè)舞蹈

科學(xué)研究管理

世界歷史

史學(xué)理論

      文革

    Visual Culture in the Cultural Revolution and Graphic Design of the Cultural Revolution Style

    文革視覺(jué)文化與文革風(fēng)格視覺(jué)設(shè)計(jì)

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    Researches on the Female Images in the Painting during the Great Cultural Revolution

    文革繪畫中的女性形象研究

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    The Problem Situations Faced by the Artists during the Great Cultural Revolution

    “文革”期間藝術(shù)家面臨的問(wèn)題情境

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    On the History of the Cultural Revolution Fine Arts

    文革美術(shù)及其歷史的思辨

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    Chapter two is devoted to the seventeen years between the founding of the PRC and the Cultural Revolution.

    第二章寫建國(guó)后至“文革”前的十七年。

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    Visual Culture in the Cultural Revolution and Graphic Design of the Cultural Revolution Style

    文革視覺(jué)文化與文革風(fēng)格視覺(jué)設(shè)計(jì)

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    On the History of the Cultural Revolution Fine Arts

    文革美術(shù)及其歷史的思辨

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    Chapter two is devoted to the seventeen years between the founding of the PRC and the Cultural Revolution.

    第二章寫建國(guó)后至“文革”前的十七年。

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    They are the direct products of the Cultural Revolution, and in turn most pictorially strengthen the will of its power and the hegemony of discourse, relentlessly and excessively utilized as the most convenient instrument of deification.

    它既是“文革”的直接產(chǎn)物,又最為形象地強(qiáng)化了“文革”的權(quán)力意志和話語(yǔ)霸權(quán),被無(wú)情而泛濫地用作造神的最便利的工具。

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    The Cultural Revolution is a special period in the history of contemporary Chinese fine Art and there are many controversies on the artistic phenomena in this period.

    文革美術(shù)，一直以來(lái)是當(dāng)代中國(guó)美術(shù)史上的空白，也是最富有爭(zhēng)議性的美術(shù)話題；

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    Aesthetic Characteristics of Chinese Advertisement Designing Before and After the Culture Revolution

    文革前后中國(guó)廣告設(shè)計(jì)的審美特征

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    The photos were related with the historical situation and the models in the art works in "Culture Revolution".

    這些照片以女性私人性層面生活的缺失從反面揭示了“文革”時(shí)期的攝影與當(dāng)時(shí)的歷史狀況、美術(shù)作品中女性形象的聯(lián)系。

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    Before the Culture Revolution, since the blockade to China lifted by the western counties, it was very hard to comprehensively understand the traditional oil paintings materials and methods.

    文革前，由于西方對(duì)中國(guó)的封鎖，加之我們自己在政治、生活文化上的自我封閉使我們很難全面了解傳統(tǒng)油畫材料和技法。

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    As one of the special art forms, the CTNYP has appeared during the culture revolution period.

    文革十年動(dòng)亂時(shí)期的年畫創(chuàng)作作為特殊時(shí)期的文藝美術(shù)，也出現(xiàn)了一些特別的情況。

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    Chapter three describes the cultural meanings of the Culture Revolution young woman's fine arts image.

    第三章論述文革女青年美術(shù)形象的文化內(nèi)涵。

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    After that, the nation put her emphases on the economical construction, and the life of the people has been significantly improved, all those lead to the new situation and new form of the CTNYP.

    到了文革后的20多年里，情況又發(fā)生了巨大的變化，國(guó)家建設(shè)方向重點(diǎn)向經(jīng)濟(jì)建設(shè)的轉(zhuǎn)移，人們的生活內(nèi)容發(fā)生了豐富改變，這一切都導(dǎo)致了傳統(tǒng)年畫在新時(shí)代出現(xiàn)了新的情況和演變形式。

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    Not only in the inherent spirit of art but also in the art language, Chinese contemporary art in this period was mainly reflecting the ideology of institutional revolution and the art style, learning and chasing after West contemporary art metaphysically.

    這段時(shí)期的中國(guó)當(dāng)代美術(shù)無(wú)論在藝術(shù)的內(nèi)在精神上還是在藝術(shù)語(yǔ)言上都主要是對(duì)文革意識(shí)形態(tài)和藝術(shù)形式的反省和對(duì)西方現(xiàn)當(dāng)代藝術(shù)形而上的學(xué)習(xí)與追逐；

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    Recently, the Fine Arts circle has began to pay attention on this period and made some achievements, such as The History of Paintings in New China, from 1966 to 1976 by Wang mingxian and Yan Shanchun.

    近幾年來(lái)，，美術(shù)界也開始對(duì)文革時(shí)期的美術(shù)現(xiàn)象進(jìn)行關(guān)注，如，王明賢、嚴(yán)善淳的《新中國(guó)美術(shù)圖史1966——1976》。

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    Most of them, however, focus their work only on the study of the Fine Art history at that time, and do not notice the logical relation in its formation from a historical view.

    但大多數(shù)只是進(jìn)行文革時(shí)期的美術(shù)史的研究，沒(méi)有把它放到歷史發(fā)展的時(shí)空中去考察文革美術(shù)形成的歷史邏輯關(guān)系。

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    I want to study the public images and compare the public images of the two times' art and represent the difference of the function, subject matter, style of the public images in the thesis.

    本篇論文想研究的正是圖像這一藝術(shù)本體語(yǔ)言以及公共圖像在中國(guó)文革美術(shù)和中國(guó)當(dāng)代波普藝術(shù)中的比較。 以展示在不同的歷史背景下，公共圖像在功能、題材、風(fēng)格上的不同。

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查詢“文革”譯詞為用戶自定義的雙語(yǔ)例句
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  cultural revolution

Thanks to his translations and his essays on Vietnamese society and culture, he helped open the way to a larger cultural revolution in the 1930s.

The bitterness relates to the ten years of chaos during the Cultural Revolution; the sweetness refers to the opening-up of China under Deng Xiaoping.

Whereas Jiang Qing is demonized in the trial and in public memory, her husband, Mao Zedong (who launched the Cultural Revolution) is variously remembered as a tyrant, god and hero.

A theoretical rethinking of the concept after the Cultural Revolution has resulted in an advance in China's social evolution.

As the "cultural revolution" of the 1960s expanded, Lincoln's prestige fell dramatically.

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  the cultural revolution

The bitterness relates to the ten years of chaos during the Cultural Revolution; the sweetness refers to the opening-up of China under Deng Xiaoping.

Whereas Jiang Qing is demonized in the trial and in public memory, her husband, Mao Zedong (who launched the Cultural Revolution) is variously remembered as a tyrant, god and hero.

A theoretical rethinking of the concept after the Cultural Revolution has resulted in an advance in China's social evolution.

As the "cultural revolution" of the 1960s expanded, Lincoln's prestige fell dramatically.

During the Cultural Revolution, he mobilized the masses against the Party's institutions in the name of Mao Zedong Thought.

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  culture revolution

And because of the Culture Revolution in 1960s-70s, musicians were called literary and art workers.

         The artist, Luo Xiaoping, recently created a team of figures furnishing the works "Era Plaza", which was from childish illusion. It came out by means of doll, which was closely relative to methods of solving problems. These furnished works are worn with the same fashion and various signs of symbolizing international conflicts can be blended together in light of common datum.

            忘記過(guò)去,從零開始,是旅美陶藝家羅小平當(dāng)初赴美后所堅(jiān)持的從藝?yán)砟�。畢�?作為受中國(guó)五千年傳統(tǒng)文化影響下的陶瓷藝術(shù)家,也許適合羅小平藝術(shù)生存的還是本土,但他置已經(jīng)取得的身份、地位、成就于不顧,毅然決然地去了異域。在重新開創(chuàng)藝術(shù)新局面理念的指引下,羅小平經(jīng)過(guò)不懈努力,取得了一系列的成就,包括獲得All Arizona Clay Lxhibition最高獎(jiǎng)和Cortemporaary Art of Tca 11評(píng)委獎(jiǎng),贏得了國(guó)際學(xué)術(shù)界上的認(rèn)肯。正如美國(guó)的陶藝權(quán)威著作家所說(shuō)的:“羅小平是中國(guó)文革之后(改革開放)在國(guó)際上獲得贊譽(yù)和承認(rèn)的少數(shù)成熟的陶藝家之一�！痹谖幕蚧乃囆g(shù)國(guó)家化、多元化發(fā)展的今天,羅小平堪為當(dāng)代藝術(shù)家走出國(guó)門,躋身世界藝壇的一個(gè)范例。 以下刊登的是羅小平將于2003年10月在美國(guó)ASU美術(shù)館展出的一組新作——反映復(fù)雜國(guó)家關(guān)系的《時(shí)代廣場(chǎng)》系列作品。美國(guó)的當(dāng)代著名藝評(píng)家、堪薩斯州立大學(xué)教授格倫·R·布朗博士專門為此撰寫了一篇評(píng)論。

         Liang Shunian was born in the early 20th century, who was quite good at poems, and also a painter of natural scenery. This text is on his distinguished life in accordance with time. When he was young, he learnt after some famous teachers; he experienced" cultural revolution", but he could caught up with the time while maintained himself; Later, He had chance to tracel all over the country to have his best painting, The significant characters of hix painting are common structure, grand imposing and thick dar...

            梁樹年是生于20世紀(jì)初，精通詩(shī)詞的中國(guó)著名山水畫家。本文按時(shí)間順序客觀地記述了梁先生不平凡的“詩(shī)畫”人生。他年輕時(shí)師從名家，博采眾長(zhǎng)；經(jīng)歷文革，卻于緊跟時(shí)代同時(shí)依然故我，贊美當(dāng)下同時(shí)追懷古意；文革后，工作、地位的變化，使他有了更好的創(chuàng)作山水畫的機(jī)會(huì)，并進(jìn)入其藝術(shù)鼎盛期。構(gòu)圖平實(shí)、筆力雄渾、墨色淋漓是其山水畫的顯著特點(diǎn)。梁先生的為人正如他最愛(ài)畫的松一樣、平樸謙和，卻已參透人生、先生的坦然、自信讓我們有理由相信新世紀(jì)的他必將帶給我們新的驚喜。

         As the ending form of the art in the times of Mao Zedong, the Great Cultural Revolution Art occupied a special position in the Chinese art history. The article intended to revert to the problem situations faced by the artists during the Great Cultural Revolution, and in view of this point gradually analyzed out the prominent char- acteristics of the style and the reasons of how the Great Cultural Revolution Art coming to being. The author thought that the arising of any kind of arts was related to not only ...

            作為毛澤東時(shí)代美術(shù)的終結(jié)形態(tài)“,文革”美術(shù)在中國(guó)美術(shù)史中占有十分特殊的位置。本文旨在還原“文革”時(shí)期創(chuàng)作者所面臨的問(wèn)題情境,并由此逐步解析“文革”美術(shù)的鮮明風(fēng)格特征及其產(chǎn)生的原因。作者認(rèn)為:任何藝術(shù)現(xiàn)象的產(chǎn)生,不僅與藝術(shù)自身發(fā)展的內(nèi)在邏輯有關(guān),同時(shí)還深受外部社會(huì)環(huán)境的影響。“文革”美術(shù)就是典型的由獨(dú)特社會(huì)環(huán)境孕生的獨(dú)特藝術(shù)現(xiàn)象。這也是作者寫作本文的基本立場(chǎng)和方法。

  本文關(guān)鍵詞：美術(shù)書法雕塑與攝影，由筆耕文化傳播整理發(fā)布。