1) Empty and solid
虚实
1.
They give a realistic feel of landscape by rich hue in exploring the application of empty and solid strokes.
画家在探索虚实之中,以色彩的浓郁来表现山水景物的真正质感。
2.
It strongly suggests that both form and spirit be sketched, that artistic conception be created, that brush strokes and ink be vigorous and harmonious, and that empty and solid be properly arranged.
“画见大象，不为斩刻之形”是郭熙对山水画创作提出的一个美学命题，它要求山水画“体道”，表现自然对象全幅生动的气韵，强调形神兼备，创造意境，技法上要求笔墨浑融，虚实结合，从而表现大自然的生命精神，创造山水画的美。
2) false or true
虚实
1.
Brief discussion on false or true,space and time of building;
浅谈建筑的虚实及空间和时间
2.
Starting from such correct knowledge as the false or true expression of poetic wordage,the poefic reference to "that" and "this",etc.
从对诗文表达的虚实、诗意指向的“彼”“此”等方面的认识出发,在确认其结构倒装的基础上,辨明其中所见、所想,厘清其中感情的流向,进而正确地把握诗意,应该是:因光不度又怨鸿雁长飞相思难传,看水成纹而想鱼龙潜跃尺素在望。
3.
It had new expression of space language; it defined space from the false or true situation; it explained space from the perspective of abstract geometric mouldmaking.
二十世纪,雕塑空间语言获得了极大的自由,它改变了古典雕塑单一的空间内涵,注入了新的表现语言,从虚实相生的境界来诠释空间,从抽象几何造型的角度来理解空间,像东方美学一样从线条的塑造来表现空间,从运动的角度来展现空间,雕塑显现出巨大的视觉魅力,呈现出丰富的语言样式。
3) deficiency and excess
虚实
1.
The analysis of deficiency and excess in “Canon of Medicine” was brushed up.
重温《内经》对“虚实”的分析研究 ,从“虚实”的概念、辨证、转化、治则四个方面论述 ,以指导临床。
2.
The concepts of yin, yang, deficiency and excess in Taiji share the same origin with those in TCM, which derive from the philosophical idea of yin-yang in the Canon of Internal Medicine.
太极拳之阴阳虚实与中医的阴阳虚实均源于《内经》的阴阳这一哲学概念。
3.
Differentiation of cold,hot,deficiency and excess of diseases is the elementary grasp of disease condition and physical reaction,the basis of making a prescription and administering drugs,and it is also an important issue to determine the stage and level of disease.
寒热虚实的辨别是对疾病状态和机体反应的基本把握,是临证遣方用药的根本所在,也是在确定疾病的阶段和层次时不能不考虑的问题;寒热辨证主要辨析疾病的性质,虚实辨证主要是辨析正邪之盛衰;寒热中有病性的转化,虚实间示病情的进退,疾病的递进演变有阶段和层次,在每个不同的阶段和层次上都交织着寒热与虚实的问题,寒热与虚实应是相互统一的。
4) actual situation
虚实
1.
Actual situation is mainly reflected in the screen shape,color, mood and other aspects,the painter through the painstaking efforts in these areas,so that works to achieve include be better off,to the artistic effect charm.
通过大量阅读历代绘画理论和鉴赏经典的传统工笔人物画作品,我们发现优秀的工笔人物画在画面虚实关系的处理上是十分考究的。
5) The actual situation
虚实
1.
Around the specialty of “The Nineteen Ancient Poem” which is good at lyrical, this text analyses why it has a beauty of soul-stirring feelings and probes into it’s unique meaning on Lyrical Structure, the Actual Situation in the Poetic Conception, as well as the change of lyrical Person and Visual angel.
本文紧紧围绕《古诗十九首》“长于抒情”的特质，分析其何以具有惊心动魄的真情美，并从抒情结构设置、诗境的虚实处理以及抒情人称与视角的变化等方面探讨其在抒情艺术上所具有的独特意义。
6) the category of subjectivity and objectivity
虚实
1.
In the history of Chinese literary criticism,the category of subjectivity and objectivity is originated from the theory of "Have(You)" and "Have-not(Wu)" from Lao Zi and Zhuang Zi.
中国古代文论中的"虚实"范畴源自老庄论"有无",在魏晋六朝时期经玄学之争实现了由哲学、美学领域向文学和艺术领域的重大转化,并在玄学思潮、言意之争、人物品评和文学创作等共同构筑的场域中,内涵日益丰富起来。
补充资料：虚实
虚实
xu versus shi
xu·shi虚实(X“versus劝i)中国古代乒语。始见于《孙子·势》:“兵之所力l以暇投卵者，虚实是也。”另有《虚实)但银雀山汉墓竹简本《孙子》篇名作虚》，《管子·幼官》亦言“定实虚胜’古本作“实虚”，后经乙改，相沿成万实指军事力量的强弱大小和态势的伏一般而言，无者为虚，有者为实;空虚，坚者为实。军情上，大凡怯、弱，饥、劳、寡、不虞为虚;勇、强、治，逸、众、有备为实。“用兵必须审敌质趋其危”(《吴子·料敌)})。唐太宗强出:“夫用兵识虚实之势，则无不胜(《唐太宗李卫公问对·卷中}))“避实t是致胜的重要原则。《管子·制分》正明了虚实的辩证关系:“故凡用兵者，则韧，乘瑕则神。攻坚则瑕者坚，乘璨者瑕。”随着战争的发展，虚实的内丰富。(吴如眯如篇((w似虚从黝乱你腼稀L，，卜澎胭铿铿硬。
说明：补充资料仅用于学习参考，请勿用于其它任何用途。
参考词条