1) aesthetic tendency
审美趋向
1.
The aesthetic tendency of the poets in Flouring Tang Dynasty was unsophisticated,which reflected not only in creation but also in theory,and it was closely related to the promotion of the rulers,to the psychology of the writers and the prosperous development and wide spread of Taoist thought.
清真之美是盛唐诗人普遍的审美趋向,不仅反映在诗歌创作中,也反映在诗歌理论上,这和盛唐时期统治者的提倡,文人心态以及道教、道家思想的繁荣发展和广泛传播密切相关。
2.
In fact, as far as the writer composition were concerned, the shift of orientation of the Poetry Drive between Jin and Song Dynasties meant that the famous scholars retired and young poets were fast emerging; in terms of the aesthetic tendency, it meant two different styles owing to aesthetic dif.
其实,晋宋之际,由作者构成而论,超凡脱俗的名士群体已经退出历史舞台,正是才艺出众的文士群体的天下;据审美趋向而言,名士钟情于清谈,争胜于谈锋,大都重理而轻文,而诗人钟情于吟咏,竞逐于才藻,往往重文而轻理。
3.
The "interesting style of biographical narrative" represented by Shen Congwen is a common character and aesthetic tendency in China\'s modern biographical narrative,especially in 1930s.
以沈从文为代表的"趣味化传记叙事",是中国现代传记文学,特别是20世纪30年代中国现代传记文学叙事的共同特征及审美趋向。
4) common tastes
审美趋同
1.
The discussion and reflection are drawn from the aspects of goal settings,skill training and common tastes.
本文针对高师书法教学现状及存在问题,从目标定位、技法训练、审美趋同现象等几个方面对高师书法教学进行了探讨和思考。
5) esthetic trend
审美趋从
1.
This paper deals with the negative value of the behavior of esthetic trends, and points out that it is of paramount importance to respond to esthetic fad with self-decision through self-confidence.
本文讨论了审美趋从行为的负面价值，指出以自信自决的态度去应对审美时尚是至关重要的。
6) aesthetic standard
审美取向
1.
This paper gives an explanation that based on the respect for tradition, modern batik art should be enriched and transcended in the aspects of aesthetic standard, deep meaning of design and color performance, in order to show its unique artistic charm.
本文阐述了现代蜡染艺术要在尊重传统的基础上,从审美取向、图案内涵及色彩表达等诸多方面加以充实和超越,使蜡染艺术更好的表现出其独有的艺术魅力。
2.
Although Liu Zheng s Ci aims at "blending the style of Su Shi and Xin Qiji", his aesthetic standard is not to revive the old, but to creat the new; not to worship the ancient, but to surpass the forefathers.
前期亮丽，后期沉郁；刘征词以“熔冶苏辛”为其审美取向，得苏之“清”而得辛之“壮”，故其审美品格为“清壮”；自苏辛入而由苏辛出，扬其长而避其短，故刘征词审美取向之心理机制不在复古，而在创新，不在膜拜，而在超越。
3.
As many music fu contains content of sadness,when expressing the music through the media of literary,authors of music fu usually used the description of visual scenes and atmosphere ingeniously to build the rich imaging space that can be brought by abstract music,and express the special aesthetic standard of"upholding sadness"and function of"musical instruction".
许多音乐赋中有相当的篇幅包含渲染悲哀的内容,用文字这种媒介来表现音乐时,音乐赋的作者往往巧妙借用富于形象化的场景和氛围描写,来构筑抽象的音乐所能带给人的丰富的想象空间,从而表现其独特的"尚悲"审美取向以及相关的"乐教"功能。
补充资料：《陆军的发展趋向及装甲兵的运用》
《陆军的发展趋向及装甲兵的运用》
Development Trend of the Army and Employment of the Armored Corps
Luiun de Fazhan Quxiang 11 Zhuaiiabing de Yunyong《陆军的发展趋向及装甲兵的运月(DeveloPmenr TrendoflheAn的vand肠刀I〕ment oftheAnn口redCorPs)许光达t装甲兵在陆军中的作用及其编制装备年战运用等问题的军事著作。是许光交1960年3月31日在中国人民解放军高要事学院的演讲，全文约1.4万字，收入1年2月出版的《许光达论装甲兵建设》 1959年，中国人民解放军出现了幕于中国特点深入研究现代条件「人民占理论的新局面。为使军职以上指挥员矣装甲兵知识，增强现代战争中的合同于意识，许光达应邀发表了这篇演讲。文「详细地分析了美国、苏联和中国陆军‘甲兵的概况、发展趋向及其作战运用，手了陆军发展的方向是机械化的结论，韦了“当前应以特种技术部队和专业技洲队为重点进行建设”的主张。装甲兵由大兵和机械化步兵组成，是陆军中的重要击力量，随着陆军坦克、机械化比重白长，将是陆军的基本突击力量。对充实土全l坠述咋于军巧很争悉浅咬装当七邹克突增克师和摩托化步兵师的编制和装备，提.具体的设想。关于坦克类型的使用，·了“在南方的部队以轻型为主，辅l型;在北方的部队以中型为主，辅以和轻型”的原则。关于装甲兵的运用，应集中使用在主要方向上并主要使用攻战斗中。进攻中主要用干突击和发J利，防御中主要用于反突击、反冲击，歼空降兵。在合同作战中，装甲兵需得到找航空兵的支援，并与步兵密切协同动竹甲兵应力求使用在便于通行的地形上，强各种保障。部队须分散隐蔽配置，迅;集中，力求从行进间出其不意地突击甜 《陆军的发展趋向及装甲兵的运用:中反映了1959一1960年编纂装甲兵战-令、开展学术研究的重要成果，对于指国人民解放军的装甲兵建设起了重要竹 (丁马仃拙冲理拙进撇撒兵滚咖抛凡集涤冲甩|
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参考词条