1) woodcarving of Zhejiang School
浙派木雕
1.
As the highlight of regional folk art, woodcarving of Zhejiang School has much more experience accumulation in the history than written materials for research.
浙派木雕 ,作为地域民间艺术的精华 ,历史上多的是经验积累 ,并没有留下多少可资研究的文字资料。
2) On Woodcarving Art of Zhejiang School
论浙派木雕艺术
3) Zhejiang school
浙派
1.
Ding Jing,the forefather of sigillography in Zhejiang school,and Li E,a famous poet of Zhejiang school,were named together as "Ding Li".
浙派印学鼻祖丁敬,与浙派著名诗人厉鹗并称“丁、厉”,且彼此旨趣相投、私交笃厚。
2.
Based on historiography, Literature, academic research andschools of seal cutting in the middle of the Qing dynasty, this paper presents a close analysis of the master of Zhejiang school, Ding Jing's academic thought, aesthetic standard of seals and aesthetic orientation of seal cutting creation by way of a host of documents and plated materials.
本文在清代中叶史学、文学、学术研究和篆刻流派的背景下，主要以文献考辨结合图版实证的研究方法，通过诗文、印谱、印章边款所提供的大量文献资料和鲜为人注目的实物图版，从“浙派”的宗师——丁敬的卒年、字号以及丁敬与同时代诗坛、画坛、学术研究圈重要人物的交游考证开始，探讨了丁敬学术思想的根源。
4) the zhe school
浙派
1.
In the literary world of middle Qing Dynasty,Li′E was the leader of the zhe school in poetry,also the leader of zhe′ci sect in the mid-term.
厉鹗是清中叶文坛浙派诗的盟主,又是浙派词中期的领袖。
2.
The Zhe school, whose representative is Li E, is more unique and influenced larger one between early-stage Romantic Charm school and medium-stage Style school and Spirit school in the Qing dynasty.
以厉鹗为代表的浙派无疑是清代诗史流程中自前期“神韵派”到中期“格调派”、“性灵派”之间独树一帜且影响较大的文学流派,在这一断代文学史中有着不可忽视的地位。
5) Zhexi School
浙派
1.
He was divorced from the Zhexi School and drawn close to the Changzhou School by Zhuang Yus guiding.
他由庄棫导引逐步脱离浙派而向常州派靠 拢,对自己以往的创作和清初词坛的创作进行反思,最后走上批评浙派,弘扬常州派的道路。
2.
In the Daoguang period,the Zhexi school continued activing in the world of Ci popetry at Jiangsu-Zhejiang,but the view of Zhexi school assumed the trade of becoming divided.
道光年间 ,浙派在江浙词坛继续活跃着 ,但时代的动荡剧变使浙派词人在词学观上呈分化的趋势。
补充资料：浙派
| 浙派 中国明代绘画流派。因开创人戴进为浙江人，故名之。其主要成员还有吴伟、张路、蒋嵩、汪肇等人。戴进、吴伟等也曾一度服务于宫廷。在继承传统和艺术追求上，浙派与当时的院派（亦称院体），同受南宋院体山水画的影响，但不同的是，浙派画家在继承的同时，更注意个人笔墨技法与画风的变化。浙派作品中虽然也显露出师承李唐、刘松年、马远、夏圭等南宋院体画家的痕迹，但构图、笔墨等表现形式均有个人风格。他们的笔墨更为粗简放纵、洒脱爽劲、酣畅淋漓，富有较强的节奏感。所绘物象，结构严谨，描绘准确。同是浙派画家，其风格亦各有不同，如戴进之劲爽精微，于淋漓畅快中显出秀逸之致；而吴伟则以豪迈简括，纵逸洒脱为特征；至于张路、蒋嵩、汪肇等或爽健，或恣肆，各有区别。作为绘画流派，浙派在明代前期与院派同为画坛主流，追随者甚众，影响颇大。因浙派中的吴伟是江夏（今湖北武汉）人，故画史亦称他及其追随者为江夏派。到了明代中期以后浙派画家由于一味追求恣肆、狂放，流于草率，逐渐失去画坛主流地位，而被新兴的吴门派所取代。 |
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