1) stylistic charm and appeal
神韵灵趣
2) Aura
[英]['ɔ:rə] [美]['ɔrə]
灵韵
1.
Regionality and Architectural òAuraó: Making Specific Building in Local Circumstances;
地区性与建筑之“灵韵”——创造微观境遇中的具体建筑
2.
The ′Aura′ Art in the Age of Mechanical Reproduction
机械复制时代的“灵韵”艺术
3) spirit
[英]['spɪrɪt] [美]['spɪrɪt]
神韵
1.
Zhu tries to retain the spirit of the original as much as possible.
本文从分析一代翻译楷模朱生豪的生平和译作入手,探究其"志在神韵"的翻译观,他在中国翻译思想史上所起的承上启下的重要作用,以及他对中国传统译论的形成起到了不可或缺的枢纽作用。
2.
,more likeness in spirit.
但其中仍有不尽人意之处 ,略显神韵不
3.
, Wang Shizhens spirit , Shen Deqians style , Yuan Meis temperament and Weng Fanggangs texture , and their respective origins and influence on the literary circles then.
本文论述清代四大诗说即：王士祯之“神韵”、沈德潜之“格调”、袁牧之“性灵”、翁方纲之“肌理”各论之源出、主张及在清代文坛上的影
4) Verve
[英][vɜ:v] [美][vɝv]
神韵
1.
The Verve in Shen Yinmo s Poetry:One Neglected Way of New Poetry Development;
沈尹默诗歌中的神韵——新诗发展中一条被忽视的线索
2.
Through analysis difference of <Moonlit night> and <Samisen>,the article conclude that there is verve in poetry of Shen Yinmo from the point of verve,and then it is try to prove that there have been a verve way of develop in the vernacular poetry which was started to appear and existence till to the poetry of YU Jian and Han Dong.
从神韵的角度,由分析《三弦》和《月夜》的表达差异入手,归纳出沈尹默诗歌创作中神韵化这一重要现象,并论证在中国新诗发展中存在着一条早在沈尹默诗歌中就已经出现,一直到于坚、韩东诗歌中都存在,却至今仍未得到学术界重视的发展方向:新诗神韵化。
3.
DuFu pays attention to verve,and enjoy the poem connecting modality with verve,he also pays attention to the truth or falsity to combine,and emphasize the imagination.
杜甫注重神韵,崇尚形神兼备之美,注重虚实结合,强调想象,认为画家要乘兴遣画,讲究经营位置,他的诗题画与咏怀相结合,延伸了画意,达到了诗画交融的境界。
5) charm
[英][tʃɑ:m] [美][tʃɑrm]
神韵
1.
Inheriting and developing the critical theory of Original Poetry, and synthesizing the literary criteria of disposition, style and charm, Sheng De Qian put forward the critical theory which valued both the content and the form of literary works.
沈德潜继承并发展了《原诗》的批评思想 ,综合了性情、格调、神韵诸说 ,提出了兼重内容与形式的批评标准体系。
2.
,manifests in“the charm”,“is mad”,“the taste”and“the principle”four aspects.
第一章是吴玉如论书法美的内涵,体现在“神韵”、“气”、“味”和“理”四个方面。
3.
It also argued that in applying the traditional costume elements for modern apparel,fashion designers should do it in an innovative way trying to catch the overall charm of the costume so that featured elements are used in spirit rather than in forms only.
对中国传统服饰中的造型、图案、色彩、面料和工艺等外在元素和自然和谐、精致含蓄的抽象神韵进行了分析提炼,指出现代设计师在运用传统服饰元素时,需采用现代的服装设计语言和方法进行创新设计,从整体上把握服饰的神韵,防止形式特征元素的表象化。
6) romantic charm
神韵
1.
On network literary criticism and Chinese ancient romantic charm criticism;
网络文学批评与中国古代神韵批评
2.
On the Aesthetic connotation of Romantic Charm
论“神韵”范畴的审美旨向
3.
This article discusses the aesthetic characteristics of Wang Shizhen ’s theory of romantic charm in terms of its naturalness,plainness and significance,and freshness and aloofness.
文章从美学角度对王士祯“神韵说”的特点作了阐述。
补充资料：神韵说
| 神韵说 中国古代诗论的一种诗歌创作和评论主张。为清初王士禛所倡导。在清代前期统治诗坛达百年之久。“神韵”一词，早在南朝齐谢赫《古画品录》中就已出现。唐代诗论提到的“韵”，大多是指诗韵、诗章的意思，不涉诗论。明清时期，“神韵”一词在各种意义上被普遍使用。王士禛之前，虽有许多人谈到过神韵，但还没有把它看成是诗歌创作的根本问题，到王士禛，才把神韵作为诗歌创作的根本要求提出来。他早年编选《神韵集》，有意识地提倡神韵说，归纳起来，大致可以看到他的神韵说的根本特点，即在诗歌的艺术表现上追求一种空寂超逸、镜花水月、不着形迹的境界。神韵为诗中最高境界，王士禛提倡神韵，自有他的道理。但并非只有空寂超逸，才有神韵。王士禛将神韵视为逸品所独具，恰是其偏失之处。 |
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