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1)  aesthetic charm
美学神韵
2)  Skin Form
神韵审美
1.
The Yellow Emperor s Canon of Internal Medicine Implicated the Skin Form,Absolute Verve and Appreciate Beauty Thought;
《内经》所蕴涵的皮肤形质、神韵审美观
3)  aesthetics lingering charm
美学韵味
1.
Confucianists view of figural virtue and aesthetics lingering charm of A Dream of Red Mansions ;
儒家“比德”观与《红楼梦》美学韵味
4)  Theological aesthetics
神学美学
1.
Analysis of the Causes and Significance of the theological aesthetics thoughts in the 20th Century;
迷茫与救赎——试析20世纪西方神学美学思潮出现的原因及意义
2.
From a theological point of view, Balthasar, the most important theologist and esthetician of 20 th century in the West, reevaluates the position of aesthetics and illustrates the characteristics of theological aesthetics, objective structure of beauty and the process of beauty appreciation.
巴尔塔萨是 2 0世纪西方最重要的神学家和美学家 ,他从神学出发对美学的重新定位、神学美学的特点、美的客体结构、审美过程所做的论述 ,呈现了他独特的神学美学体系 ,对我们了解西方神学美学的最新学术成就具有意
3.
The previous researchs on Thomas Aquinas theological aesthetics were focused on its aesthetic aspect in isolation, seldom noticed the this-shore characterstics demonstrated within it, and rarely explored the profound philosophic reasons hiden in the change of that-shore to this-shore in aesthetics.
他主张哲学与神学的分离,试图以哲学为工具来为哲学服务,意在保持神学的纯粹性,却客观上改变了神学的哲学基础;他高度重视人论美学建设,意在体现神学美学的伟大,客观上却以感性美掩盖了神性美,推动了美学此岸转向。
5)  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 Shizhens spirit , Shen Deqians style , Yuan Meis temperament and Weng Fanggangs 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
6)  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。
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。
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