1.
Paintings of Wumen Gate: of the Same of Thing and Self;
吴门绘画:物我同一的“有我之境”
2.
On Wu Changshuo s Aesthetic Thought of"Draw Qi not Draw Shape";
论吴昌硕“画气不画形”的绘画美学思想
3.
The Discussion of "Endow Old With New" of WU Chang-shuo s Innovation Theory of Painting;
论吴昌硕“与古为新”的绘画创新思想
4.
An Innovative Style of Painting:On Wu Changshuo's Views on Painting Innovation
风格标新——论吴昌硕绘画的创新观
5.
An Analysis on Wu Guanzhong’s Sense of Painting Art in Combining the East and West
浅论吴冠中“中西融合”的绘画艺术观
6.
Historically Suzhou was also known as Wumen, and this painting school was named the Wumen Painting School.
苏州史称"吴门"，作为有共同地区特征的画家群形成了吴门画派。
7.
A Research on Ren Bo-nian and Wu Chang-shuo s Artistic Form Language;
对任伯年、吴昌硕绘画形式语言的比较研究
8.
Unburdening the Heart in Tiny Space--On the Four WU families and Paintings on Folding Fans;
咫尺之境 抒怀千里——吴门四家与折扇画
9.
In the Ming Dynasty, Wu Region withnessed an unprecedented boom in its culture and art, especially with its paintings as the acme of perfection.
明代,吴地文化艺术空前发达,尤以绘画为最,涌现出许多著名画家。
10.
Hung four new paintings in the foyer.
在门厅悬挂展览四幅新的绘画作品
11.
Life is the art of drawing without an eraser .
生活是一门没有橡皮擦的绘画艺术。
12.
Trough the door of art;
穿越艺术之门——塞尚绘画对文学的启示
13.
On the Cultural Path and Historical Position of Wumen Painting School;
吴门画派的文脉延续及其历史地位研究
14.
An Aesthetic Analysis and Cultural View of "Endow Old with New" of Wu Changshuo s Creative Theory of Painting;
吴昌硕“与古为新”绘画创作论的美学解读与文化观照
15.
Shen Zhou was its most influential painter; other famous members were Wen Zhengming, Tang Yin and Qiu Ying.
吴门画派的领袖沈周，其他著名画家有文征明、唐寅，再加上仇英。
16.
To make(a picture) with paints.
绘画用油漆作（画）
17.
The Tragic Sense of the Feeling of Nowhere to Find A Proper Position--One of the sum up of Xu Wei′s painting imago;
托足无门的悲剧意识——徐渭绘画意象综论之一
18.
Perspective is a subject of drawing technique established by artists all over the word in history with practice from thousands of years ago.
透视学是数千年来中外画家在实践中总结出来的一门绘画技法。