1.
Traditional Geographical Drawing:Advantage,Function,and Application Value
浅谈传统地理绘画优势、功能及应用价值
2.
The Way to Calvary
去髑髅地之路（绘画）
3.
He truly loved to paint.
他真切地热爱绘画，
4.
In his realistic portrayal of the grand scene, the painter did not stick to Western sketching, perspective and color rules.
在写实手法的描绘中，画家在透视和色彩的处理都没有严格地按西方写实绘画中的素描要求，
5.
An Elementary Study on Painting Textures;
绘画肌理浅析——如何解读现代绘画语言元素
6.
Research on Lidai Minghua Ji and Other Painting Theory of Tang Dynasty
《历代名画记》及唐代绘画理论研究
7.
Research on "Huage" theory of Lv Fengzi's artistic works
吕凤子绘画艺术的“画格”理论研究
8.
He carefully shields you from difficult diffraction theory and uses advanced computer generated graphics to show you the appearance of each aberration.
他从复杂的衍射理论里，用制图法细心地描绘每一幅失常的画面。
9.
The artist meticulously depicted the facial expression of the figures, their clothes and the texture of different objects.
画家仔细地描绘各人物的面部表情、服和各样物件的肌理。
10.
Conceptual paintings show objects and surroundings independently of one another and from the views that best present their most characteristic features.
理性绘画则独立地表现物体和背景，并表现其最突出特征。
11.
The Art s Idea of the Oil Painting Cognizance--The Cimparison of the Oil Painting Cognizance between China and West Country;
绘画认知方式上的艺术理念——谈中西油画风格及绘画认知方式变迁
12.
To make(a picture) with paints.
绘画用油漆作（画）
13.
Can, But not the Prerequisite --The Role of the Training of the Representational Painting Before the Teaching of the Imagery Painting;
可以,而非必要——谈意象绘画教学前的具象绘画训练的地位
14.
The Status:Surroundings of "Yan Liben Events";
唐代画家的社会身份与绘画职业的地位
15.
Comparative Study of Color between Tibetan Tangkas Painting and Chinese Traditional Meticulous Painting;
藏传唐卡绘画与汉地传统工笔画色彩之比较
16.
Written theories on painting first appeared during the Warring States Period.
在这一时期的文献中，已经有了关于绘画的理论论述和绘画记载。
17.
On Similarity and Difference between the western idea of Painting Color and the Decoration of Chinese Painting Color;
西方绘画色彩理念与中国画色彩装饰性的同异
18.
Both Poems and Paintings Are Originally the Same.They are Natural,Neat and Clean--Su Shi′s Theory about Painting;
诗画本一律 天工与清新——苏轼的绘画理论