1)theory of southern & northern sects南北宗论
1.Dong QiChang classified the landscape painting according to his "theory of southern & northern sects", which providedus philosophical foundation to analyze Chinese Paintings.董其昌“南北宗论”对山水画进行分类,为我们提供了剖析绘画的哲学依据,他以禅喻画并提倡文人画,强调画家的道德修养及思想境界,对中国画的发展产生了积极的影响。
英文短句/例句
1.A comprehensive study on the theory of northern and southern models;追寻历史的真实——南北宗论面面观
2.An Inquiry into Dong Qichang s Theory of the Southern and Northern Schools from the Perspectives of Huadao and Huapin;从画道、画品的角度看董其昌的南北宗论
3.Looking at Dialectically the Influence of Dong QiChang s "Theory of Southern & Northern Sects" on Chinese Paintings;董其昌“南北宗论”对中国画影响的两面观
4."The National Warfare" on the " Theory of Religion as Opium" and Its Academic Contribution;关于“宗教鸦片论”的“南北战争”及其学术贡献
5.On "spirit" and "ease","vigour of style" and "the northern model;“神”与“逸”、“风骨”与“北宗”论
6.Wenxin Diaolong: Combine the Superiority of the North and South Cultures and Strive to Be in Moderation;《文心雕龙》:尚北宗南与唯务折衷
7.The Continuity of Religion and Literature:Focusing on the Thinking Method of Daoism in the South Dynasty;宗教与文学的玄想契合——论上清道修炼方术对魏晋南北朝文学思想的影响
8.The Asthetic Purpose of the Painting "Simple Nature Interest" ─Brief discussion on Buyantu s understanding and inheritness of Nanzong pictures spirit;“淡然天趣”的绘画美学宗旨──简论布颜图对南宗画宗风之理解与继承
9.North Clan and Local Society in the Ming and Qing Dynasties:The Case of the Zhang Clan in Xinxiang,Henan Province;明清时期的北方宗族与地方社会——以河南新乡张氏宗族为中心
10.On the Spreading of Three-generation Patriarchal Clan Culture Among Minority Ethnic Groups in Northwest China;三代宗法文化向西北少数民族传播论
11.Research on the Kinship and Clanship during the Period of the Qin, Han, Wei, Jin, and Northern & Southern Dynasties;秦汉魏晋南北朝时期家族、宗族关系研究
12.Religions of Immigrated Di and Qiang Ethnic Groups in Wei and Jin Dynasties and Southern and Northern Dynasties;魏晋南北朝时期关中地区氐羌民族的宗教信仰
13.The Regional Difference in Clan Clustering in Ancient South and North China;中国南北方汉族居住区宗族聚居的地域差异
14.On the Wherefore of Flourishing of Religion and Arts during the Wei-Jin and Southern-Northern Dynasties;魏晋南北朝宗教与艺术兴盛原因之我见
15.Emperor Tai Zong Inherited and Developed the Poems of the Epoch of Division between North and South;唐太宗诗歌对南北朝诗歌的继承与发展
16.On the Relationship of “Suzerainty and Vassal” Between China and Viet Nam略论古代中国和越南之间的宗藩关系
17.The colonies to the South were not without religious testimony.南部殖民地仍免不了根据宗教立论。
18.Personality and Poem Character--Comment on the Poems of Yu Shi-nan and Xu Jing-zong;人品与诗品——虞世南、许敬宗诗论
相关短句/例句
theory on Nan-Bei drawing styles南北宗画论
3)the theory of the Southern and Northern schools of painting山水画南北宗论
4)the combination of South and North Sect in Taigu school南北合宗
5)combine the superiority of the North and South cultures尚北宗南
6)South Dominance School南北宗
1.He proposed the"South Dominance School",which deals with the style of landscape painting:South School is characterized by soft,light and elegant style;North School by hard,vigorous and powerful style.董其昌是明代著名画家、理论家 ,他提出了山水画中南北宗之说。
延伸阅读
南北宗论南北宗论中国画史上文人画家与职业画家两大不同的风格体系。为明代董其昌在《画禅室随笔》一书中提出。他认为北宗则李思训父子着色山水，流传而为宋之赵傒、赵伯驹、赵伯骕以至马（远）夏（圭）辈。南宗则王摩诘（王维）始用渲淡，一变勾斫之法，其传为张璪、荆（浩）、关(仝)、董（源）、巨（然）、郭忠恕、米家父子，以至元之四大家。他将唐至元代的绘画发展，按画家的身分、画法、风格分为两大派别，认为南宗是文人之画，而北宗是行家画，崇南贬北，提倡文人画的南宗，贬抑行家画的北宗。在南北宗论中董其昌亦有自相矛盾之处，标准不一，对同属南宗的文人画家的评价亦有褒贬等等，反映了理论上的混乱。与董其昌同时的陈继儒、莫是龙、沈颢等人亦倡导或赞成南北宗论，他们彼此呼应，对明末及清代的绘画发展产生了影响。
