1)Luoshen Appraisal Painting《洛神赋图》
1.The Iconology Study of Luoshen Appraisal Painting Collected by the Palace Museum;故宫藏《洛神赋图》之图像研究
英文短句/例句
1.The Aesthetic Shift from Ode on Goddess Luo to Painting of Ode on Goddess Luo;从《洛神赋》到《洛神赋图》的审美转化
2.Gu Kaizhi and On the Goddess of the Luo Rive东晋顾恺之的《洛神赋图》
3.Fascination of Goddess Luo and the Aesthetic Rationality in Paintings of Wei and Jin Dynasties;“洛神”迷醉与魏晋绘画的审美理性——从《洛神赋》到《洛神赋图》
4.The theme of the Luoshen appraisal Painting was drawn from the article, Luoshen appraisal, written by Cao Zhi, son of the Wei Emperor Cao Cao.《洛神赋图》是根据三国魏王曹操的儿子曹植所著《洛神赋》所绘。
5.An Exploration on the Painting of Rhapsody on Luoshen Stored in Flair Art Museum, Washington;传为陆探微作《洛神赋图》弗利尔馆藏卷的探讨
6.On the Goddess of the Luo River, color on silk (572cm × 27.1cm), is a figure painting done with meticulous brushwork and close attention to detail.顾恺之《洛神赋图》，绢本、设色，纵27.1厘米，横572厘米，工笔重彩人物画。
7.His three existing scroll paintings are Nushi Zhen Painting, Luoshen appraisal Painting and Lienu Renzhi Painting;现在能看到的只有《女史箴图》、《洛神赋图》和《列女仁智图》三幅卷轴画摹本了。
8.The Aesthetic Comparison of Goddess Luo Rhapsody and the Painting of Goddess Luo Rhapsody《洛神赋》与《洛神赋图卷》的审美比较
9.A Love tragedy about Man and God--Appreciation and analysis on CAO Zhi s Luo Shen Fu;一幕人神恋爱的悲剧——曹植《洛神赋》赏析
10.It depicts the meeting of Cao Zhi and Goddess Luoshen at the Luoshui River.《洛神赋》描述了作者途经洛水同神话传说中的洛水女神相会的情景。
11.Its subject-matter, a rhapsody of the same title by Cao Zhi, a poet of the Three Kingdoms Period (220-280), is included in The Selections of Refined Literature by Xiao Tong.取材于三国魏曹植《洛神赋》原著载于《文
12.Anxiety of Life,Leading off Suffering--the Writing Purpose of the Fu on the Goddess of the Luo River生命的焦虑,苦闷的宣泄——《洛神赋》主旨新论
13.A new guess at the meaning of the He tu (River Map) and Luo shu (Luo Chart);“河图”“洛书”与洛邑之营建及神道设教——关于“河图”“洛书”的新揣测
14.The Change of Prose-poem Style from HAN Dynasty to WEI and JIN Dynasties Viewed from "Ode to Luoyang";从“咏洛赋”看魏晋对汉代赋风的转变
15.Implicitness and Explicitness:Review of New Historical Opera Luoshen Fu;生变之诀,虚虚实实,实实虚虚——评新编历史剧《洛神赋》虚实艺术表现手法的得与失
16.encarnalize divinities赋予神灵以人的形性
17.Song Yu Poetries--A Few Textual Research on Gaotang and Goddess;宋玉赋——《高唐》、《神女》二三考
18.An Analysis on Sensational Effect of" Rhapsody on Three Capitals;关于“洛阳纸贵”——《三都赋》轰动效应剖析
相关短句/例句
the Painting of Goddess Luo Rhapsody Aesthetic《洛神赋图卷》
3)Luoshen Fu洛神赋
4)calligraphy of Luoshenfu洛神赋十三行
5)Zhao Gou Luoshen Fu Juan赵构《洛神赋》卷
6)the Goddess of the Luo River洛神
1.Anxiety of Life,Leading off Suffering——the Writing Purpose of the Fu on the Goddess of the Luo River生命的焦虑,苦闷的宣泄——《洛神赋》主旨新论
延伸阅读
《洛神赋图》《洛神赋图》中国东晋绘画作品。作者顾恺之。原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。一纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米，藏辽宁省博物馆。该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。图中山石、林木，反映了早期山水画的表现技法和面貌。画面和谐统一，丝毫看不出连环画式的分段描写的迹象。作品线条，前者飘逸，人物动态委婉从容，后者人物形体较低矮，线条圆转短拙，色彩较浓丽。《洛神赋图》（局部）
