艺术源于生命 英文翻译

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我真是觉得No life,no arts.没有生命，就没有艺术。很好。很适合当标题，也很有No pains,no gains.的风格！

Life creates arts.生命造就了艺术。

Arts come from life.艺术来自生命

Art is a kind of life.艺术是生命的一部分

No life,no arts.没有生命，就没有艺术。（我觉得这个超好！很有感觉）

关于优美的英文诗句阅读

Art has long been a highly revered discipline in our world. Art exists in every aspect of our lives, whether in architecture, cuisine, or even manners. Art perverses our daily lives because it panders to our perception and our reaction to things. Our ancient history proves that art has led us to our modern world, progress, and happiness. Leanardo DaVinci and Michaelangelo are just few of the many testaments to this immutable truth. One of the pleasure in majoring in art is that I can learn to discern the beauties of life, Art major teaches me how to appreciate the everyday beauties of our world, and the discernment of the ordinary miracles abundant in our life is just one of the ways of deepening our emotions and values for the Earth. The other pleasure in majoring art is that I can create art, in simpler terms, create happiness. The ability to do so will greatly satisfy my personal thirst for contribution towards life and will also help others see what they could not see.

您好，艺术品的英文介绍。。有关于中国画。。或者书法的吗？

　英语诗歌是一个包含丰富社会生活内容、语言艺术和文化内涵的世界,是基础英语教学的一块很有潜力的教学资源。我整理了关于优美的英文诗句，欢迎阅读!

关于优美的英文诗句篇一

　Mother Doesn't Want a Dog

　by Judith Viorst

　Mother doesn't want a dog.

　Mother says they smell，

　And never sit when you say sit，

　Or even when you yell.

　And when you come home late at night

　And there is ice and snow，

　You have to go back out because

　The dumb dog has to go.

　Mother doesn't want a dog.

　Mother says they shed，

　And always let the strangers in

　And bark at friends instead，

　And do disgraceful things on rugs，

　And track mud on the floor，

　And flop upon your bed at night

　And snore their doggy snore.

　Mother doesn't want a dog.

　She's making a mistake.

　Because， more than a dog， I think

　She will not want this snake

关于优美的英文诗句篇二

　Mr. Grumpledump's Song

　by Shel Silverstein

　Everything's wrong，

　Days are too long，

　Sunshine's too hot，

　Wind is too strong.

　Clouds are too fluffy，

　Grass is too green，

　Ground is too dusty，

　Sheets are too clean.

　Stars are too twinkly，

　Moon is too high，

　Water's too drippy，

　Sand is too dry.

　Rocks are too heavy，

　Feathers too light，

　Kids are too noisy，

　Shoes are too tight.

　Folks are too happy，

　Singin' their songs.

　Why can't they see it?

　Everything's wrong!

关于优美的英文诗句篇三

　Mound Digger

　by Sarah Lindsay

　This mound of dirt and the summer are heirs to transfer

　from what lies before and what lies behind，

　pinch by pinch. Of the mound， she keeps a record.

　The point， the students have been assured，

　is not to find objects. Their object is

　to understand the ground.

　What water did with it， when.

　how often earthworms combed and cast it.

　Whether it was tilled or thrust aside，

　which seeds lay in it， which pollens settled.

　When it's too dark to dig， she makes a tent

　of reading assignments. A chapter on similarities

　between spear points unearthed in Virginia

　and Soultrean points in Spain，

　both kinds wrought as though for beauty

　and cached in heaps of red ocher. Another book

　invites her to peer at the keyhole shape of a bone

　the size of her index finger， engraved

　these ten thousand years with forty strokes?

　fourteen， eight， eleven， then seven?and polished.

　A tally， a game， the score?

　We'll never know. And here's a review

　of arguments about a broken rock

　that might have been bashed into useful shape

　deliberately， with another rock，

　by some original axe-making biped，

　or might be a geofact， a tease，

　a found axe?or no tool at all.

　She douses the light

　and all the words disappear.

　Morning， back to the mound. It's two mounds now;

　she knows it halfway through， its wayward layers，

　silky and barren or matted with nutrients，

　heavy clay， a thousand shades of brown.

　She sees it with her eyes shut， with her palms，

　sometimes tastes it. Leaves the flints and bones

　to thrill-seekers and visionaries.

　Dirt answers her questions. She has dug past

　any props or plots or characters

　to the stuff all stories walk on

关于优美的英文诗句篇四

　Muse

　by Meena Alexander

　I was young when you came to me.

　Each thing rings its turn，

　you sang in my ear， a slip of a thing

　dressed like a convent girl

　white socks， shoes，

　dark blue pinafore， white blouse.

　A pencil box in hand： girl， book， tree

　those were the words you gave me.

　Girl was penne， hair drawn back，

　gleaming on the scalp，

　the self in a mirror in a rosewood room

　the sky at monsoon time， pearl slits

　In cloud cover， a jagged music pours：

　gash of sense， raw covenant

　clasped still in a gold bound book，

　pusthakam pages parted，

　ink rubbed with mist，

　a bird might have dreamt its shadow there

　spreading fire in a tree maram.

　You murmured the word， sliding it on your tongue，

　trying to get how a girl could turn

　into a molten thing and not burn.

　Centuries later worn out from travel

　I rest under a tree.

　You come to me

　a bird shedding gold feathers，

　each one a quill scraping my tympanum.

　You set a book to my ribs.

　Night after night I unclasp it

　at the mirror's edge

　alphabets flicker and soar.

　Write in the light

　of all the languages

　you know the earth contains，

　you murmur in my ear.

　This is pure transport

关于优美的英文诗句篇五

　Muse, a Lady Cautioning

　by Honor?e Fanonne Jeffers

　There's fairness in changing blood for septet's

　guardian rhythm， the horn blossoming

　into cadenza. No good pimp's scowl， his

　baby's voice ruined sweet for the duration.

　Yes， these predictable fifths. O， the blues

　is all about slinging those low tales out

　the back door (sing： child pried open on that

　stained floor)。 O， Billie hollers way down dirt

　roads (sing： woman on the verge of needled

　logic)。 She's aware?yeah， I'm going to

　kiss some man's sugared fist tonight. O， this

　tableau's muse， a Lady cautioning me：

　Just tough this thing out， girl. Sweat through the jones.

　Don't ask for nothing. Spit your last damned note

来自lilian_zhang 给你复制过来了 希望有帮助~

"They were the oddest hills in the world, and the most Chinese, because these are the hills that are depicted in every Chinese scroll. It is almost a sacred landscape - it is certainly an emblematic one."

Paul Theroux, Riding the Iron Rooster, 1988

When looking at a Chinese painting, most visitors will remark upon the enormous differences from Western painting tradition. Foremost among the differences are the use of ink and silk paper as opposed to oil and canvas, the use of a silk scroll rather than a wood or metal frame as well as the general lack of verisimilitude to the original subject. Unlike most Western painting traditions, Chinese painting did not place great importance on depicting an exact likeness or replica of that which exists in reality, but instead emphasized the need to capture the spiritual essence of the subject. Whether it be a portrait in which the eyes were thought to reveal the true character of the sitter or a landscape in which the fluttering of leaves were thought to capture the hidden truths of nature, it was the rendering of the life force of the painting that was the ultimate goal of the painter

Such ideas are revealed in the first theory on painting which was written in the fifth century by Hsieh Ho. Entitled the "Six Elements of Painting" they advocate that the painting:

1) Have a life of its own, be vibrant and resonant

2) Have good brushwork that gives it a sound structure

3) Bear some likeness to the nature of the subject

4) Have hues that answer the need of the situation

5) Have a well thought out composition

6) Inherit the best of tradition though learning from it

While very few paintings from this early period exist, from the Sui (589-618 AD) and Tang (618-907 AD) dynasties onwards, painting came to assume its predominant position in China's artistic tradition. Especially popular were portraits and scenes of the Emperor's life with envoys or court ladies, as well as scenes of nobles' lives found on tomb frescoes or Buddhist imagery found on grotto walls. Some of the greatest treasures of Chinese painting are the frescoes found on the walls of the 468 Buddhist grottoes in Dunhuang in Gansu province. For more than ten centuries, artists painted scenes from Buddhist sutras as well as portraits and scenes of the lives of the numerous people who traveled along the Silk Road.

During the Song dynasty (960-1279 AD), a painting academy under imperial patronage was established, with two main styles of painting coming into emergence. The first style, known as academic painting, favoured bird and flower paintings depicted in minute detail. The second style, known as scholarly painting, favoured grandiose landscapes. Unlike Western landscapes which emphasized perspective and shading elements, Chinese landscapes stressed the brush stroke which could be variegated in thickness and tone. Also diverging from Western styles was the unimportance of man as figures were kept to a minimum and always depicted much smaller than the background landscape.

In the succeeding Yuan dynasty (1279-1368), a literati school comprised of scholar-painters, came into emergence. Painting was always considered the domain of the educated elite and at no other time was this ideal more apparent. The most widely painted subjects were the so-called four virtues of bamboo (a symbol of uprightness, humility and unbending loyalty), plum (a symbol of purity and endurance), chrysanthemum (a symbol of vitality) and orchid (a symbol of purity) as well as bird and flower paintings.

The Ming dynasty (1368-1644) favoured a return to tradition as artists copied the masterpieces of early times. In fact, painting manuals were written which contained prototypes of a certain leaf, rock or flower which the artist could then copy and combine to create a new work. Unlike the West which always emphasized individuality and creativity, both in painting and literature, the Chinese greatly appreciated the need to master tradition before undertaking the new.

While traditional styles continued to dominate the work of painters of the subsequent Qing dynasty (1644-1911), increasing contact with the West brought about the inevitable influence of Western styles. The Italian painter, Guiseppe Castiglione once even worked under imperial patronage, thus introducing to his Chinese contemporaries such Western techniques as shading and perspective.

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