国画英文介绍

第一篇：国画英文介绍

国画的英文介绍（各方兼备，条理分明）

(原创文稿，欢迎朋友们交流借鉴)

Chinese traditional painting refers to paintings painted on Xuan paper or silk in ink by brush made of animal hair.It is the most highly appreciated form of Chinese art.However, there are some difference between Chinese paintings and western paintings.First of all, as you can see, only black ink are used in Chinese paintings while there are as many kinds of colors as one can finds in the nature.Secondly, Chinese artists attach much importance on grasping the spirit of the subject matter ,Chinese painters think the final goal of painting is not to reproduce what they see on the paper but is to express their own feelings.On the contrary, the western artists spare every effort to make their works vivid like photos.At last, the primary subject matter of Chinese painting is landscape while the most common subject matter of the western is the people from the upper class and religion legends.This is result from the different social status of the painters.In western society, most of the artists are professional and they make a living by drawing portraits for the rich and the churches.Things are much different in ancient

China.Most of Chinese painters are teachers or work in the government.They look painting as a leisure activity to cultivate their character.

第二篇：国画介绍词

国画是我的爱是我的梦。从小我就喜欢写写画画，虽然还不知道什么是国画？但每每在学校、公园看到画家即场挥毫我都是挤到最前，生怕看不清楚，画家寥寥几笔就画出了生动的画面，盛开的牡丹、幽深的山水、雀跃的竹林、圣洁的荷花等等，这是我最初的国画认识。随着年龄的长大我对国画有了进一步的认识从电视、书本、关盘、报纸、画展。而这些也只是肤浅的感性认识，但它已经深深吸引了我，我反复寻找着生命的起源，苦苦寻觅着心中的向往。悠悠几千年的历史文化它的深远它的博大，也许是我今生都无法探索彻底的，即使是这样我也会全心全意地去寻找、去发现、去创作。

我在大学期间只是稍微接触过国画，没有进行系统的学习是我大学生活中遗憾。但是没想到机会来的这样快。2014年，潍城区教育局组织教师进行国画培训。这给我们系统学习国画提供了极大地便 一下我学习国画的心得体会： 只有学习才知道肤浅，只有苦练才能进步，这是我的体会也是我的收获，我在不断的努力中进步也在刻苦学习中得到提升。我这个从来没有拿过毛笔的来画中国画，这叫我一开始就不知所措。幸好遇到了一位好的专业老师，他教我们画国画时要用意念来画，虽然说我现在还不能够体会到其中的真谛，但在我这些天学习的过程中慢慢的我了解到原来中国画光靠认真仔细是不行的，而是要靠心神一起，就像老师说的中国画里要有一种气，要有一种神韵在里面，画中国画就像在表达一个人的思想，反映着一个人的性格，表达着作者当时的一种心情。中国画画到现在我感觉到，要想把中国画画好就必须要用心来画，要把你的思想融会贯通到画里，画的要磊磊落落，要潇洒，要浑然天成。画中国画是一种享受，我到现在才明白过来，不享受的状态下画中国画是画不好的。尽管我现在的状态还不是很好，还没能够领会中国画的精神，但是在几天的学习中我领悟到中国画确实是最伟大的艺术，它是在塑造有灵气的画面，画中的山山水水具有灵性，活灵活现，从中能体现出作者大气磅礴的豪迈与洒脱。

中国画的学习是我所学课程中最叫我放松的一门课程，虽然有时我不在状态，但是我会尽量把心情调节好后再继续进入状态，我认为不在状态的时候最好不要动笔，不然的话会越画越糟糕。中国画让我又一次找到了放松心情的良药，就如写毛笔字一样，虽然我没有写过毛笔字，但是我想应该一样吧学国画到最后我才慢慢懂得老师课上所说的话，心神一致，屏气凝神，专注又不失洒脱，大气又不失凝滞。再画到某种程度的时候，就会在不知不觉中超脱自然，在笔墨之间把个人的情感个性在无形中流露出来，使个人与画浑然一体。但是在洒脱之余又要格外注意整幅画的笔墨布局以及视觉效果，我认为这是比较困难的。

首先是“笔墨”问题。“笔墨”一词在中国画的发展历史上经历了一个漫长的发展过程，是一个由“笔”向“墨”发展的过程。“笔墨”一词用今天的理解，就是用笔用墨的方法、规矩、规范或指笔墨关系的内在构成程式，即笔墨的结构。笔墨的结构是中国画艺术的核心，它处于构建中国画艺术的塔尖之上，是最深层的核心元素，是决定中国画纯粹性的主导因素。

中国画要想画好，首推用笔，从“骨法用笔”到立形存质，以至赵孟頫先生提出“书画同源”之说，都是在讲用笔。后人称元代王蒙“叔明笔立能扛鼎、五百年来无此君”，也是讲用笔。程大利先生称扛鼎之笔为“金刚杵”，很是形象。刀杀人取其锋、枪伤人取其锐、杵致人死而无外伤，必立透纸背矣！柯思九则总结了写竹竿用篆法、枝用草书法、写叶用八分法。他们强调的都是画者必工书，强调绘画与书法的关系，笔情墨趣成了欣赏中国画的主要内容。“笔”先指毛笔运笔的方式、方法，运笔而留下的笔痕、笔迹以及在宣纸之上留下的形状印记，它是笔墨语言的基本元素。运笔速度的快慢、提案、节奏的变化以及笔锋在运笔过程当中的中侧变化，直接影响笔痕、笔迹的形状，以及由此引起的视觉感受。运笔的方式方法古人总结了很多，如“十八描”，这是人物画；山水画则称之“勾”、“断”、“皱”、“披”；花鸟画中，“勾”、“点”、“描”等等。黄宾虹先生则把下笔过程总结归纳为“平、圆、留、垂、变”五种。用笔的程式和构成是中国画标记性特征，具有独立的欣赏和审美价值

“气韵”这是第二个问题。中国画的“气韵”又称“韵味、神韵、神气”，是学习中国画之中比较神秘而又说不清楚的问题。中国画的“气韵”之说是始自六朝南齐人物画家谢赫的《古画品录》。他提出“六法”作为品评当时人物画的标准：

一、气韵生动是也；

二、骨法用笔是也；

三、应物象形是也；

四、随类赋彩是也；

五、经营位置是也；

六、转移模写是也。从此，六法之首的“气韵生动”成为中国画根本性审美标准。

因为笔中有阴阳，笔中有墨，墨中有笔，推而广之，“六法”“六要”每一法每一要都要有气有韵，一同结合起来，一幅绘画作品才能达到“图真”、“传神”、“得其气韵”的审美效果。

其实国画的认识每个人都有自己的世界观，国画传统美的概念是上留天下留地，繁而透、空而厚，水墨容情，色泽单纯一般不超过三四种，这是一种纯朴而又充满无限灵气的自然美。随着社会的发展生活水平的提高，人们更向往的是一种复杂的美，绚烂多彩的美，既有西方的色彩又有东方的纯朴，这都在我潜意识的追求中。

第三篇：实用英文介绍

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Dear Sir or Madam,Thank you very much for reading my application and I am much honored to introduce myself here.My name is XXX.I am 24 years old and I come from ***, the capital of Hunan Province.I am seeking an opportunity to work with *** as a Engineer.My professional experience and my awareness of your unparalleled reputation have led me to want to work for your company.I have a bachelor degree with a major in Electronic field.I graduated from ***University-widely considered one of the most beautiful

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Any suggestion and the criticism.Thanks!

第四篇：国画（范文）

填空：

1.生叶处：丁香头；相合处：鹊爪；直杖处：钗股；从外画入：叠；丛里画入：迸跳 2.中国画全称“中国传统绘画”，古时称“丹青”，简称“国画”，它是一种蕴含着中国传统文化底蕴并且有着鲜明民主特色的绘画形式，是世界美术领域自成独立体系。按照体现内容题材可以分为：人物画、山水画、花鸟画。中国画的三种题材分科并不是一开始就这样分的，中国画初期是以人物画为主导地位，山水画在魏晋时期才从人物画背景中脱离出来并逐渐形成独立画科，花鸟画到了唐代才开始独立成科。至明清两代更为突出，按照技法和艺术风格可以分为工笔画和写意画。236 3.梅花

1.徐黄一体:指的是“两家画风，两种面貌”，即西蜀黄笙、黄居寀父子与南唐徐熙、徐崇嗣祖孙，他们都是五代和宋初的著名花鸟画家。黄家父子多服务于官廷，多画宫中珍禽瑞兽，奇花怪石，画风工细巧整，富丽明艳。徐熙则为江南处士，放达不羁，作画以水墨为主，略施淡彩，墨迹与色彩不相掩映，这种画风颇具潇洒野逸之趣。他们形成了当时花鸟画的两大派也就是后来花鸟画“工笔画”和“写意画”两种绘画风格的前身，郭若虚《图画见闻志》评他们为“黄家富贵，徐熙野逸”。

2.四君子：是对“梅、兰、竹、菊”四种花卉题材的总称。明万历年间，黄风池辑《梅兰竹菊四谱》，陈继儒题称“四君”，以梅、兰、竹、菊隐喻君子的高尚品德，从此，称这四种花卉为“四君子”。学习水墨画的初学者以“四君子”入手是最好的途径：不仅因为体现了画家人格的高尚，其寓意好，而且竹子可学直线的配置和组合，兰草曲线的构成，通过对梅花枝干的学习可联想到其它树枝干画法，菊花叶子的构成了解之后就可画各种各样草花了。随后，中国文人花鸟画家常以梅兰竹菊抒发自己情怀，利用兰竹表现高洁，梅菊表现不畏强暴的高傲姿态。这种比喻如此贴切，使“人-社会-自然”成为不可分割的整体，其思想内容和审美价值超出了花卉本身的自热形象，真正达到了物我交融的地步。

竹林七贤是指魏末晋初的七位名士：阮籍、嵇康、山涛、刘伶、阮咸、向秀、王戎。他们在生活上不拘礼法，清静无为，聚众在竹林喝酒，纵歌。作品揭露和讽刺司马朝廷的虚伪。七人亦是当时玄学的代表人物。

3.《梅花喜神谱》南宋画家宋伯仁所著现存最古老的梅花画谱，“喜神”是写生、写像之意。全书分上、下两册，是中国第一部专门描绘梅花种种情态的木刻画谱。因宋时俗称画像为喜神，故名。它收录 100幅图，分别描绘蓓蕾、小蕊、大蕊、欲开、大开、烂漫、欲谢、就实等梅花的种种形态。每图多一枝一蕊，形象鲜明而富有变化；图左边题诗四句，图上部根据花的情态标以寓意性画。

4.文人画：也称“士人画”，是中国绘画的一个专门名称。泛指中国封建社会中文人、士大夫所作之画，以别于民间和宫廷绘画。所谓文人画再具体点讲就是指有修养，有学问，重视人品画品的文学家、哲学家、诗人、学者画的画。通常“文人画”多取材于山水、花鸟、梅兰竹菊和木石等，借以发抒“性灵”或个人抱负，间亦寓有对民族压迫或对腐朽政治的愤懑之情。他们标举“士气”、“逸品”，崇尚品藻，讲求笔墨情趣，脱略形似，强调神韵，很重视文学、书法修养和画中意境的缔造。文人画注重水墨的运用，讲究墨分五色。运用墨干湿浓淡浑厚苍润的微妙变化，体现出“淡而不薄、厚而不浊、苍而不枯、润而不滑”的韵味。5.写意画：写意画是相对于工笔画而言的一种画法，是中国画的一种表现手法，是我们民族艺术最高的美学原则，是通过“外师造化，中得心源”、借助笔墨、以意造境的一种形式。写意就是要求用粗放、简练的笔墨，画出对象的形神，来表达作者的心境。古人说作画必先立意，所谓立意就是画的主题。画家在作画之前应把意放在笔先，通过绘画来表达他对生活的看法，把自然景色和个人的感情结合在一起。

6.院体画：简称“院体”、“院画”，中国画的一种。一般指宋代翰林图画院及其后宫廷画家比较工致一路的绘画。亦有专指南宋画院作品，或泛指非宫廷画家而效法南宋画院风格之作。这类作品为迎合帝王宫廷需要，多以花鸟、山水，宫廷生活及宗教内容为题材，作画讲究法度，重视形神兼备，风格华丽细腻。因时代好尚和画家擅长有异，故画风不尽相同而各具特点。

7.梅妻鹤子：宋·林逋隐居西湖孤山，以三百棵梅花为妻，两只仙鹤为子，种植梅花饲养仙鹤，终生不娶，人谓“梅妻鹤子”，被传为千古佳话。他的《山园小梅》诗中名句：“疏影横斜水清浅，暗香浮动月黄昏。”是梅花的传神写照，脍炙人口，被誉为千古绝唱。典出——宋.沈括.《梦溪笔谈》.卷十.人事。后比喻清高或隐居时也作：梅鹤因缘、妻梅子鹤。

8.王者之香：指的是兰花的别名，说的是孔子与兰花之间的一段美丽的传说，孔子周游列国宣传自己的政治主张却没有受到重视，从卫国返回鲁国途中，在一幽谷里，孔子看到一株独自生长的兰花，孔子于是感叹道：“兰花具有王者之香，而现在都变成了杂草一般。”随后又取琴弹琴一曲“奇兰操”。来慰藉自己的失意心情。孔子将自己不得志的境遇比喻那株兰花，兰花别名王者之香正是由此而来。9.竹林七贤：古人说，竹子“既非花，亦非草，仍为竹”。竹子的美是非凡的，特别是成群的竹子形成静谧而美好的空间，从古代就深深抓住了中国文人的心，其代表是魏晋时期的竹林七贤，阮籍、嵇康、山涛、刘伶、阮咸、王戎、向秀七人远离当时充斥着战乱和政治斗争异常激烈的现实社会，聚集于“竹林”之中，尽情于痛饮与“畅谈”之中，对于他们而言竹林无疑是超俗世间的场所，这七人的行为更是被后世所敬仰。

10.梅花主干、枝条、枝梢的用笔用墨关系。画梅花起手先画枝干，梅花的枝干是贯穿一副梅花作品的关键。画梅花枝干的方法有很多，所有的方法古人云：“姿态，梅之骨骼。或疏而骄，或繁而劲，或老而媚，或清而健，本各不同...”都是为了表现梅花的不同姿态。用笔要肯定有力，中侧锋并用，同时注意行笔的轻重缓急。画梅花老干时要注意干笔的用法，用笔是要中锋、侧锋结合运用，行笔要苍润瘦劲。画写意梅花枝干用墨要注意浓淡变化。古人画梅有句“浓写枝头淡写梢...”正是强调不同质感的用墨变化。尽量保持使画面和谐统一。11.《芥子园画谱》：是清代文人沈心友邀集画家王概、王著等人编辑的木板画谱，成书于康熙48年，以木板彩色套印而成，并以沈心友的岳父李渔的别墅“芥子园”为此书命名。全书主要分为初集、二集、三集三部分，囊括山水画谱、梅兰竹菊谱、花卉草虫翎毛谱、人物之精华内容。画谱系统地介绍了中国画的基本技法，浅显明了，宜于初学者习用，故问世300余年来，风行于画坛，至今不衰。许多成名的艺术家，当初入门，皆得惠于此。《芥子园画谱》是一部中国传统绘画的经典课本。近代现代的一些画坛名家如黄宾虹、齐白石、潘天寿、傅抱石等，都把《芥子园画谱》作为进修的范本。所以“芥子园”这部书的名气很大。从用笔方法到具体景物的笔墨技法，从创作示范再到章法布局，为学习者提供了完整的学习解决方案。

12.分析”孔雀升墩”和”月季花蕊四季不同”。这两个例子表明了宋代画风的一个侧面,也就是“尽物之情态”。孔雀升墩：升,就是从低处向高处移动,墩,就是土堆。宋徽宗赵佶设立画院,招考各地的画师,造诣高深的就给予职称。一次,宣和殿前的荔枝结果了,孔雀在树下啄食掉落的荔枝, 把画院的画师叫来当场写生。画师各显本领画出了一幅幅的荔枝孔雀图,送给宋徽宗评赏。赵佶看后,说:“你们虽画行不错,可惜都画错了。”“错了?”画师们个个非常惊愕。“孔雀上土堆,你们都画成了先抬右脚。”赵佶指着画上的孔雀,停了一会,他朝地上的孔雀一扬颏,说:“事实上,孔雀上土堆,往往是先举左脚的。”画师们有些不信,他们反复观察,果然如赵佶说的。月季花蕊四季不同：徽宗在位时，龙德宫刚刚建成，徽宗诏令御用画师在龙德宫的屏壁上绘图，所挑选的画师都是当时一流的高手。待到所有图画画成后，徽宗浏览一遍，都看不上眼，唯有当他走到壶中殿前柱廊的一幅“拱眼斜枝月季花”前，才驻步观赏起来，问随从这幅画是何人所作。听说是一个新进宫廷画院的少年，大为高兴，马上给予奖励，恩宠有加，众人皆不明所以。一次，近侍瞅了个机会探问徽宗，少年之画究竟好在哪里，徽宗回答说：“月季鲜有能画者，盖四时朝暮，花蕊叶皆不同。此作春时日中者，无毫发差，故厚赏之。”原来徽宗发现，一年四季，同样一株月季，前开的花、蕊与后开的花、蕊以及生长的叶子，都有不同的状貌，不仅如此，一日之中，早晨、中午、黄昏的花、蕊、叶也是各一异其态；而少年所画，为春季中午的月季，徽宗认为他画得丝丝入扣，符合实际。这说明，徽宗赵佶以及这位少年画师对月季花有长久而细致的观察，他们对月季花一物而多态、一种而千变的美有深刻的领悟。正因为宋人绘画对客观事物这种极为细致的登峰造极程度的追求，也就形成了宋画“工细巧整，富丽明艳”的艺术特色。

13.理解分析写竹口诀：“晴竹重人一川风，雨竹原来叶写分。风竹顶风枝借雨，雨垂低覆也重人，其间晴竹原无借，鹊爪多排人少重”。画竹难画叶，前人已把叶组的写法，高度概括为人字、个字、分字三大类，重人叠个叠分组成叶组，一定要练得烂熟，然后套在枝爪上即可成竹，叶子用笔，一般用中锋，落笔轻然后按提收起；叶子分布根据枝而生发，一般中旺、上下稀。晴竹的叶，人字加人字为重人，一般向上撇出，风竹叶如个字斜撇，类川字样。雨竹用分字，叠分字为之，最下几笔可用重人，顶风面的叶，分字来表现，表示风向，晴竹要在枝上多排鹊爪尽量少排重人。

第五篇：达沃斯英文介绍

The World Economic Forum(WEF), based in Geneva, is an international non-governmental organization committed to improving the state of the world by engaging leaders in partnerships to shape global, regional and industrial agendas.The forum, initially known as the European Management Forum, was founded in 1971 by Klaus M.Its agenda now includes the most pressing problems facing the world, ranging from political, military and security concerns, to bilateral and regional issues.Since 1979, China has maintained good cooperative relations with the World Economic Forum.China's leaders participated and delivered speeches in the annual meeting on many occasions.They included Premier Li Peng, Vice Premier Zhu Rongji, Li Lanqing and Wu Bangguo successively.between 1992 and 2000, and Vice Premier Huang Ju, Zeng Peiyan, State Councilor Hua jianmin and Premier Wen jiabao.China has dispatched delegations to the regional economic summits organized by the World Economic Forum since 1993.Between 1981 and 2006, the World Economic Forum, in collaboration with China Enterprise Confederation, convened an “International Senior Management Symposium” in China(renamed the “China Business Summit” in 1996), which was suspended after the “Summer Davos” Forum was held in China in 2007.Usually the World Economic Forum convenes an annual meeting in Davos at the beginning of each year, so it is also called the “Davos Forum”.Klaus Schwab, Chairman of the World Economic Forum, raised the idea of a “Summer Davos China” in 2005.The Beijing representative office of the World Economic Forum was set up in June, 2006, and was the first representative body established outside Switzerland.The World Economic Forum has convened its Annual Meeting of the New Champions(“Summer Davos” Forum)each year since 2007, aiming to create a platform for “enterprises expanding globally” to discuss and share experiences with well-established enterprises.The first “Summer Davos” Forum was held in Dalian in September, 2007 with the same theme of the 2007 Davos Annual Meeting –“Changing the power equilibrium”.In September, 2008, the second Summer Davos Forum was held in Tianjin with the theme of the “Next round of growth”.In September, 2009, the third Summer Davos Annual Meeting was held in Dalian with the theme of “Relanching growth”.Premier Wen Jiabao attended the opening ceremony of the three forums and delivered speeches.In addition, the World Economic Forum lays stress on cooperation with Chinese enterprises.By September, 2009, the number of Chinese enterprises becoming members of the World Economic Forum had exceeded 60.The 2012 Summer Davos Forum, referred to as the “Wind vane of the world's economy”, was held in Tianjin from Sept 11 to 13.The number of guests set a new record.The elite and politicians from all over the world ran a brainstorming session with the theme of “molding the economy in the future”.On September 11, 2013, the Seventh Summer Davos Forum was opened in Dalian.Premier Li Keqiang attended the forum and delivered a special address.Edited by Wang Yifei and Brian Anthony Salter The Annual Meeting of the New Champions Schwab, Chairman of the World Economic Forum, raised the idea of a “Summer Davos China” in 2005.In September, 2008, the second Summer Davos Forum was held in Tianjin with the theme of the “Next round of growth”.The 2014 Summer Davos has brought about the concept of “Green Transportation, Green Theme activities, Green Dining, Green Accommodation, and Green Souvenirs”.The World Economic Forum Annual Meeting of the New Champions, also known as the Summer Davos Forum, will be held in Dalian, Liaoning Province, from Wednesday until Friday.This year's event will be on the theme of “Mastering Quality Growth.” About 1,500 participants from 90countries and regions are expected to show up during the three-day forum.