Chinese figure painting prominently features verve.
中国人物画的突出特点的神韵。
The figure painting of Chen Laolian flourishes in a rich soil.
陈老莲的人物画有其丰厚土壤。
Therefore, hes landscape, figure painting patterns Zisi, informal Shengmo.
因此他的山水、人物画形态恣肆，不拘绳墨。
The third part is the contemporary inspiration of Li Boan's figure painting.
第三部分是李伯安人物画现代感的启示。
He was admired for his landscape, bird-and-flower and occasional figure painting.
他的山水画、鸟画和人物画受人仰慕。
The good figure painting works should be unified by the perfections of content, form and skill.
好的人物画作品应该是内容、形式和技巧的完美统一。
Urban Ink Figure Painting is a new art form. It is different with Chinese realistic figure painting.
都市水墨人物画是一种新的绘画样式，它不同于现实主义中国人物画。
This is a great idea along to Ink Figure Painting of the transformation in the contemporary language.
本文就是沿着这样一个大的思路来探讨水墨人物画笔墨语言在当代的转化。
The figure painting of FU Bao-shi always keeps up the styles of remote antiquity, elegance, natural gue.
傅抱石人物画始终保持了一种高古、典雅、飘逸的格调。
There are figure painting, landscape painting and painting of flowers and birds depending on the designs.
根据图案，分为人物画、山水画和花鸟画。
At the beginning of sixty time cut a striking figure painting, after study at the Xi 'an Academy of Fine Arts.
六十年代初在画坛崭露头角，后深造于西安美术学院。
He pays less attention to the standards for figure painting than to capturing the inner thoughts of his characters.
他不在意是否合乎法相规范，却注重描绘人物的内心。
Furthermore, the aesthetic style of figure painting saw its own formation, to a greater extent, in the use of line.
此外，线条的运用及其特点在很大程度上影响到这一时期人物画家审美风格的形成。
Will also increase the artistic creation of contemporary figure painting theoretical foundation and guiding ideology.
也会对当代人物画的艺术创作增加一定的理论基础和指导思想。
Chinese figure painting into the language arts need a long-term process, not on the transformation of the transformation.
中国人物画艺术语言的转化需要一个长期的过程，不是说转化就转化的。
In addition to our part of Flowers and Birds painting, most landscape painting, figure painting Meticulous colors are flat.
我国除了一部分花鸟画外，大部分山水画、工笔人物画的色彩都是平面的。
At that time, we can only from the landscape as a background figure painting subjects that period to show the landscapes look.
我们只能从当时作为人物画背景的山水题材来窥见那一时期的山水画面貌。
The third part combines the history and present situations to put forward the outlook and the thinking of the watercolor figure painting.
第三部分结合历史与现状提出对水彩人物画的展望与思考。
The Portrait of Madame Guo Quo Going Sightseeing in Spring and Spring. The representative work of "Qi Lou figure painting" of hi gh Tang ?
盛唐绮罗人物画的代表作品《虢国夫人游春图》，富贵华丽、精细典雅。
The thesis aims to analyze the Chinese traditional figure painting, the figure painting of Chen Hongshou and the figure painting of Zengjing.
本文就此问题将对中国传统工笔人物画和陈洪绶人物画以及曾鲸人物画，作具体的分析。
Figure painting in China from the beginning of the exchange of Buddhism in India, to accept, absorb, and then to melt and become their own art.
中国人物绘画由开始对印度佛教的交流、接纳、吸收，到后来消融并成为自己的艺术。
The second part focuses on the three connotation of the artistic spirit of Li Boan's figure painting and the significant impact on the art world.
从而指出，李伯安人物画的艺术精神价值远大于其作品的物质价值，对其艺术精神的研究更具有学术意义。
It also from the view of form factor analyses the important role that color plays to display some enlightenment in color for Freehand Figure painting.
从形式要素的角度分析了色彩在绘画中的重要作用，给意笔人物画在色彩方面的研究以启示。
It also from the view of form factor analyses the important role that color plays to display some enlightenment in color for Freehand Figure painting.
从形式要素的角度分析了色彩在绘画中的重要作用，给意笔人物画在色彩方面的研究以启示。
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