朱耷,Zhu Da
1)Zhu Da朱耷
1.On the Metaphorical characteristics of Zhu Da s Drawing Language;“墨点无多泪点多”——论朱耷绘画语言的隐喻特征
2.ZHU Da's Calligraphy Style and its After-world Influence论朱耷书法的风格及对后世的影响
英文短句/例句

1.Zhu Da's Porcelain Inkstone and Nanchang Porcelain Businessman Mr. Gong朱耷瓷砚与中洲龚氏——朱耷史事丛考之一
2.Zhu Da and the Vermilion Bird-Badashanren Painting of Birds朱耷与朱雀——浅谈八大山人的飞鸟图
3.High Standard, Excellent Talent, Full of Courage and Power--Appreciation and Analysis of Zhuda' s Artistic Style眼高 才奇 胆壮 气足——朱耷艺术风格赏析
4.High Standard, Excellent Talent, Full of Courage and Power--Appreciation and Analysis of Zhuda s Artistic Style;眼高 才奇 胆壮 气足——朱耷艺术风格赏析
5.On the Metaphorical characteristics of Zhu Da s Drawing Language;“墨点无多泪点多”——论朱耷绘画语言的隐喻特征
6.Ren learned figure painting from Chen Laolian, flower and bird painting from Xu Xi and Yun Gu, and free sketch painting from Xu Wei and Zhu Da.任伯年学陈老莲人物,学徐熙、恽格没骨花鸟,学徐渭、朱耷写意,
7.His free-hand flower and bird paintings drew on the painting techniques of Xu Wei, Zhu Da, the Eight Eccentrics of Yangzhou and Wu Changshuo, thus showing his solid cultural foundation.他的写意花鸟画上承徐渭、朱耷、扬州八怪以及吴昌硕,具有深厚的传统文化功力。
8.Her shoulders stooped.她的肩膀朝下耷拉着。
9.I huny my head and sulked.我耷拉着脑袋生闷气。
10.His red tongue was hanging out.他的红舌头耷拉出来。
11.The dog's tongue is lolling out.狗的舌头伸出来耷拉着。
12.The main-sail hung drooped like a banner.主帆耷拉着,像一面旗帜。
13.a bird trailing a broken wing耷拉着一个断翅的鸟
14.Gerald's shoulders sagged.杰拉尔德的两肩耷拉着。
15.Better get out the floppy ears and fuzzy tail.最好拿着软耷耷的耳朵和毛茸茸的尾巴。
16.The thick shoulders sagged in misery.那厚实的双肩丧气地耷拉了下来。
17.And an other thing, droopy puss, don't always be pulling such a long face.告诉你,丧气鬼,把脸别耷拉得那么长;
18.dropped beneath the stare of earth and sky.都在大地和天空的凝视下耷拉着脑袋。
相关短句/例句

Zhu Dɑ朱耷(1626~1705)
3)Zhu Da Heshanghua Tu Juan朱耷《河上花图》卷
4)The Fourth Series of "Eight Topic about Zhu Da""朱耷八题"续四
5)A Study of Yizhuo, a Senior Schoolfellow of Zhu Da"朱耷八题"续三
6)Clarifying the History of Taoist Ma of Qingyunpu Garden"朱耷八题"续二
延伸阅读

朱耷朱耷(1626~1705)中国清代画家。僧人。原名统。江西南昌人,明宗室后裔,明亡后出家,一生字、号、别号极多,主要有:法名传棨,号雪个、个山、屋驴、人屋,尤以八大山人最为知名。据载,他还曾弃僧入道,改名朱道朗,字良月。在书画上亦有许多画押,如“三月十九日”、“相如吃”、“拾得”、“何园”等,含义较深。另外他署款时常将“八大山人”连缀写成“哭之”、“笑之”字样,以寄托愤懑。作为明宗室后裔,朱耷身遭国亡家破之痛,一生不与清王朝合作。他性情孤傲倔强,行为狂怪,以诗书画发泄其悲愤抑郁之情。朱耷擅花鸟、山水,其花鸟承袭陈淳、徐渭写意花鸟画的传统。发展为阔笔大写意画法,其特点是通过象征寓意的手法,并对所画的花鸟、鱼虫进行夸张,以其奇特的形象和简练的造型,使画中形象突出,主题鲜明,甚至将鸟、鱼的眼睛画成“白眼向人”,以此来表现自己孤傲不群、愤世嫉俗的性格,从而创造了一种前所未有的花鸟造型。其画笔墨简朴豪放、苍劲率意、淋漓酣畅,构图疏简、奇险,风格雄奇朴茂。他的山水画初师董其昌,后又上窥黄公望、倪瓒,多作水墨山水,笔墨质朴雄健,意境荒凉寂寥。亦长于书法,擅行、草书,宗法王羲之、王献之、颜真卿、董其昌等,以秃笔作书,风格流畅秀健。朱耷《荷花水鸟图》朱耷的绘画在当时就名重于世,对后世的扬州八怪、吴昌硕、齐白石,以至现当代的画家均有深刻影响。有《牡丹孔雀图》、《传棨写生》册、《墨花图》、《杂花卷》、《河上花图》、《兰亭诗画册》等传世。