本文为您带来梵志的英文翻译，包括梵志用英语怎么说，梵志用英语怎么说，梵志的英语造句，梵志的英文原声例

本文为您带来梵志的英文翻译，包括梵志用英语怎么说，梵志用英语怎么说，梵志的英语造句，梵志的英文原声例句，梵志的相关英语短语等内容。

梵志的英文翻译，梵志的英语怎么说？

梵志的英语网络释义

梵志的汉英大词典

梵志的英语短语

梵志的英文例句

黄：曾梵志的画画得好，我很喜欢。

Mr. Huang: Zeng Fanzhi paint well and I love it.

曾梵志的红围巾有多种意义。

The red scarf has multiple associations in Zeng's oeuvre.

梵志会的成员唱着哈瑞的名字，这非常好。

The members of the Brahmo Samaj sing the name of Hari. That is very good.

曾梵志《火》；油画画布；2007年作。

Zeng Fanzhi, Fire, oil on canvas, 2007.

王梵志的生活年代约为公元617年至697年。

Author think the living time of Wang Fan Zhi were about 617-697AD.

曾梵志《无题》；油画画布，画框；2006年作。

Zeng Fanzhi, Untitled, oil on canvas, framed, 2006.

在曾梵志同期的象征性作品中充斥著险象环生，四面受敌的场景。

In Zeng's figurative works from this same period, his canvases are dense with an insurmountable and hostile landscape.

曾梵志的其他成就也在于从我(me)的身上剥离了文化的面具。

Whatever else it may accomplish, Zeng's effort removes a layer of culture's masking from me.

曾梵志《无题(面具系列)》；油画画布，画框；2000年作。

Zeng Fanzhi, Untitled (Mask Series), oil on canvas, framed, 2000.

2000年间的中国，曾梵志为面具的集体历史做出了自己的贡献。

In China around 2000, Zeng Fanzhi was contributing to this collective history of the mask.

曾梵志引导笔者通过他的艺术中介的具体品质去关注他的再现手法。

Zeng induces me to attend to his representation through the specific qualities of his medium.

王梵志诗在我国文化思想史、敦煌学、民俗学上都占有重要的地位。

Wang Fanzhi poetry holds an important position in the history of the traditional culture and ideology, Dunhuangics, and in folklore.

梵志会奉献者：“先生，为什么对神的本性有这么多不同的看法？”

BRAHMO DEVOTEE: "Sir, why are there so many different opinions about the nature of God?"

在曾梵志的艺术生涯里，西瓜是诡秘的主题，偶尔出现在大小画作。

Watermelons are a mysterious motif in Zeng's career, appearing periodically in large and small canvases.

想对中国当代艺术市场的飞速发展有所了解，看看艺术家曾梵志就够了。

To get a sense of the remarkable growth of the Chinese contemporary art market, look no further than the artist Zeng Fanzhi.

瞭解曾梵志的观者肯定会察觉出他把人性赋予了这头动物，甚至更过于他的人物。

The viewer, knowledgeable of Zeng's practice, becomes aware that the artist has afforded the animal a greater humanity than his human figure-based paintings.

谈论他招牌的《面具》创作时，曾梵志曾说他对探索人与人之间的距离相当有兴趣。

Of his now-iconic Mask paintings, Zeng has said that he was interested in exploring the distances between people.

与所有出色的文人艺术家一样，曾梵志表示他的创作愈来愈仰赖情绪乍现与自我探索。

Like any good literati artist, Zeng has stated that his paintings increasingly rely on his own ephemeral moods and introspection.

波德莱尔式的陌生化十分接近笔者与曾梵志艺术中任何数量的惑人的特色相遇时的情形。

Baudelairean strangeness approximates the effect of my own encounter with any number of disorienting features of Zeng's art.

画中的曾梵志面无表情，嘴唇闭紧，眉头紧缩，充满疑问的样子，警惕地定睛看著地平线。

Here the artist's expression is neutral, his mouth set and his gaze fixed ever so warily under his quizzical brow, looking cautiously towards the horizon.

曾梵志“面具”画作的背景一贯空无一物，而且是平面的，突出人工化的场景，及画中人物的疏离感觉。

Zeng typically has left the backgrounds of his Mask paints empty and flat, to highlight both the artificiality of the scene and the alienation inherent to the sitter.

和自觉地关切着自己的灵魂波动一样，曾梵志也在时常变换着他的绘画技法，有时候连他自己都感到奇怪。

As if he were self-consciously attending to the movement of his own soul, Zeng alters his technical procedures from time to time, to surprise himself.

和一位作家写书是为了阅读和思考一样，曾梵志的绘画也为他自己提供了恰好超越了理解范围的审美激发。

Like a writer writing to have something to read and then pondering it, Zeng's painting provides him with aesthetic stimulation just beyond the reach of his comprehension.

与中国传统的文人雅士相同，曾梵志作品的外表并非科学观察的真实世界写照，而是个人性情与诗意的表现。

Like classical Chinese literati painters before him, Zeng's exteriors are not descriptive renderings of a world scientifically observed, but a manifestation of a personal, poetic disposition.

曾梵志把三张画布拼成一组，展示了任何印记、技法、中介是如何必须像面具那样把它们所创造的意象予以遮蔽。

Zeng's group of three canvases demonstrates how any marking, any technique, any medium, must mask the image it reveals.

希瓦纳特是师父钟爱的梵志会伟大奉献者，是梵志会聚集的众多成员之一，正在热切地等待室利罗摩·克里希纳的光临。

Shivanath, the great Brahmo devotee whom the Master loved dearly, was one of the large gathering of members of the Brahmo Samaj who had been eagerly awaiting Sri Ramakrishna's arrival.

这显著地高于其他在世的艺术家，包括JeffKoons,Damien Hirst，还有中国著名艺术家曾梵志。

This was substantially more than any other living artist, including Jeff Koons, Damien Hirst or the Chinese favourite, Zeng Fanzhi.

今日曾梵志离开了自我，独自一人自信地走上漫长的旅程，前往那无人踏足的领域，对于是否能找到正确的脱离之道，也不寄予希望。

He is now lost to himself, setting forth confidently on uninhabitable terrain, relentlessly alone and without apparent hope for a clear path out.

艺术经纬：您的老师是德高望重的尚扬先生，石冲又是您的同学，曾梵志和马六明都是的校友，您怎么看他们现在的状态和他们的艺术？

Editor: your teacher is Mr. Shang Yang who is venerable. Shi Chong is your classmate, and Zeng Fanzhi and ma Liuming are your alumni. How do you think their current status and their art?

当曾梵志被问到是什么激发他创作面具系列的时候，他回答到：“真正的自我总是被隐藏着，在社会中，没有人不是戴着一副面具的。”

Questioned about what instigated his Mask series (1994-2004), Zeng replied: "The true self will always be concealed. No one appears in society without a mask."

梵志的原声例句

梵志的网络释义

梵志 梵志，梵语的意译。 指婆罗门， 印度古代四个种姓之一。 也指古印度一切“外道”出家者的通称。

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