1) aura
[英]['ɔ:rə] [美]['ɔrə]
光韵
1.
The Disappearance and Re-appearance of “Aura”: The Way We See the Old Films;
“光韵”的消失和再生——我们今天怎么看老电影
2.
This article attempts to explore Benjamin s emotion toward art in the mechanical reproduction period surrounding three aspects: the admiration of the art in the mechanical reproduction period , the cherishing memory of aura art, and the hesitant attitude toward modern art.
本文从“对机械复制时代艺术的礼赞”、“对光韵艺术的怀念”、“对现代艺术的矛盾态度”三方面来探讨本雅明对机械复制时代艺术的情感。
3) light charming art
光韵艺术
4) rhyme
[英][raɪm] [美][raɪm]
韵
1.
QIN Guan Ci embodies "rhyme" from the perspective of feeling for the external things and way of expressing it: rhyme caught inside the heart of the poet and it is elusive and enthralling; agile rhyme which is, expressive and connotative.
"韵"是一种外在形态,更是内在的精神。
2.
The rhyme is the main idea in books com- mented by Huang Tingjian.
韵是黄庭坚书论的核心思想。
3.
On the basis of an analysis and summarization of Chinese poems,this paper elaborates the ten functions of rhyme.
韵是一种极为复杂的现象,在诗歌中具有多方面的功能。
5) rhythm
[英]['rɪðəm] [美]['rɪðəm]
韵
1.
"Dynamic","rhythm"and"artistic fun"are much valued,which is borrowed into poetic theory.
其书法之美趣为"力"、"韵"、"意",这既是他们书法创作的追求,也是他们用来衡量书法优劣的标准。
2.
The "vivid rhythm" and the "Bone-liked Style of Drawing" of the six principles have been the fundamental pursuance in Chinese painting.
南齐谢赫在《画品》所创发的"六法精论",实乃我国古代绘画经验的系统总结,奠定了我国美术思想发展史上极其重要的理论基石;尤其是六法中的"气韵生动"与"骨法用笔",一直是中国绘画的根本追求,它概括了绘画的普遍规律,具有"俯遗则于来叶"、"历千载而不移"的理论价值。
3.
Wang Zhuo put forward the following esthetical criteria of Ci - poetry:human disposition, nature, a mean rule or justice, elegance and rhythm, and made some practical searches on these criteria for the purpose of creation and appreciation of Ci - poetry.
王灼提出词的审美标准——性情、自然、中正、雅、韵等,并作了深入具体的探讨,从历史和逻辑的结合上为词的创作与鉴赏确立了自我的美学观念。
6) charm
[英][tʃɑ:m] [美][tʃɑrm]
韵
1.
This paper discusses how to melt the charm of traditional graphs into designing modern,independent,up-to-date international symbols.
将传统图形艺术结合到现代标志的设计中是设计出具有主张性、时代性和国际性的现代标志的重要手段之一,把握与承传传统图形的“韵,”并最终将其融合到现代标志的设计之中,是传统图形艺术与现代标志设计结合的一个难点。
2.
Some similarities and dissimilarities can be found from the comparison between Chinese classical theory of "charm" and that of India,which have no conspicuous external factual connection.
将没有外在“事实联系”的中印古典“韵”论并置在一起进行比较,其相同之处有四:一是对“韵”这个审美范畴“推尊之以为极致”;二是认为韵与味在本质上有相通之处;三是对韵的内涵的理解基本相同;四是都运用比喻来言说。
3.
In Southern Dynasties,it became the significant aesthetic category of Chinese ancient painting since the theory of "vigor and charm" had been put forward by Xie He.
自南朝齐谢赫提出“气韵生动”以来,它就成为中国古代绘画的重要美学范畴了。
补充资料：韵光
《韵光》dhvanyāloka
印度古代文学理论著作。作者是阿难陀伐弹那（意译为欢增），约9世纪人。书中有诗体歌诀和散文体的说明。其中的诗体歌诀是否前人所作，署名的作者是否只用散文作注释，尚无定论。
全书分4章。它不着重修辞，而提出诗的主体是“韵”的理论。认为词的“暗示义”或“领会义”是“韵”的依据。“韵”是诗的灵魂，词和义不过是诗的“形体”。这在印度古代文论发展中是一重大突破。诗中有暗示义即“韵”者被认为是上品，否则是下品。经过新护（10～11世纪）的《韵光注》解说和发挥，“韵”的理论对其他派别逐渐占了压倒优势。这一理论中的唯心主义倾向由新护的发挥而带上了神秘主义色彩。
该书第一章有汉译。
说明：补充资料仅用于学习参考，请勿用于其它任何用途。
参考词条