形与神

形与神是一种辨证关系。

There is a dialectical relation between the form and the spirit .

肖像雕塑的形与神

" Form " and " Spirit " in Portrait Sculpture

形与神时中国画论中两个基本的概念。

Form and verve is two basic concepts of Chinese Painting theories .

中国武术形与神在教学中的体现

Embodiment of Posture and Spirit of Chinese Wushu in Teaching

形与神辨关于形的教学研究

On the Paradox between Form and Spirit A Study on Teaching of Art Shape

形与神&城市特色街区的四种模式

Form and Spirit-Four patterns of characteristic urban blocks

论中华武术的形与神

Theory of Combining Form and Spirit in Wushu

中华武术的形神统一论武术形神论论中国画的形与神

Unification of Form and Spirit of Chinese Wushu

在形与神之间实现超越&记当代蜡像艺术家艾得胜

Fulfilling Transcendence between Shape and Spirit-Record on Contemporary Wax Statue Artist , Ai Desheng

形与神辨

On the Paradox between Form and Spirit

形与神的关系是一个既古老又常新的话题。

Relations between the shape and the spirit is an ancient topic which is frequently freshed .

形与神俱，不可分离&从语义与语境的演变看中医翻译中的常与变

Changeable and unchangeable factors in translation of traditional Chinese medicine : variability of context and meaning

形与神是中国古代艺术史上一对重要而又极有特色的范畴。形神理论的形成与发展，不可避免地受到当时社会文化和意识形态的影响与渗透。

Form and spirit is a pair of important categories of particular characteristics in Chinese history .

从主、客体不同的两方面对绘画进行美学研究。使得形与神在绘画上开始对立起来。

Thus , the appearance and the spirit are presented through the objective and subjective study of the painting aesthetics .

魏晋时期玄佛兴起，理沟通了形与神。

Later , when metaphysics and buddhism arose in Wei Jin period , the shape and bearing of an object .

形与神的关系是中国画论研究反复探讨的一个重要理论问题。

The relation of form and verve is an important theoretical problem of Chinese Figure Painting creation which is repeated discussed .

形与神是中国古典绘画美学中的核心命题。

" Shape " and " essence " is the core of the proposition in the aesthetics of classical Chinese painting .

美因而可以说是生理与精神的结合，是形与神的统一。

Beauty can be called to be the combination of physiological and the spirit , which also the unit of appearance and the soul .

情与景、形与神的交融，体现出如诗如歌般的意境，包蕴了中国服饰艺术的精华。

The combination of emotion and scenery and that of form and spirit together bring about a poetic vision of the essence of Chinese clothing art .

它由来古代灵与肉、形与神分离的二元认识，并逐渐由形神分离向形神相即、形神合一的方向发展。

It develops from the ancient dimensional recognition of the separation of spirit and body , and separation of physique and vitality and gradually to the direction of wholism of physique and vitality .

第二章在简析生命的基本构成（形与神）的基础上，分析《太平广记》轮回转世故事所表达的生命永存的内涵。

Chapter two , based on the analysis of the construction of life ( the body and spirit ), analyzes the connotation of eternal life through transmigration in the story of the book .

我国古代绘画艺术，常常是着眼于如何处理形与神的关系，以达到神形兼备的理想境界。

Our ancient Chinese painting art constantly fows on how to deal with the relationship of " apperance " and " spirit " for the ideal pursuing of both appearance and spirit of painting .

在我国书法和绘画史上，没有形式和内容的概念，只有神采与形质、形与神的概念。

In the history of calligraphy and painting in China , there are no " form " and " content " concepts , only the concept of " spirit " and " form " .

魏晋南北朝到隋唐，绘画重传神意识在逐步加深，并体现出形与神的辩证关系&以形写神。

In the southern and northern dynasties to sui and tang dynasties , painting heavy awareness in gradually deepening , god and reflects the form and god of the dialectical relationship between & in a written form of god .

文章具体分析了在诗词的情与景、事与理、形与神、虚与实中，以一方为直接信息，另一方即为潜在信息。

This paper attempts to analyze the relationship between the emotion and the landscape , the substance and the principle , the form and the spirit , with one side being the direct information and the other side being the latent information .

从业状态审美化的本质特征是和谐&从业人与自然、社会的和谐，从业者的个体活动与客观规律的和谐，情与理、形与神、内与外的和谐，身心和谐、灵肉和一。

The essential characteristics of aesthetic appreciation of employment status is harmony - the harmony of employer and the nature and society , the individual activities and objective laws , the feelings and reasoning , shape and spirit , inner world and outer world , body and mind .

只有把主观情感在舞蹈中，把“形”与“神”、“情”与“景”有机的统一，才能创造美的意境。

Only the subjective feelings in dance , the " shape " and " God "," love " and " King " organic unity of the United States in order to create the mood .

主体之情与历史之理的交互渗透、外附之形与内在之神的融通兼备是历史教育意境的重要特征。

It is an important feature of the mood of history education for the feelings of the subjects and the reason of history to penetrate each other and for the outer appearance and inner contents to mix together .

因此，讨论我国古代绘画形的历史，其实就是讨论形与神的互动史。

Therefore , discuss the history of " form " in ancient Chinese painting , in fact , which is to discuss the interaction history of " shape " and " spirit " .