留学生作业代写：Spatio-temporal imagery in movie poster design

下面为大家整理一篇优秀的essay代写范文- Spatio-temporal imagery in movie poster design，供大家参考学习，这篇论文讨论了电影海报设计中的时空意象。电影海报是电影艺术在审美鉴赏过程中最先与观众见面的形式和媒介之一，它是电影上映前的先导，不仅起到了传递电影的基本信息和商业宣传的目的，更体现了海报设计作为一种特殊的艺术形式所具备的文化价值。电影通过动态影像的时空转换来诠释主题，而电影海报虽然形式上是静止的，但平面化的视觉语言所体现出的“时空意象”更能给观者无限的体验空间。

Movie poster is the film art in the process of aesthetic appreciation of the first to meet with the audience, one of the forms and media, it is the forerunner of the film before the release, not only played the basic information of the film and commercial propaganda purposes, but also embodies the poster design as a special art form has the cultural value. Film through the spatial and temporal transformation of dynamic images to explain the theme, while the movie poster although the form is still, but the planar visual language reflects the "space-time image" can give the viewer unlimited experience space. This article through to "1942" movie poster reflects the space-time image, to analyze the excellent movie poster should be beyond its own functional attributes.

As one of the important forms and mediums of design art and film art, movie poster not only to meet the commercial needs of film propaganda, but also to embody the unique artistic characteristics of posters, integrated image, graphics, color, composition and other forms and means, eventually form beyond the form to achieve a high degree of artistic spiritual self-restraint to the artistic realm. Movie poster design is broadly divided into two forms, one is to convey the film information as the main purpose, basically to film actors and theme scenes as the main poster elements, through the "star effect", to the realistic way to give people a strong sense of reality, so that it has a visual effect seen by the eyes, to create a subconscious credibility. The other is beyond the film itself in the form of language, not to film roles and scenes as the main design elements, but the image of the formation of independent graphics to explain the deeper themes, in short, through the image form to impress people's feelings is the most prominent aesthetic characteristics of film posters. "Imagery" has different interpretations in different ideological fields, the "imagery" in movie poster design refers to the reconstructed form after the emotion participates, and its construction is based on the aesthetic subject's emotion and thought as the conductor, and the "Space-Time transformation" composed by the color and the image elements makes the viewer appreciate the connotation of the work again.

http://www.51due.com/writing/essay/sample68325.html​

The film "1942" to the 1942-year anti-Japanese war into the stalemate stage, the "Great Famine" in Henan, China, is the background of the story, which reflects the struggle and pain, hope and anger of the protagonist's "Walking" and "returning", which is the rethinking of the Chinese nation's mental process. The movie poster of "1942", whether it is the visual and psychological space composed of black-and-white images, or black-and-white woodcut embodies the artistic features and the formation of the times symbol, the color image and time and space image of the viewer has brought a strong visual shock, with a unique design perspective and visual language, beyond the movie poster itself commercial value, It embodies the cultural and aesthetic significance of poster art, and at the same time lightens the boundary between art forms with the concept of "unbounded".

"Black and white" although in the study of color is called "No Color", but it is contained in all the changes in color, and its own changes even beyond the other color and is given more meaning and symbolic significance. "Know its white, keep its black, for the world-style." For the world-style, Changde not, revert to the promise. "Laozi's Moral Sutra" turns "black and white" into two kinds of behavior, in the process of mutual influence and mutual conversion, an organic whole is formed, and with the help of color imagery, "black and white" is in the opposite state, but it can be transformed and fused under the system of "Tao", which is also the core of Laozi's philosophical thought. is of great significance to the development of Chinese traditional culture. In the system of Chinese painting, the expressive force of "black and white" is far beyond its objective existence. Chinese painting to black and white as the main color language, "Black" Jimo, and "white" is paper, so the Chinese painting is very exquisite "leave white", when the white paper down the ink, the whiteness of the papers from the characterization of the material, become the color of the screen, then becomes the main body in the painting. Qing Dynasty calligrapher Shiru once said: "Calligraphy and painting sparse place can make a horse, the secret place does not make the ventilation, often count white to when black, funny is out." "is to inject the" black and white "imagery form into the creative subject's emotion and form the image of the incisive summary.

The "Black and white" on the design level of modern visual communication means the objective relationship between the elements of design, and then through this relationship, the viewer feels the emotion that he or she wants to convey. June 2012, the film "1942" released two leading posters, from the artistic language and creative means although there are obvious differences, one is through the Black-and-white image of the way, one is the use of black and white woodcut print form, but all have a common feature, are "black and white" For the main language to consider and design. Photography in the invention is a black-and-white image presented, with the invention of color photography, as if the color of a single black-and-white image is gradually forgotten, but as a specific period of culture and art language, black and white of the retro trend of thought and emotion has become a favorite, People not only feel the historical accumulation of memories and imagination, more can feel the rich connotation of black and white change. "Black and white" is a change, this change stems from the perception of the work of a psychological hint or a psychological impulse, in the constant change in the search for a balance, which is relative rather than absolute, "black and white" is a time, everywhere, with the change of the whole.

In the process of artistic occurrence and development, there are typical and representative art forms in different historical periods, which are influenced by political, economic, cultural and aesthetic characteristics. Dana, a French historian and an aesthetic, has said that any successful artwork has a strong background and characteristics of the times. He believes that works of art can not be divorced from the times, race, environmental impact, only the kind of "integrated the characteristics of the era of art," to achieve great success. For example, when referring to the medieval Europe, people will naturally think of magnificent church architecture and exquisite sculpture art, architecture and sculpture art evolved into the symbol of that era was deposited in the eternal memory of history. In the course of art development, the renewal of artistic form has prompted the transformation and extension of creative ways and means, all of which are closely related to "time". The story background of the film "1942" takes place in the stalemate stage of the anti-Japanese war, the main characteristics of the Chinese art in this period is still to show the national peril and the anti-Japanese nation, especially the "Chinese new engraving" creative skills gradually mature, make woodcut engraving in this period become a representative art form "China's emerging printmaking" originated in the 1930s, is one of the main artistic forms of Chinese "left-wing" cultural movement, and the newly-developed woodcut engraving, which is actively advocated by Mr. Lu Xun, has created a new chapter of Chinese printmaking art.

At the time of national peril and social reality, the artist tries to find the way to save the people by the graver, their eyes do not have romantic mood, more is the fate of the Chinese nation, pay attention to the plight of ordinary people, with deep sympathy and resentment of the Dark society, with works to awaken the sleeping soul, The spiritual backbone and symbol of that era occupy a very important leading position in modern Chinese art history. "1942" one of the leading movie poster design style is to borrow the famous version of the artist Hua print works, "Roar!" The manifestation of China, two of the works of two characters are blindfolded, but conveyed the mood is very different, printmaking Hua works of characters, representing the oppressed, invaded the Chinese people's anger and awakening, has a positive symbolic significance. and the characters in the movie poster metaphor at that time the Kuomintang government on the people's sufferings and disaster ignored, is the lash of the Dark era, "black and white" in the picture not only formed a strong contrast of color, abstract thinking shows the theme of the film and rich philosophy. Movie poster in the print style based on the integration of modern graphic elements and fonts, "grasshoppers eat crops into people, people rebel into a grasshopper." "The intriguing language is a profound expression of China's natural and man-made disasters, internal and foreign life, the social situation, in the mind and the reality of the reference between the theme of the film."

Henri Focillon, a French art historian, once said: "A piece of art is in space, but that's not to say it's just passively in space." The work of art works according to its own needs to deal with space, define space, and even create the necessary space. "From the perception of visual art, space can be divided into" real space "and" virtual space ", any art form is the existence or construction in the space after" the reality is Born ", but" the imaginary space "is the space that inspires the psychological perception, it expresses the theme through the rhetorical devices of metaphor, metonymy, symbolism, and highlights the variability and plasticity of space, Also expands the capacity of space, "virtual space" experience depends on the subjective imagination. The position of the image in the space is different, the feeling that brings people is different, when the relationship between art form and space arises, it forms an image form with transcendental meaning, constructs artistic "artistic conception" through image form, so that space is the carrier of art form, and extends its own attribute under the influence of form.

In the movie poster design, the pure plane element already can not satisfy people's visual feeling, needs to use "the space" the strength to stimulate people's physiological demand and the psychological perception. In the plane medium constructs the spatial feeling mainly through the perspective expression, it is to the objective life real space carries on the restoration or the simulation, causes the picture inside to produce the depth feeling which extends, to the viewer's vision plays the guiding role, forms the spatial perception. Of course, this is only in the sense of space, in the design should also mobilize the subjective space consciousness of the viewer, with rational creative thinking to transform it into the perceptual thinking space, so that the objective form of space to form a specific meaning of the image form. The "1942" movie leading poster two uses the manifestation and the formal language of Black-and-white photography, and carries on the performance to the refugee troop with the perspective principle and the realism style. In the darkness of the Night, the sky was dotted with white snowflakes, and a train laden with refugees sailed far away, it carries a nation's soul hope, is a solemn and stirring march, let the viewer's vision frame in the distance locomotive on the green smoke, coupled with the "Go Down, live" font processing, creating an infinite visual space and psychological space , and the film at the end of the old club pull the little girl to continue to walk that part of the soul monologue Perfect fit together, although from the flight of a family into alone, but the desire to survive and the goodness of humanity at this moment by the picture of the space image show incisively and vividly.

Film poster, as both commercial and artistic creation form, through the use of photography, painting art to improve and enrich their own creative language. Any art form can not be separated from the subjective feelings of the creative subject and the aesthetic subject, which is the source of the artistic creation. The image composition in the movie poster design is realized by the theme and aesthetic appeal of the film itself, which embodies the emotion of the film creation subject, and embodies the main emotion of the film poster design, and forms the visual artistic image in the complex emotion activity. The poster designer combines the creation of screenplay, director creation, actor performance and scenes, costumes, props and other related creative subjects, and with the help of many artistic forms of emotional tendencies, through the design of formal language, the objective image and the subjective mind fused into the image form.

The charm of art lies in the fact that the aesthetic subject does not express one's feelings directly, but presents the emotion through objective images. Although the movie poster is presented in a plane medium, however, through the participation of creative thinking, it extends the ontology language and cultural connotation as the elements of poster design, forms the "space-time transformation" of image form, integrates the history and culture form, embodies the harmonious relationship between creative thinking and theme, and the film art cannot be separated from poster design, and poster design for the film Art also has a good role in promoting. Through the deep understanding of the film itself and seek the accurate grasp of its manifestation, even beyond the existence of the film itself the value and significance, in a completely independent form of the appreciation of the direct perception and experience. The movie poster appears "Static", but contains the infinite kinetic energy and the tension, has given the appreciative person bigger, the broader imagination space. The "instant" of the screen touches people's soul, becomes a kind of spirit of condensed and eternal, or symbolizes the "symbol" of a time, the movie poster is no longer the "notice" before the film is released, but the mutual explanation and extension of the art form in the multicultural context.

51due留学教育原创版权郑重声明：原创essay代写范文源自编辑创作，未经官方许可，网站谢绝转载。对于侵权行为，未经同意的情况下，51Due有权追究法律责任。主要业务有essay代写、assignment代写、paper代写服务。

51due为留学生提供最好的essay代写服务，亲们可以进入主页了解和获取更多essay代写范文 提供美国作业代写服务，详情可以咨询我们的客服QQ：800020041。

修改英文论文从哪入手

留学生在写完一篇英文论文，总是会习惯性忘记修改润色，其实这一步是非常重要的。一旦你的论文中有错误的话，那么就无法发现，这就影响到了论文的质量，严重的甚至会让论文直接Fail，所以大家在写完论文后还是得花时间去修改。那么修改英文论文该从哪入手呢？下面就给大家讲解一下。

修改论文时，最基础的就是检查是否有单词错误和语法错误、检测查重，最好是写完过一段时间后再去修改，这样修改时会减少当时主观因素的错误影响，会更能从全局考虑。论文修改的重点还是要从以下几点着手：

修改论文的结构

结构就相当于是一篇文章的骨架，结构层次的好坏直接关系论文内容的表达效果，检查的重点是看论文是否构成一个完整严密的整体。修改结构要达到以下标准：

http://www.51due.net/online-tutoring/writing-skills/sample32111.html

①严谨有逻辑，结构严谨的同时要保证文章段落之间的逻辑性、各个大小论点之间的逻辑性；

②层次清晰，善用文章的目录和大小标题，保证层次清晰不混乱；

③思路连贯，检查上下文之间有没有出现断层，上下文要衔接连贯；

④详略得当，总结的地方要意简言赅，一语中的，需要论述的地方的就要层层展开。

修改论文的思想观点

读者要能从论文中读出核心观点、主张，论点是文章的点睛之笔，所以在修改时要尽量让主题深刻，当然前提是中心论点要正确集中，与文题相符，最好具有创新性。

修改文章的语言

语言的修改要达到：

1、表达清楚简练；

2、表达准确；

3、语言连贯。

语言要符合论文的要求，标点符号的使用要恰当准确。

修改文章使用的材料

要证明论点就要使用论据以及科学的论证方法，论证的前提就是有材料，对材料的修改主要是对材料进行增加、删减、调整。

以上就是关于英文论文修改润色的技巧，大家在写完论文后一定要从结构、思想观点语言和使用的材料几个方面再加以润色修改，这样才能写出一篇好的英文论文。

想要了解更多英国留学资讯或者需要英国代写，请关注51Due 英国论文代写平台，51Due是一家专业的论文代写机构，专业辅导海外留学生的英文论文写作，主要业务有essay代写、paper代写、assignment代写。亲们可以进入主页了解和获取更多关于论文代写以及英国留学资讯，我们将为广大留学生提升写作水平，帮助他们达成学业目标。如果您有论文代写需求，可以咨询我们的客服QQ：800020041。

Paper代写：Comparison of color between Chinese and western painting

下面为大家整理一篇优秀的paper代写范文- Comparison of color between Chinese and western painting，供大家参考学习，这篇论文讨论了中西绘画色彩比较。色彩是视觉艺术中最感情化的因素，与人类文化情感有着甚为复杂、微妙的联系。因此，中西不同地域、民族的综合文化背景下的色彩语言有着极大的差异。西方绘画色彩语言总体特点是偏重感性，突出质感，再现视觉经验的。而中国传统绘画的核心主线是主客观和谐统一，将个体、自然、宇宙融为一体的艺术观。

Color is the most emotional factor in the visual arts, "direct writing" The main mind, and can attract the eye of the viewer in an instant, causing emotional resonance. Color is not only the optical phenomenon in the sense of physics, but also has rich cultural metaphor, which has complicated and subtle relation with human cultural emotion. Therefore, the language of color in the comprehensive culture background of different regions and nationalities of China and the West has great difference.

The general features of Western painting color language are emphasizing sensibility, highlighting texture and reproducing visual experience. Ancient Greek art with "number" to understand the world, the focus on the shape of more than color, so this period of color aesthetic is to constitute the world's natural matter of the primary colors to understand. Ancient Rome continued the system. The spiritual connotation of color in the medieval religious life has been greatly enriched, the Byzantine Christian church to promote religious ideas mosaic, clear image, colorful, rich decorative composition. It is the pursuit goal of the Renaissance painting art to explore human nature and inject the real sense into the characters and surroundings. Florence and Venetian Painters combine the perspective of rational science, anatomy and perceptual light color sense to create the color harmony of the picture, thus forming the basic system of the western classical painting color language. In the 300 years from 15th century to 18th century, although many talented artists have created different methods of expression, they have enriched the image of painting and the style of color technique, but have not divorced from this reappearance tradition. Until the birth of the 19th century impressionism, the color of the scientific theory into painting, revolutionary "light", only to break through the system, the liberation of the inherent colors, the sun and air to the world, thus becoming the 19th century art into the 20th century art of a symbol, and thus promote the subsequent development of modern art.

http://www.51due.net/writing/research-paper/sample32109.html

The core line of Chinese Traditional painting is: subjective and objective harmonious unity, the individual, nature, society, the universe into one art concept. In the view of Chinese philosophers, the principle of "and" in the natural world applies not only to the "great universe", but also to the "small universe" of art. Similarly, the Chinese traditional culture that the color itself is an important member of the universe, there is no need to "wronged" as an intermediary to imitate, symbolize his objects. Therefore, the painter's use of color is not necessarily to imitate or reproduce his objects, but to integrate the elements of the screen, and strive to form the "Great Universe" and "the same picture aesthetic characteristics."

The color of Chinese ink is produced, in the "Six law" in the "with the class color" of the painting principle, ink painting family just pure five colors-green, red, yellow, white, black, as a visual foothold, on this basis macroscopic observation, through the hue of the table, kneading and hue of the quality. Thus, from the "color of the eye" to "the Color of the heart" to "the color of the screen" change. The "Bamboo in the chest", which is produced by the painters, is the macroscopic observation of the objective things, the "hing feeling" after the capture of the quality, and the comprehensive imagery formed by his cultural background and the classical works of his predecessors.

Understanding is a magical force that can completely influence the visual perception of our external objects. "Color is the mother of Light". When it comes to color, we will associate it with the light, Westerners pay attention to the "external light" characteristics of the image, while the Chinese people are concerned about the whole of the internal nature of the images. A deep-rooted concept has led the Chinese to reject the sensitivity of light: The shadow of light that shines on an object is a fleeting coincidence, a meaningless thing. They believe that only the core of things is buried in the "spiritual temperament", and this "spirituality" from the subjective feelings of the "mind" of the light to appear. Painting is sometimes much closer to our innermost understanding than our visual nerves. Song Dynasty Guo "early spring", with a calm and clear lines outline the edge of the mountain and trees, and the upper part of the picture is much heavier than the lower part of the body, feeling like a light from the inside out. This is a growth in the information of the early spring, all things show a vitality, in the picture "S"-shaped dynamic line construction, it happens to contain infinite wealth of life hope. The Philosophy of heaven and earth seems to lurk between this landscape. Yin and Yang Five elements of the nature of the universe summed up as five basic element, so the ancient Chinese people believe that the outside world naturally and their own body similar structure, spiritual connection, so you can use consciousness and understanding to draw those living with spiritual creation. Simple Chinese painting inside, contains a very deep humanistic experience, is the artist's spiritual core and the combination of natural spirituality, so "ink" is not just "ink".

When the function of color goes beyond the basic vision and rises to the inner grasp of the universe's meaning of life, it ties up human beings closely with nature. Sheikh six law "with the type of color" of "class" is not the natural color of the same things in Western painting, and the surface color of a single thing, but the Chinese culture is unique to the grasp of the nature of things classified and integrated picture artistic conception of color harmony. The "ink-colored five colors" of Chinese painting is a powerful embodiment of this point.

And the Western direct imitation to reproduce the natural color, the spirit and the subjectivity of the human finally boils down to a very decent "works" on the difference is that Chinese ink color highlights the cultural features of the function, it is the overall significance of the universe in the dynamic harmony principle, pay attention to the unique feelings of the subject: imagination, inspiration, feeling, fantasy ... Natural nature, into the work of the Creator. It is far more important to create an aesthetic conception of the individual soul experience and the external cosmic perception than to complete a complete picture. The viewer maintains a flexible and free relationship with the picture through a highly flexible "poetic" language, which is seemingly ambiguous, uncertain and indeterminate. In this kind of aloof aesthetic realm, the brain enjoys full freedom of activity range, can and not be clearly described in the painting of the natural things to interact, make up the picture without the open mood.

The color language of Chinese painting is not used as a tool of expression as in the West, because any specific and clear stylized color relationship can only be a concrete representation of things, but not the infinite boundless universe. Therefore, the "five colors" in Chinese culture can not be understood as five kinds of specific symbols, it is the Universe "infinite" color carrier. From this point of view we can understand why the Chinese painting from the Sheng Tang period of the "magnificent" gradually turned to "ink-colored" for "top grade". This kind of Chinese color language exists in the classics of the past dynasties but cannot have a rational program to record it. Therefore, the painting theory in the past dynasties when talking about painting color, very little and clear and orderly color observation, performance explanation, more is the elaboration color technique.

Chinese classical painting unique color observation, understanding and use, on the one hand constitute a unique artistic characteristics, the establishment of a unique image style norms and techniques, which is the pride of our nation. But at the same time we should also see the limitations of this single color painting language: Compared with the Western scientific system, such as perspective, light color system and other modelling language, obviously lacks the governing force of the richness of the objective world. It can not meet the aesthetic needs of modern people. Therefore, we should clarify and new ideas and ways to explore all kinds of possibilities and try various solutions, for the use of Chinese painting color of the future development to find direction.

The art of any category cannot and cannot be absolute "purebred", and it will always be affected by this or that, and it is necessary in its long-term development. Especially in today's open and pluralistic development of the era, based on the excellent cultural traditions of the nation, absorbing the outstanding cultural achievements of other peoples of the world, to achieve the cultural rejuvenation and expansion of the nation, which is a long tradition of thousands of years of cultural heritage and development of the major responsibility.

Look at the artists who have grown up in the Chinese painting circles since 20th century and have tried and tried. Just as the Western Renaissance painting was the reincarnation of some of ancient Greek modelling concepts and feelings, as well as the neo-classicism formed by the return of classical style in the late 18th century, the Chinese may come to a similar "not simple" reincarnation at some point in the future, the closeness of "resplendent" and the return of multiple color, After all, Chinese painting color has also been cited as proud of the glorious classics, after all, we also have a unique concept of the Chinese nation.

想要了解更多英国留学资讯或者需要论文代写，请关注51Due英国论文代写平台，51Due是一家专业的论文代写机构，专业辅导海外留学生的英文论文写作，主要业务有essay代写、paper代写、assignment代写。在这里，51Due致力于为留学生朋友提供高效优质的留学教育辅导服务，为广大留学生提升写作水平，帮助他们达成学业目标。如果您有代写需求，可以咨询我们的客服QQ：800020041。

51Due网站原创范文除特殊说明外一切图文著作权归51Due所有；未经51Due官方授权谢绝任何用途转载或刊发于媒体。如发生侵犯著作权现象，51Due保留一切法律追诉权。

Paper代写：The beauty of Light and shadow in Rembrandt's painting

下面为大家整理一篇优秀的paper代写范文- The beauty of Light and shadow in Rembrandt's painting，供大家参考学习，这篇论文讨论了伦勃朗绘画中的光影艺术美。伦勃朗是有史以来最光彩照人的画家之一，他油画中的光影，不只是在暗示空间，也在诠释人性的内涵。他借由光线、空气、阴影等不可捉摸的视觉特性，来唤起人物心灵深处与精神的神秘，提示人性的美。伦勃朗的光影艺术在提示人物的思想方面是独一无二的。在光的剖析下，人物的外表细节全部解化了，袒露出的是精髓和灵魂。

Painting art is a kind of very emphasis on the art form of light, although people's understanding of the United States and the needs of the changing, but because of the particularity of the use of light in the oil painting to form the people's appreciation of the art of Painting Shadow. The great Dutch artist Rembrandt of the 17th century, known as the "Master of Light", was a painter of many kinds, such as portrait, religious painting, and copper engraving, with superb painting skills and unique oil painting language, and one of the most radiant painters ever. The optical techniques he used in painting are of great practical significance to contemporary painting creation. Through the analysis of Rembrandt's works, the author explains the concrete application of light and shadow in oil painting. For example, the light and shadow in the portrait, the Light and shadow in the religious painting, as well as the light and shadow in the Copperplate painting, to prove the unique precision of the master, as well as the particularity of the light and the artistic beauty in the painting.

The light and shadow in Rembrandt's oil painting not only implies space, but also interprets the connotation of human nature. He borrowed from the light, air, shadow and other elusive visual characteristics to arouse the soul of the characters and spiritual mystery, suggesting the beauty of human nature. Rembrandt's Light and Shadow art is unique in prompting the characters' thinking. In the light of the analysis, the figure of the appearance of all the details of the solution, exposing the essence and soul.

http://www.51due.net/writing/research-paper/sample32108.html

Rembrandt's creative career is broadly divided into two stages: one is the wind before the age of 40, there are a number of sophisticated portrait portraits, such as Professor Doop's Anatomy class, which has made Rembrandt an important step in the creation process, showing his extraordinary talents, but many of his immortal masterpieces were created later Portrait, "Lady in Bath" and so on. These works can show the characteristics of Rembrandt in the Light: that is, the use of lighting to depict the character characteristics of the characters, he is the light in the painting plays a dramatic role, the character of the psychological cause of the light is more profound, his works in the use of lighting, interpretation of human nature puzzlement. In his last "Self-Portrait" in his later years, the very good use of the symbolism of light and shadow, Rembrandt is very old in this painting: He dressed in clothes, narrowed eyes, mouth micro-Zhang, lip with a hint of wry smile, eyes full of sadness. The vicissitudes of the years and the world's warm and cold in his face left a mark of time and suffering. This is enough to prove that the portrait of the light in the light of the flexible, he revealed the spiritual connotation of the characters and the need to determine the depth of thought. In order to achieve different purposes of expression, top light, side light, Spotlight, the bottom light has become the tool he used to express, he chose a soft and warm light description of the sound of beauty, the use of poly-light to reproduce the violent ugliness, with dim light depicting human suffering, with diffuse light to show religious mystery In Rembrandt, the light of nature turned into the light of art. In his hand, the Divine light is no longer merely an ornament, but becomes the real energy which the people see from the reality, this fully embodies the symbolic beauty of the lighting.

In Rembrandt's religious painting, because of the unique effect of light and shadow, his religious works have a strong mystical atmosphere. In the understanding of religion, it can be said that Rembrandt used his life to understand the religion, interpretation of the Bible. So he sensed that God was not with people, but more and more distant and mysterious. Therefore, in his religious paintings, the light is not sunny, but with a deep, melancholy, mysterious unknown. The contrast between the virtual and the real is a very important art in painting, the mutual use of the relationship between the actual and the reality can strengthen the depth of the picture space, but also improve the artistic style and taste of the painting works.

In the religious painting of the Holy Family of angels, a beam of light was introduced from the window, all members of the Holy Family were pushed to the front of the audience, the main point of the picture is condensed on the mother of the Virgin son, the interior is a large deep and warm transparent shadow, light presents a strong contrast between the dark and the actual, the screen on the middle hue, To develop an infinite picture space around the characters, so that the space itself into a living medium, and interwoven in the flow between the light and shadow, the mysterious glimmer of the display of virtual beauty and reality, the human motherly love, good family, warm home atmosphere without reservation to the viewer. The painter's light in the painting is only a small part of the use of a large number of dark shadows to foil, and then use the appropriate area of the middle tone to transfer and transition, so that the image of the light in the light of the focus of the forward. In the overall space atmosphere to form a reasonable sense of expansion, and a large number of shadow images silently quietly back, light and shadow seamless, each other, produced a strong sense of the actual beauty of reality. Rembrandt uses this technique not only because he wants to illuminate the central character he wants to perform, but also to make it an obvious feature that can glow outward, and one of the ways in which light is used in western painting.

All kinds of artistic styles are not through their own unique artistic language and means, the creation of artistic image reproduction or performance of nature, copper engraving is one of its unique artistic language, Rembrandt's copper engraving not only a large number, but also with exquisite pen, exquisite attainments, and his oil painting works as a meaningful artistic charm. The great thing about Rembrandt is that he uses his special technique to express his special soul-light and dark.

"Three Trees", which is not only a Rembrandt's masterpiece, but also a masterpiece of printmaking, the painter simply relies on lines to express the water vapor in the air, the light, even the shadow of the three trees and the light in the pond make a subtle change, the moisture in the air in the left and the clouds on the right depict the dynamic atmosphere, The distant cattle and sheep on the plains, farmers, windmills and farmers and his wife have also shown lifelike, lively and interesting, the layout of the painting is simply extraordinary, he only used lines can depict the intensity of contrast, so that light has a life, so that the real interpretation of the vivid shadow. His art is to give us a high degree of aesthetic satisfaction and creative revelation, he created a mature, exquisite art language, high character spirit and painting in his hands is unified, but also let light and light has life and breath. Therefore, the success of the creation of a piece of life-color immortal, is worthy of "painting the light of the Magician."

The light language of Rembrandt's painting is unique, his use of light is even more impressive, he used the original shade, flexibility to deal with the complex picture of the lights, his magic of the shading process constitutes his painting the strong dramatic color, but also formed an important feature of Rembrandt painting. It can also be seen that the artistic charm produced by light and shadow, explain the reasonable use of light and shadow in the painting art creation occupies how important proportion, large to painting the whole process of creation, small to extremely fine section of the treatment, are affected by the lights, impact on people's vision. This is perhaps what people often say, the beauty of light and shadow!

想要了解更多英国留学资讯或者需要论文代写，请关注51Due英国论文代写平台，51Due是一家专业的论文代写机构，专业辅导海外留学生的英文论文写作，主要业务有essay代写、paper代写、assignment代写。在这里，51Due致力于为留学生朋友提供高效优质的留学教育辅导服务，为广大留学生提升写作水平，帮助他们达成学业目标。如果您有paper代写需求，可以咨询我们的客服QQ：800020041。

51Due网站原创范文除特殊说明外一切图文著作权归51Due所有；未经51Due官方授权谢绝任何用途转载或刊发于媒体。如发生侵犯著作权现象，51Due保留一切法律追诉权。

Essay代写：The prehistoric art

下面为大家整理一篇优秀的essay代写范文- The prehistoric art，供大家参考学习，这篇论文讨论了史前艺术。自从20世纪末原始画派出现以后，史前艺术就光芒万丈。不少艺术家、哲学家对此产生了浓厚的兴趣。现代人对于史前艺术品的追求不仅是出自于人们心理上出现了逆反的原因，也参杂了社会的因素。一件艺术作品就是为了给忙碌了一天的人们去观赏享受的。所以，人们深深地着迷着那些史前艺术的设计品透露出来的自然、纯真、坦率。

Prehistoric art has shine since the appearance of the original painting school in the late 20th century. Many artists and philosophers have a strong interest in this. Until now, especially in Western artists, more and more people are attracted by prehistoric art, they are advocating the unique charm of prehistoric art, which is almost also considered a fashion trend, is a pursuit of fashionable elegance of the wind. All this shows that prehistoric art today also shows its unique charm.

Prehistoric art has the characteristics of simplicity, Zhizhuo and simplicity, but in the art created by modern civilized people, no matter how simple, how Zhizhuo, its style can not be compared with it. Exploring the modern charm of prehistoric art will be discussed from three aspects--psychological level, cognition level and concept aspect.

http://www.51due.net/writing/essay/sample32105.html

First of all, in order to better meet the psychological needs of modern people, prehistoric art has its unique aesthetic requirements. More contemporary artists and artist are deeply fascinated by the simplicity and simplicity of prehistoric art. With the primitive society to the feudal society over, the continuous expansion of material materials, the exquisite processing skills, and then with aesthetic vision of the constantly upper body, making the art form more and more complex. However, when this complex art form developed to a certain height, people are not interested in it, even produced a feeling of disgust. At this time, people are thinking again and again, found that the original simple, unsophisticated design forms in line with the current psychological needs.

There are two causes of this phenomenon: first, because people appear rebellious, and thus have complementary requirements-leading to aesthetic taste from complex to simple trend; Secondly, because of the rapid development of our modern society leads to a marked increase in our life, modern people no longer like those complex and messy works, No longer willing to indulge in those complex designs. Of course, this is a macroscopic view, not to negate all these complex designs. The trend of contemporary art development is pluralistic, if from macroscopic analysis, the appearance design art still should pursue basics principle. In the period of prehistoric art, the art of the time revealed a simple, elegant wind. The craftsmen also used bones, teeth, and stones to make the artwork, which was simply not easy. This situation, more reflected at the time of the technology is very backward, coupled with the material conditions are not allowed, but also reflects the people's aesthetic taste.

The content of prehistoric art design is single, and it is also the new goal that contemporary artists are pursuing. As a result, more personal ideas and social consciousness are incorporated into every piece of art. It is like being unconscious of the complex art forms and creating a weary feeling, especially the didactic works which are not uniform in the rational and external forms, and also make people disgusted. At this time, a new psychological requirements will appear in the minds of people: the removal of the design works of those complex, trivial, short cut the pursuit of the design of the pure, concise, single. The works that they have designed rarely integrate into the rational factors, because the human sense of reason is not yet complete. Moreover, we are ignorant of some of their works. The simplicity of the prehistoric design was perfectly consistent with its sincerity and simplicity, with little disguise and simplicity. Modern people's pursuit of prehistoric works of art is not only from the psychological cause of the rebellious, but also mixed with the social factors. In the high-speed development of the contemporary, people because of work, study of various pressures, the spirit is often in a very tight state, people are more willing to experience from the work of art to make people relaxed feeling, rather than to guess through the art of the hidden meaning. A piece of art is for the people who have a busy day to enjoy. So people are deeply fascinated by the nature, innocence, and frankness of the artifacts of prehistoric art.

The unique aesthetic styles in the design of prehistoric art meet the aesthetic needs of contemporary human beings, and can also find more profound reasons from the perspective of genetic psychology. In other words, modern humans can not return to the original period, also can not understand the human mind in childhood. But, just as an adult recalls his childhood, his memories of childhood in the depths of human life remain. All the activities of human childhood lurk in the depths of memory. This may be the psychological source that we human beings should have a strong interest in ancient art design.

Second, modern people's understanding of history has been rising, living experience has been enriched, but also to the prehistoric art to add a contemporary charm.

The charm of prehistoric art is embodied in a container, a decorative pattern, etc. These tangible intangible things reflect the ancient human spirit of pursuit, life appeal. Through a random essay qixing painting murals, a life of necessities axes, a water, rice pottery containers, all of the time to show the ancient people lived in the living environment, as well as the human ancestors there life and reproduction situation. Here, in order to cultivate modern humanity to appreciate the rational foundation of prehistoric art, so constantly to understand the life experience of primitive society. Seemingly is the subjective aspect of human reason, in fact, is actually because of those rational knowledge and experience caused, so that it becomes clearer, gradually reveal its true nature.

Finally, from the point of view of artistic philosophy. Because of the consistency of modern art and prehistoric art in some concepts, the modern artists ' love of prehistoric art was also promoted.

This paper probes into the charm of prehistoric art from the aspects of cognition, psychology and design concept, and its increasing reasons. This is an inevitable trend of development, but also a modern human pursuit of fashion. However, when exploring the similarities and differences between modern art and prehistoric art, the artist has inadvertently aroused the rethinking and understanding of modern art and all art.

想要了解更多英国留学资讯或者需要英国代写，请关注51Due英国论文代写平台，51Due是一家专业的论文代写机构，专业辅导海外留学生的英文论文写作，主要业务有essay代写、paper代写、assignment代写。在这里，51Due致力于为留学生朋友提供高效优质的留学教育辅导服务，为广大留学生提升写作水平，帮助他们达成学业目标。如果您有essay代写需求，可以咨询我们的客服QQ：800020041。

51Due网站原创范文除特殊说明外一切图文著作权归51Due所有；未经51Due官方授权谢绝任何用途转载或刊发于媒体。如发生侵犯著作权现象，51Due保留一切法律追诉权。