Essay代写：The concept of ugliness in China and the west

下面为大家整理一篇优秀的essay代写范文- The concept of ugliness in China and the west，供大家参考学习，这篇论文讨论了中西方的丑学观念。丑学是一门关于丑的概念、形态和本质的一门研究，是与美学相对应的。在西方，莱辛在《拉奥孔》中论述关于丑的观点，已成为现代丑学的开端。莱辛将温克尔曼在《论古代艺术》中所描述的“拉奥孔的痛苦”转化为现代诗学语境中下的“艺术丑”，违背了古典美的表现思路，发展出了一套现代艺术丑学体系，成为了现代丑学的经典方法。而在中国，丑是美学范畴之一，指歪曲人的本质力量，违背人的目的、需要的畸形、片面怪异、令人不快，甚至厌恶的事情的特征，与美相对。

Ugliness is a study on the concept, form and essence of ugliness, which corresponds to aesthetics. The study of aesthetics can be traced back to ancient Greece, while ugliness emerged in the middle and late 18th century. In Laocoon, lessing put forward the idea that ugliness could only exist in poetry, but not in painting, which was undoubtedly the forerunner of the development of modern ugliness and laid the foundation for a series of discourse systems of modern ugliness. In China, the concept of ugliness has always been associated with "grotesque", "ugly" and "strange". In the view of modern scholars, the aesthetic thought of ancient Chinese art is related to "music" and "harmony between man and nature". However, lu xun once said that "Chinese people also like strange shapes and furtive temper". Therefore, the study of ugliness in the context of Chinese and western artistic concepts for comparative analysis, the concept of ugliness can be carried out in-depth anatomy.

Gao xiaokang once said in "the charm of ugliness" : "if there is no beauty, the world is a dark; Without ugliness, the world would be transparent. Beauty and ugliness have always been relative concepts. They compare and depend on each other. Without ugliness, the existence of beauty is meaningless. In Chinese and foreign history, many philosophers have discussed "what is beauty" in their works, and people tend to be cautious when trying to define beauty, but when discussing "ugliness", it is exactly the opposite. From the perspective of common sense, few people will doubt their ability to judge "ugliness".

Since Pythagoras school, the western classical aesthetics has always believed that the concept of beauty is harmony, completeness and unity, while ugliness is disharmony, uncompleteness and unity. Such concepts only define beauty and ugliness, but do not define the concept of beauty and ugliness. In the 18th century, the western aesthetician lessing proposed in his book laokong that ugliness could only exist in poetry, but not in painting. In lessing's view, "if a single part is not proper, it will destroy the harmonious effect of the many parts that make beauty." Therefore, ugliness cannot be the subject of poetry. But lessing suggests that poetry is an art of time, and that the effect of ugliness has been reduced in the poem by enumerating and describing the various parts, and that the repugnance caused by ugliness has been diluted by juxtaposition. In terms of effect, ugliness seems to have lost its essential meaning, and the antipathy brought by ugliness no longer exists. Only in this way can ugliness become the subject of poems.

But lessing later argued in a chapter that ugliness should not be a subject for painting. "Painting has the ability to show ugliness as an imitation skill; As an art of beauty, painting refuses to be ugly. Although ugliness, as described by poets, can cause a certain pleasure, in painting, such pleasure does not always occur. Ugliness in painting is not pleasing to the eye and violates people's love for harmony, unity and completeness. Therefore, no matter whether the ugliness we see is real or not, it is disgusting. According to Aristotle, the human thirst for knowledge can transform the ugly into the beautiful, but lessing refutes this view. Lessing believes that the pleasure of intellectual curiosity is temporary, but the discomfort caused by seeing ugliness is eternal, because it is not the effect of ugliness but the essence of ugliness that causes this discomfort. Painting is a spatial art. The ugliness that produces a sense of laughable and horrible cannot stay forever. After that, unpleasant feelings will gradually take over. Therefore, lessing believed that painting should not represent ugly subjects.

Lessing discussed the view of ugliness in Laocoon, which has become the beginning of modern ugliness. Lessing transformed the "pain of Laocoon" described by winkelman in "on ancient art" into "artistic ugliness" in the context of modern poetics, which violated the expression ideas of classical beauty and developed a set of modern art ugliness system, which became the classical method of modern ugliness. Lessing's discussion on ugliness also triggered many philosophers, artists and literary theorists to argue about the focus of "artistic ugliness".

The ugly monster in China once said that "ugliness is one of the categories of aesthetics, which refers to the characteristics of deformed, one-sided, weird, unpleasant and even disgusting things that distort people's essential strength and violate people's purposes and needs, as opposed to beauty". The concept of ugliness in China first appeared in the pre-qin period. According to zuo zhuan, "evil is straight and ugly is right" and "ugly and evil things". It is written in huainan zi in the han dynasty that "mo mu is beautiful while xi shi is ugly". Mo mu is a famous ugly woman in ancient times, but she is described in liennu zhuan as "very ugly and the most virtuous". It means that although she looks very ugly, she is virtuous and wise, so her ugly appearance has been replaced by the beauty of virtue. This shows that beauty and ugliness are not absolute, they also have corresponding differences with the changes of society and environment.

The development of ugliness in Chinese art history mainly goes through three stages, namely, spring and autumn period and warring states period, qin, han, sui and tang, song and qing dynasties. Before the spring and autumn period and the warring states period, the dominant ideology of human beings was religious consciousness, and human beings were still in the uncivilized stage. Many artworks were related to sacrifice or totem worship. In this period, power only existed in the hands of leaders or wizards, and everything in society was full of mystery and sacredness. The works of art in this period often have grotesque and frightening features, such as the mysterious patterns of "fish in human face" and "two-headed fish monster" on the pottery of yangshao culture. Singular in dawenkou culture pottery Gui modelling; The weird patterns of colored pottery in majiayao culture show us that the development of grotesque art in this period is related to witchcraft and totem worship. In the qin and han dynasties, the unity of opposites between ugliness and beauty gradually became clear. From the perspective of ethics, Confucianism emphasizes the essence of good, taking good as beauty and evil as ugliness. Taoism, on the other hand, starts from the philosophical point of view of "tao", emphasizes the natural inaction of essence, and opposes pretentious and gorgeous. Taoism holds that "tao" is the noumenon of all things in the universe, and only with the quality of "tao" and "truth" can things lead to "great beauty".

Since the tang dynasty, there has been a tendency to use ugliness as beauty in art. The poet du fu once wrote the ugly monster into the poem, he not only described the ugly thing in the poem, but also directly put the ugly word into the work, such as "old ugly hurt old ugly" "if the road wushan woman coarse ugly" and so on. This was related to the decline of the imperial court, the increasingly sharp social contradictions and the disillusionment of the new dream, which led to the formation of a kind of angry, lonely and withdrawn mood among the poets in this period. In the song dynasty, in order to express their unique feelings, many literati also had a tendency of not abiding by law and avoiding ugliness, which gradually turned to the field of calligraphy. Su shi once said: "I can't build this book, point painting fiddlin pleading." The Ming and qing dynasties were the era when the awakening of human nature was on the rise. More and more artists introduced a large number of ugly factors in their works in order to set up a unique case and vent their dissatisfaction. For example, jinling poets in the field of poetry often use strange words to express their uniqueness in rhyme. In the field of calligraphy, xu wei used to write words in a big or small, light or heavy, careless or regular script, deliberately showing disharmony and inconsistency in the picture, so as to express his anger. In painting, bada shanren, shi tao and others express their inner restlessness through peculiar compositions, weird shapes and grotesque images. In the art of Ming and qing dynasties, the purpose of expressing ugliness without avoiding ugliness or even deliberately is to express the loneliness, coldness and resentment of artists.

With the development of society, human's aesthetic ability improves with the enhancement of consciousness independence, and can transform the objective world subjectively and actively, making it become works of art with aesthetic value. Beauty is characterized by harmony, perfection and unity, and it is the affirmation of human nature, while ugliness is something characterized by deformity, defect, division and conflict, and it is the alienation and negation of human nature. Due to the changeability of people's aesthetic psychology, ugliness, after being processed and refined by art, makes people re-understand and feel its aesthetic significance and value, thus transforming the original "ugliness" into beauty. With the development of human society, why is there such a big difference between China and the west? Tracing its origin is the difference between Chinese and western cultural thoughts. Western perceptual psychology has changed from the harmony and one-way unification of ancient Greece to pluralism, and then to the confrontation between beauty and ugliness of modern western duality. However, Chinese philosophy has put forward the pluralistic thought of "tao gives birth to one, life to two, two to three, and three to all things" as early as in the Taoist stage. If the two are compared, the perceptual psychology of the west changes from the ignorant childhood of ancient Greece to the rebellious youth of modern and contemporary times, while China has been relatively mature since ancient times. Therefore, there are differences between Chinese and western philosophies in the source of human consciousness, which results in the difference between China and the west in the aspect of examining ugliness.

In my opinion, the study of ugliness in different contexts reflects, to some extent, the psychological feelings of artists caused by the social environment in this period. Social oppression, unrest and spiritual restraint make artists unable to continue to express the ideal of beauty, so that ugly no longer become the foil of beauty, but become the expression element of works, ugly really entered the audience's vision.

In fact, human's thoughts and expressions of beauty, ugliness, good and evil can reflect human's psychology from the side, which is a process of further enriching with the development of social practice and aesthetic practice, which is also an important sign of human's traditional aesthetic psychology turning to the development of ugliness psychology. Mr. Luan dong once said, "whether we can judge ugliness is not only a question of philosophical wisdom, but also one of the signs of whether a nation or an era is mature." The study of ugliness is not to divide beauty and ugliness, but to understand and understand beauty more deeply and thoroughly from the perspective of ugliness, so that people's exploration of beauty becomes broader and aesthetic concepts become richer.

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、作业代写服务。

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Assignment代写：Animal carvings

下面为大家整理一篇优秀的assignment代写范文- Animal carvings，供大家参考学习，这篇论文讨论了动物木雕。近几年来，动物木雕独特的造型受到大众的喜爱，让动物木雕艺术得到了大力发展。动物木雕相比于普通种类的木雕，更具有艺术魅力。形与神是动物木雕的精髓，既要通过高超的技术保证动物木雕与生活里的动物具有相似性，也要把动物的精神淋漓尽致地表现出来。为增强动物木雕的艺术效果，必须通过独特的形式展现出来。

Wood carving has a long history in our country. Its origin is very early. In the primitive society, the working people carried out preliminary processing of wood. With the further development of technology, wood carving technology gradually popularized. During the spring and autumn period and the warring states period, the classification of wood carving was more extensive. Many animal carvings appeared in different countries successively.

As time goes on, the woodcarving in the qin and the han dynasties reached the peak of the history, the han dynasty carved animals modelling variety, source of materials is very extensive, which can be divided into two aspects of reality and unreality factors, reality factors mainly represent the time of the production and living environment of animals, such as cattle and horses, factors other than the reality on the other hand, is the lack of understanding of nature of guesswork unicorn beast, the beast is usually used for exorcism, etc. During the tang and song dynasties, when the economy was at its peak and Buddhism was introduced, wood carving was usually used on the buildings of Buddha statues, while animal wood carving was rarely used. During this period, animal wood carving entered the valley stage, and the corresponding technical development was also limited to some extent. However, in the Ming and qing dynasties, animal wood carving was revived again, and all social classes liked animal wood carving very much. As a result of great demand, promoted the growth of wood carving craft team, in this historical period, craftsmen not only noticed the decorative beauty of animal wood carving. It is also able to integrate the characteristics of animals into wood carving vividly. There are more and more wood carvings of animals with the theme of flowers, birds, insects and fish. At the same time, it forms a trend that is more important than appearance.

Compared with the common kind of wood carving, animal wood carving has more artistic charm, which embodies the essence of China's traditional aesthetics, and is interpreted from the following two aspects.

Shape and god are the essence of animal wood carving. We should not only ensure the similarity between animal wood carving and animals in life through superb technology, but also show the spirit of animals incisively and vividly. In order to enhance the artistic effect of animal wood carving, it must be displayed in a unique form.

Animal wood carving is a three-dimensional structure, which is very different from ordinary painting, which requires the craftsman of animal wood carving to have an overall grasp of the work at the initial stage of creation, and the creator's perception of animal shape is particularly important. A is a work of art works, the appearance of it in the first place is very accurate, the accurate is not only reflected in shape, also reflected in the ratio between the different parts and different structure size, only pay attention to the processing of detail, can be remade image more perfect, let the animal carvings integrating practicability and artistry, allows the audience to enjoy the feast of aesthetics.

Only the creation of the animal carvings by imitating the shape of animals cannot be of a higher level, animal carvings to vividly, carving must into their artistic creation, the artistic creation comes from life and higher than life, carver according to their own life experience, the need to express emotion into the creative process of the animal carvings, get the work manner is to express emotion, carver after animal carvings have god can continue to climb to a higher level, rhyme, which works with verve.

Animal wood carving to achieve both the form of god, the unity of form and god is a good work evaluation standard, form is the external expression of god, god is the internal nature of the form, the degree of combination of the form of god can reflect the level of the level of the sculptor.

The beauty of charm is an important content in Chinese classical aesthetics and a core concept in Chinese art theory. The charm of qi embodies the direct feeling that animal wood carving brings to people, and gives the vitality of life to animal wood carving. The beauty of qi also shows the thinking vitality and artistic aesthetic level of wood carving creators. Good works of excellent atmosphere, bring people elegant appreciation experience, can make people relaxed and happy.

Carved on the mere skill cannot bring work of chi in the woodcarving, want to graphically portrayed a work, the carver must attach their own understanding of the animal life to the work, which embody a concentrated reflection of the carver for animal life to understand and summarized, based on this understanding the carver's feeling when in contact with animals. If the sculptor reveals life from as many angles as possible, the work will go even further. After the sculptor mastered the essence of animal life, he used special techniques to express it. Only the organic unity of animal individual, carver and creative means can guarantee the qi of animal wood carving. The three are mutually complementary. Without any aspect, qi will be defective and cannot reach the corresponding artistic height.

Animal carvings of rhyme to express more complicated and the concept of the first rhyme, music, it gradually evolved into can perceived but not specific description in kind of a sense of rhyme is more reflected in the law of art workers to work summary and expression, constantly summarize from the work rule, flexible conversion, make work has the charm.

The gas and the rhyme of animal wood carving are mutually unified, the gas is the basis of the rhyme, the rhyme is the sublimation of the gas, people's appreciation of a work often starts from the gas of the work, to understand the end of its rhyme, so as to reach the highest state of aesthetics. In the process of creation, artists transfer their feelings for the beauty of life to their works.

With the continuous development of economy and society, people's needs for a better life are more and more intense, and great attention is paid to the development of socialist culture. In this environment, animal wood carving should also have a new development situation. The skills of animal wood carving can not be lost, which is the experience of hundreds of thousands of years of working people constantly groping out, need to be inherited and carried forward. The spiritual connotation of animal woodcarving cannot be changed. Animal woodcarving represents the Chinese nation's pursuit of aesthetics. For the display of vitality, in the contemporary cultural environment, animal wood carving should also give a certain degree of significance to The Times, animal wood carving represents the spirit of craftsman, the spirit of diligence to make the best of the details, is worthy of extensive learning. Sculptors should constantly enrich their own experience, maintain the spirit of learning until the end, and get inspiration for the creation of works in the experience of life, and constantly add these elements to enrich the creation of animal wood carving. Increase the intensity of innovation, innovation is the inexhaustible power and source of power for development, only continue to carry out technical and aesthetic innovation can continue to promote the progress of animal wood carving. Animal wood carving is not only limited to the realistic appearance, but also the pursuit of multiple deformation, not limited by the original appearance, the courage to explore new artistic creation. Gradually promote technological upgrading and transformation. With the progress of science and technology, high and new technology can replace manual workers more and more and upgrade the traditional technology. It not only retains the original artistic effect, but also can greatly improve the labor efficiency and reduce the labor intensity of artisans. Of course, the most essential beauty of wood carving is the height of the artist's mind. We should closely combine with the characteristics of The Times and seriously consider the development direction of animal woodcarving.

In a word, animal wood carving is a valuable cultural heritage, we should make rational use of and constantly improve the artistic height of works, enrich people's cultural life.

51due留学教育原创版权郑重声明：原创assignment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assignment代写、essay代写、paper代写服务。

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案例分析类论文怎么写

案例分析，是国外大学比较常见的一种作业形式。既然是案例分析，那么重点肯定是分析的过程。不过，案例的选择也是非常重要的，不然同学们选了一个非常无聊的案例，老师可能看两眼就看不下去了。那么案例分析类论文怎么写呢？下面就给大家讲解一下。

什么是案例分析？

案例分析是初学者面临的一个难题。写案例分析最重要的一点是：这个案例应该有一个问题交由读者去解决。我们应该在案例分析中提供足够的信息，使读者理解这些问题是什么。并且，读者通过思考和分析我们提供的信息，最终可以对这个问题提供合理的解决方案。写一个有趣的案例分析有点像写侦探小说，我们的写作需要引人入胜，确保读者对这个问题很感兴趣。一个好的案例不仅仅需要描述问题，它更需要使读者对于作者所面对的问题感同身受；而另一方面，你需要通过描述整理所有信息，最后推导出结论，给读者尽可能多的信息，让读者不需要很艰难的思考就可以顺理成章地得到问题的答案。

下面是在写案例分析时，给读者思考问题的空间，同时又能很好地了解你所描述的问题，并且提供足够信息推导出结论的一些建议：

在写作时有三个基本步骤：前期调研、整理分析和实际写作。写作要从研究调查开始入手，但即使正式进入了写作阶段，我们也需要回过头去进行调研工作。

前期调研：

1.图书馆和互联网调研。找出以前别人写过的文章，并着重阅读与你的研究内容相关的重点部分。在阅读的同时，我们会发现一些有待提出解决方案的问题，又或者我们可能会得出一些与自己主题相关或无关，但却很有趣地思路。举个例子，假如我们想针对一个国家公园的游客过多以至于该公园得生态系统受到了威胁写案例分析，那么下一步我们面临的问题就是：如何在不影响游客数量的情况下保护该公园的生态系统。也有可能，我们发现在选择的案例中，这个公园的游客并不多，导致游客匮乏的原因之一是该公园的基础设施建设不够完善。因此，这时这个案例分析应该研究的问题就是：如何在不破坏公园生态系统的情况下吸引合适的投资方来开设一家餐厅甚至建设一幢酒店。再比如，我们案例可能是一处历史遗迹，问题是如何提高自己的知名度。首先我们要让游客知道遗迹在哪，还有如何去，以此来吸引游客参观。又或者，我们研究课题可能是如何吸引游人来某个村庄探寻家族的历史。

一旦我们决定了研究方向或者在案例分析中包含的问题（可能不只是一个，而是有好几个问题），那么我们需要就研究目标与专家交流。

2.采访了解情况的人。找懂行的人来咨询——他们可能是在研究目标本身，或者在从事研究目标保护工作的政府部门或相关公司工作。除了相关工作人员，你还需要与旁观者交流。在采访旁观者时，询问能够帮助你了解旁观者想法的问题。常用问题如下：

“你对这里的印象如何？”

“你怎么看待这种情况？”

“你能告诉我这里需要如何发展？”

“你觉得这里有什么需要改进？”

你也需要提出一些不能从文章中知道的问题，如：

“你能和我讲讲这里的日常吗？”

“你有关于什么的统计数据？可以给我一份吗？”

“这里有多少企业？”

这里有个小技巧：提出那些不能简单地用“是”或“不是”来回答的问题，也就是尽量使自己的问题具有开放性，这样会让回答问题的人给我们提供更多的信息。我们要做的就是让别人告诉你他知道的事实和他的个人观点，大多数情况下，我们提问前甚至不知道他会如何回答。获得答案之后，把这些回答作为案例分析的一部分。记住，读者不可能接触到我们的研究目标，我们需要真实客观地反映研究目标，以便读者了解情况。

整理分析：

1.把所有的信息归纳到一起。在前期调研中，我们已经从人，从互联网和书本上收集了很多资料。但篇幅有限的案例分析不能把它们全部包含进去。因此，我们需要考虑如何对收集到的资料进行排序。剔除冗杂的，整理需要的内容，这样，我们的案例分析会更容易被读者理解。在对资料进行取舍之前，我们可以先把所有的信息进行归纳，便于后续整理和分析。

2.把材料的不同部分分配给不同的人。无论是小组作业进行案例分析，还是个人写作的案例分析，我们都应该尽量弄清楚写作的首要目标、案例的现状以及读者理解该案例所需的信息，这非常重要。例如，我们把一个游客的所有信息制成一个图表，或用一个图标来展示一年中游客去过的两个不同地方。

3.尝试用几句话来总结案例分析的问题。这样做有助于我们获得更多信息。我们希望读者会以和我们相同的方式来思考案例问题，我们需要将问题分割成几小部分。每个部分都要容易理解。如果这个案例分析是小组作业，我们要记得花一些时间与小组的其他成员讨论细节。

例如：

A.研究对象每年的游客量不足，但很多人说如果有公共设施完备，他们就会去参观。

B.这个研究对象附近有很多失业者。

C.这个城镇足够大，能够容纳更多的游客

D.在游客很多的情况下生态环境（动物，树木和植物）都需要保护

E.这个镇地方很偏僻，但目前周围并没有良好的衣食住行设施

F.此处归政府所有，但政府并不想投资建设食宿设施

然后自问：“A到F中，有哪些问题涉及的信息需要提供给读者？”

解决问题A，读者需要知道之前游客的数量，哪些证据能够表明游客有去访问的意向，以及是什么引导了游客去游览。这些依据来源于我们收集的文章和统计数据，并可以从我们已经完成的采访中推论出结果。

一旦把一个大的问题分解成小块，我们可以分析出，通过现在所拥有的信息，我们是否可以得出每一个部分的答案。如果我们拥有的信息已经可以回答所有的小问题，那么就可以考虑着手如何写案例分析。

实际写作：

通常一个案例分析包含八个部分：

概要/摘要

•概述案例分析的目的

•描述研究领域，或者研究对象的概况

•综述案例分析的问题

•明确将要使用的理论

•由此，读者应该能够得到研究内容的清晰概况

•标记你所做假设（有时候我们可能没有获得需要的全部信息，这时我们就需要用到假设，例如：“它已经假定，…”，“假设它需要半小时到一小时来读取一个文件…”。注意这里是合理假设而不是臆造）

调查结果

•明确案例中发现的问题。并且分析每一个问题所用的依据、概念和相关理论都要同时给出。更重要的是，我们需要要寻找潜在的问题，例如：跨文化冲突只是主要问题的一个基本症状，而其内在原因是政策和实施力度方面的不足。

•这一部分写作通常根据不同问题划分为不同的子标题。

讨论

•总结主要问题

确定这个（这些）主要问题的替代解决方案，并且每一个问题可能有一个以上的解决方案。

•简要地概述每一种解决方案，分别评估它的优点和缺点

•需要注意，这里不需要参考理论或概念

结论

总结调查结果和讨论的要点

建议

•选择应采用哪一种解决方案

•简要说明我们的选择，解释它将如何解决主要问题

•这个段落的写作风格要简明扼要，因为这一部分需要有说服力

•我们可以再这里适当提及理论和概念

实施

•解释应该做什么的，由谁做和什么时候做

•如果有必要，请进行一个粗略的成本估算（财务和时间等）

工具书类

•确保所有引用位置正确

附录（如果有）

•提出任何与这项研究有关但在正文写会打乱文章结构的原始数据

以上就是关于案例分析类论文的写作讲解，对于案例分析，大家还是多讲一些自己的见解。

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Paper代写：Chinese and western architectural culture

本篇paper代写- Chinese and western architectural culture讨论了中西建筑文化。中国与西方的建筑是在不同条件下发展起来的，两者间的差异，可以“数量”一词进行诠释。中国建筑师常在“数”上做文章，将一个功能的建筑分割成多个建筑，在水平方向上铺陈开来。而西方建筑师则是在“量”上来诠释建筑的宏伟，教堂等建筑被建造的高耸入云，体量庞大。本篇paper代写由51due代写平台整理，供大家参考阅读。

German scholar ernst once said: "human culture is divided into different activities, which progress along different lines and pursue different goals. However, Chinese and western architecture is developed under different conditions. The difference between the two can be interpreted by the word "quantity".

Chinese architects often play with "Numbers", dividing a functional building into multiple buildings, laying out horizontally. In contrast, western architects interpret the grandeur of architecture in terms of "quantity". Churches and other buildings are built with huge volume and towering heights.

Take the Louvre and the Forbidden City. The Louvre has three floors in which all functions are laid out, and the building spreads out horizontally, with a great width. It is not as tall as the gothic church, but it is no less massive. The Forbidden City, on the other hand, works by superimposing the number of individual buildings. Each individual unit has its own function, which constitutes a huge building group.

In the west, mythology has exerted a profound influence on western architecture. In an age when construction technology was still at a low level, ancient Rome produced an architectural form to highlight the divinity of the gods. Built in 118 AD, the pantheon of ancient Rome has a semicircular dome, 43m in diameter and 43m in height, far beyond the scale of superman. People walking in it will produce a feeling of smallness and helplessness, and under the influence of this emotion, people will naturally want to pray to god for help. This also makes the architecture produce a certain divinity.

And the cornerstone that supports these buildings to develop to the height ceaselessly, it is western advanced construction technology. Concrete was invented as early as ancient Rome, and the emergence of concrete allowed western architecture to go further and further in terms of large spans. Meanwhile, the vigorous development of western mathematics, mechanics and other theories also laid a solid foundation for the design of these complex structures.

The emergence of gothic spires and Byzantine sail arches increased the height of buildings in the west. With the advent of the cusp, the church building abandoned its thick reinforced concrete walls and became a frame structure. The structure is much lighter than the church buildings that preceded it, allowing for the emergence of taller buildings. And the appearance of sail arch makes the development of architecture leap forward again. More and more tall buildings were built, and at this time, the height of western buildings had reached a level that our country's buildings could not reach.

Western architecture is used to worship gods, while Chinese architecture is used to worship heaven and earth. The scale of heaven and earth cannot be measured by the scale. Therefore, China adopts the philosophy of setting off the vastness of heaven by means of small lines and large lines. In an open field, there stands a small building, and the corresponding is a boundless sky, which can show the vastness of the sky. Tall buildings in the west are intended to conquer nature, while Chinese architecture stresses the integration of nature and man, and the integration of nature.

Chinese architecture is deeply influenced by the ritual system. The so-called "100 feet for shape" is intended to conform to the normal scale of human beings, and it is inappropriate to be too large or too small. At the same time, there is a rigid hierarchy in China, which decreases gradually according to their status. Therefore, the building shapes and structures of ordinary people are relatively small.

Confucius day: "the gentleman does not implement." Under Confucianism, a gentleman should read books of sages and sages, and the ambition of a scholar should be to serve as an official. Besides being an official, every occupation in ancient China was influenced correspondingly, and architecture was no exception. Different from the praise of architects in the west, China's construction industry has not been paid attention to, so the development of architecture has been very slow.

In terms of materials, China has long used wood to construct buildings. And the service life of lumber is shortened at stone material a lot, intensity and stone material also cannot be mentioned in the same breath. So the span of the building is not comparable to that of western buildings. However, the growth cycle of wood is extremely slow and the lack of wood is also an important factor restricting the development of Chinese architecture. The limitation of materials leads to the stagnation of technology. Although it is improved in every generation, it does not make the same progress as western architecture.

In a word, Chinese and western architectures growing up in different environments and cultures show their unique charms to the world respectively. However, in today's era, with the continuous advance of globalization, eastern and western cultures are permeating each other. In the near future, I believe world architecture will embrace Chinese and western architecture and reach a higher level.

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Essay代写：Modern urban painting

下面为大家整理一篇优秀的essay代写范文- Modern urban painting，供大家参考学习，这篇论文讨论了现代都市绘画。如今，现代都市不仅是都市人的栖身之所、艺术活动的承载之地，更是反映时代的宏大景观，绘画视角应当更有当代的都市气息，真切地反映现实生活，这也是绘画的发展趋势，在许多大型美术展览上都能感受到。无论是探讨社会变迁的身份问题，还是快节奏下的生存状态，现代都市绘画都具有非常多的可能性，它本质上就是都市人对于自身和环境的思考。

Since the reform and opening up, economic construction has become the theme of The Times. As a special economic zone, shenzhen has created a miracle attracting worldwide attention. In this context, modern urban painting has very distinct practical significance and characteristics of The Times. With the development of society and the prosperity of civilization, the painter's expression and understanding of the city gradually entered into his painting works. At the same time, it was accompanied by the process of city commercialization. Take shenzhen as an example. This is a process of "city" and "city". Because of the decision to set up special economic zones, because of the "city" and "city", economic construction developed, and then because of the "city" and "city", promote the renewal of the city construction, high-rises rise. "City" because of "city" is the impetus of policy, "city" because of "city" is the drive of interest, which is exactly in line with the theme of "economic construction as the center", its essence is to pursue interests and build. Reclamation, opening mountains, digging tunnels, building airports, ports, high-speed rail, subway... Everything paves the way for faster economic construction. Model commercial real estate development, construction of residential buildings, office buildings, shopping square... There are stylized branches of big brands in the square, companies set up in the office buildings are involved in real estate, finance, Internet, high-tech, and residential buildings are all people indirectly involved in or building this model.

Faced with such a modern and commercial city, should painting take the initiative to reflect the current social situation? Are they thinking differently than they used to? Do you dig, examine, and criticize the hearts of the people who live in this glass and concrete forest? This necessity cannot be ignored. The modern urban painting we discussed was born under this background and theme of The Times. This is a discussion based on the perspective of shenzhen with local characteristics.

Is the scenery in the city or in the countryside? This question actually asks about the aesthetic tendency, there is no definite answer. However, according to the custom, they are all "to the countryside to sketch", and the traditional art education is "close to the countryside, far from the city". Undeniably, the beauty of light and color in nature is indispensable in the training of color painting. French impressionism and Russian touring exhibition school of landscape painting have exerted an important influence on the creation and education of landscape painting in China, and this established aesthetic mode seems to have never been out of date. The articles published by the educational module of lu xun academy of fine arts in the journal are indeed as the author said, "repeating the same old tune", which is inseparable from the paradigm of modeling, aesthetics and technology. Under the influence of the teachers, the students went to the countryside to sketch, regardless of the course requirements, giving people a feeling that the painter should "avoid the city" self-cultivation. This mass sketching movement has become a kind of tourism industry, such as the "painter's village" in anhui province, which is also constantly building new archaized hui-style buildings and archaized inns catering to painters and tourists. Artists sometimes avoid overly "artificial" cities and just go to another "artificial" environment, but their plots of sketching can be satisfied. The author also had this kind of sketch plot, go alone tour mountains of ethnic minority autonomous region sketch, but the more begin to reflect on their own works, the men of the city is keen to show the beautiful scenery of the countryside and color, can not think, rural people are yearning we live in a city, our performance was good for the locals is an insurmountable barrier? With the mentality of tourists, it seems that we can never understand the real state of people and nature at that time. Of course, we can also practice our own modeling, aesthetics and technology regardless of everything.

Art comes from and reflects real life. There are also some local old painters in shenzhen who put their eyes on the city of current life, such as li chuchi's "chiwan golden autumn" and he zhenxiang's "one of the dreams of new port", which are the expression of shenzhen chiwan port and yantian port docks, which are works reflecting real life. Facing the wave of reform and opening up and urban construction, what we are facing is the scenery that our predecessors have been looking forward to for a long time.

The concept of shanshui city was first put forward by Mr. Qian xuesen in 1990. The first is the harmony and unity between man and nature, the second is the harmonious development of natural environment and artificial environment, and the third is the combination of Chinese classical cultural tradition and foreign advanced culture and architectural technology. After seeing the works of shenzhen painters, Mr. Qian came up with the idea of "urban landscape painting". Since 1992, the subject of "urban landscape painting" has been concerned by many artists from all over the country. Painter song yuming is one of them, "shenzhen xiaomeisha summer" is his work, this painting is "urban landscape painting" representative of the early works. According to song yuming, it is particularly important to "restore" the spiritual core of the city in his works and reflect his own profound experience in it.

In the "impression city -- contemporary urban landscape painting nomination exhibition" held by wuhan art museum in 2010, nine artists jointly depicted various modern cities at home and abroad, most of whom experienced the "urbanization" period of the construction of new China and the reform and opening up. The works exhibited in this exhibition have a wide range of contents, including shopping malls, hot and dry noodle shops on the streets of Shanghai, high-rise buildings in Hong Kong, European churches, trams and so on. The works have different styles and techniques. Fan feng, the artist and curator of wuhan art museum, said that although ancient paintings like "riverside scene at qingming festival" have been used to depict urban life, urban landscape painting lacks references and mature techniques, which pose challenges for future creation.

In modern urban painting, the combination of ink and wash materials is one of the directions. Can "urban landscape" combine modern urban landscape with traditional Chinese painting with literati interest? It is still worth discussing the effect and degree of freedom of the strong psychological conflicts in individual's spiritual life under the background of "urbanization" while the traditional media show the city image.

Modern city is not only a place for urbanites to live and a place for artistic activities, but also a reflection of the grand landscape of The Times. Our painting perspective should be more contemporary and truly reflect real life, which is also the development trend of painting and can be felt in many large art exhibitions. Whether it is to discuss the identity of social changes or the living state under the fast pace, modern urban painting has a lot of possibilities. It is essentially the reflection of urban people on themselves and their environment.

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