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19/05/2018

Poetry: Rasul Gamzatov

Poetry: Rasul Gamzatov





US TWENTY MILLION

From the unknown to the famous,
To fight which years are not free,
There are twenty million of us,
Killed, not returned from the war.

No, we have not disappeared in the pitch smoke,
Where the path, as to the top, was not straight.
We also left our wives young,
And the boys got rid of their mothers.

And on Victory Day we descend from the pedestals,
And in the windows the light did not go out,
We are all from the rank and file to the generals
We are invisible among you.



There is a sad day for the war,
And on that day you are drunk with joy.
The bell rang above us,
And the rumble of the wedding is pouring from the height.

We have not forgotten ourselves for centuries,
And every time at the Eternal Flame
You have a duty to consult us,
As if in thought, the goal is Michael Cheval art paintings for sale

sheep's clown.

And may not care leave you
Know the will of those who did not return from the war,
And before rewarding someone
And before the condemnation of guilt.

All that we defended in the trenches
Il returned, rushing into a breakthrough,
To protect and protect you bequeathed,
The only life putting.

As on medals, after us cast,
We all are equal to the Fatherland
There are twenty million of us,
Killed, not returned from the war.

Where in the clouds a rock scar is gaping,
At any hour from the sun to the moon
The bell rang above us.
And the rumble of the wedding is pouring from the height.

And although the military enlistment offices wrote off,
But the enemy will have to take into account,
That the dead soldiers will go to battle, too,
When the living alarm calls.

Be repellent, adov godina.
But we are ready on the front line,
Resurrected, once again perish to one,
So that no one alive will die there.

And you should, worrying about many things,
Before the evil, not stepping back,
On our untainted conscience
Worthy to hold the equal.

Live long, live righteously,
Seeking the whole world to join the congregation,
And neither of the nations blaspheme,
Keeping his own honor at the zenith.

What names are not on the tombstones!
All their tribes were left by their sons.
There are twenty million of us,
Killed, not returned from the war.

Falling stars flicker call alarm,
And the branches of willows are weeping.
The bell rang above us,
And the rumble of the wedding is pouring from the height.

Translated by J.Kozlovsky

18/05/2018

Bruges

IRIS message citation

Read the fullV your quote or community!

I have a new love !!!




How could you write about this city with the depressive title "Dead Bruges" about this city?
How???
I do not understand!
It's gingerbread!
Better than one gingerbread, and a box of gingerbread cookies!
And! They are not packed in a box in a strict and orderly manner, in even rows, they are not combed.
Each of them is a work of art and a monument of ancient architecture.
And let it look chaotic for all its smooth line of facades, but each of them catches the eye and makes you stop.
And let here all the styles of architecture, from the Renaissance to Louis XVI, are collected here, but here the history is felt.
That's how you move around this city - with a clinging eye and an open mouth, stumbling on to Vladimir Kush art for sale

every step.
Here even my andron collider ordered to live for a long time and the step became sedate and unhurried.))
And how do you think what I did on the first night in Bruges?
She was making love ... with Bruges. ))
I watched the movie "In Bruges" (and in Russian - "Lie to the bottom in Bruges").
Also know that me most of all got?
The fact that I'm in it now is inside!
And the fact that in the morning I will go out and see it all !!!
I'll come and tell you. ))






































music: Amorroma - La Vita Ti Parla



Message series "Belgium":
Part 1 - I have a new love!

27/04/2018

The definition of landscape painting - the contrast between Chinese landscape painting and western landscape painting


Landscape painting refers to landscape-based paintings. Paintings based on natural landscapes, villages, and cities. The landscape painting in Chinese painting is also a kind of landscape painting, but it does not use the concept of landscape painting. The word "landscape painting" was introduced to China in the 20th century and used only in western oil paintings, watercolor paintings, etc. Western landscape paintings and Chinese landscape paintings were only used as the background of figure paintings at first, and they gradually developed into independent painting subjects later.
Comparison of Chinese Landscape Paintings and Western Landscape Paintings

In the long development process of Chinese landscape painting, it has gradually formed a unique style and aesthetic taste as well as a complete set of theoretical systems. In the same way, the same holds true for landscape paintings that occupy an important position in Western painting circles. These two kinds of objects with the same performance but using different forms of art represent an extremely important position in the treasure-house of world art. They are located in two different civilizations, whether in the history and culture of the ancient ancestors of the East, or in the great artistic achievements of ancient Greece and Rome. The aesthetic values ​​of these two kinds of art are the precious legacy of human development. The comparison between the similarities and differences between the two contributes to the exchange and development of the two great arts. No matter what kind of art can only be blended and absorbed, it can gain more vitality. Therefore, we compare the landscape paintings of a representative of oriental art—Chinese ink and wash landscape painting with one branch of western culture, which is also a huge influence—to see the differences between Chinese and Western arts and their respective achievements. .

When Chinese artists under the influence of Confucianism and Taoism committed themselves to the integration of Heaven and Taoism, Western painters completed their ideal transformation in the aura of humanistic thought. If we want to compare them, we must start from their different development journeys and analyze them from the different regions and cultural environments in which they live. Because the fundamental differences and differences in art are not in simple techniques and materials, the ideological foundation and aesthetic concepts on which they are developed are the key to mutual comparison. Therefore, this article naturally takes both the aesthetic foundation and the aesthetics ideology as the first priority, although the narrative profoundly needs a good aesthetic quality and theoretical accomplishment. Even though the author's theoretical level cannot make the language of similarities and differences of the aesthetic thoughts written with insight, But this first and foremost prerequisite for the comparison of Chinese and Western arts—even those two kinds of art—should be placed in an important position. Of course, the expressions and expressions between the two are also a key point of comparison. This is the most effective way to understand the difference between the two arts.


Iosif Iser
Regardless of the art of that nation, there are unique expressions of this people. For example, when Asians use pens to render their understanding and love of nature, African indigenous people are using their swords to sculpt their own unique thoughts and persistent worship.
The main difference between Chinese landscape painting and western landscape painting


Both Chinese landscape paintings and western landscape paintings are based on the natural scenery in which people live. They are committed to combining the discovery of the beauty of the object with the cognition, ideal, and emotion of the aesthetic subject. This is essentially the same in landscape painting and landscape painting.


Toreador

The differences between Chinese and Western landscape paintings and landscape paintings are mainly reflected in performance objects, aesthetic principles, and expression techniques. In contrast, western landscape paintings are all-inclusive in terms of expressing scenery, and it can also be said that there are slightly more people-related landscape environments than “pure” natural scenery. Although the subject of China's landscape paintings also involves all aspects of natural landscapes, it is mostly characterized by the expression of “pure” natural landscapes, followed by the “border painting” that expresses cultural landscapes and living environments. In the natural landscape, the theme of "mountain and forest water" was used as the main theme. The number of paintings of other subject types followed, and the number was much less. This resulted in the tendency of Chinese landscape paintings to be compared with western landscape paintings in terms of performance objects. Yu Jianfa appreciates the natural beauty of nature, and the western landscape painting is more concerned with the specific survival relationship between nature and human beings.

The difference between the aesthetic principles and the expression methods of the two is that the principle of creation of Chinese landscape painting is to create the beauty of the artistic conception of mingling scenes. For this purpose, the landscape painter is required to “creativity by the outside teacher and get the heart from the source”, and it will be to the nature. Watching, recognizing and feelings are combined with his own experience of social life. He is brewing as an image in the chest and bursting into a picture. Therefore, Chinese landscape painting places more emphasis on the subject's subjective emotions and the highlighting of the brushstrokes in drawing the image. The principle of creation of Western landscape painting is to create realistic and perfect landscapes so that the viewer can obtain an experience of certain spiritual content or emotional ideal in an immersive aesthetic experience. For this reason, western landscape paintings are based on visual realism and realistic methods, and the beauty of landscape with a specific sense of time and space is the basis for symbolizing spiritual significance. Therefore, Western landscape painting places more emphasis on the reproduction of the natural landscape.


Tatar Family
In terms of expression methods, Chinese landscape paintings depict objects in details but are not specific to details. They mostly start from the structural organization of objects and form stylized techniques that can reflect the characteristics of objects. In the composition processing, we pay attention to “taking a small view” to cleverly organize the relationship between lofty, far-reaching, far-reaching, and far-reaching from the perspective of swimming. Therefore, there are many scroll-shaped works. In the pen and ink technique, a variety of standardized methods and point-like methods are formed. Western landscape painting emphasizes the overall grasp of the object of depiction, but also pay attention to the details of the truth, pay particular attention to the object's specific temporal and spatial characteristics of the grasp and performance. In the composition and spatial processing, the focus perspective method is used to seek to reproduce the authenticity of light perception and color sense in specific viewpoints, time, and space. The early stage of performance techniques was mainly smooth and smooth, with uniform colors and harmonious colors. Since the middle and late 18th century, it has been paying attention to the distinctive development of brushstrokes, textures, and colors, and has increasingly strengthened subjective expression. It should be noted that the subjective expression in Western modern art is fundamentally different from the subjective expression in Chinese classical art. That is to say, the expressiveness in Chinese classical art is that there is no subjective expressiveness of the harmonious circle of subject and object. However, the expressiveness of western modern art is a distinct emphasis on individuality, emphasizing the spirit of rebellion, and even pursuing a complete escape from it. The subjective artistic expression of objective reality (such as abstract expressionism) is fundamentally different from that of the humanistic spirit.

In the West, 15th-century landscapes became independent subjects, local landscape paintings appeared in the paintings of German painter A. Dürer and A. Altdorfer. The painting is mature in the 17th century in the Netherlands. J.van Jardishr, J. Witzel, and M. Hobbema have made significant contributions to the development of landscape painting. At the same time, there were major sub-divisions of seascapes, nightscapes, and streetscapes. Italy has an ideal idyllic landscape, and there are heroes and landscapes in ancient mythology. In the 18th century, the British painter J. Constable made a decisive development in the landscape. It directly describes the nature of natural writing, and affects the wind-power generator group impressionist painter. Artists of the 19th century also paid attention to the natural scenery that had not been described by predecessors such as mountains, sea, late autumn and morning fog. The Barbizon School of France, led by C. Corot and J.-F. Mille, began to adopt a naturalistic attitude to express the landscape. In the late 19th century, the impressionist painter made the landscape painting an important category in the painting with the delicate coordination of light and shade. The Russian landscape is represented by I.I. Shishkin and I.I. Levitan. Japan is represented by Higashiyama Prefecture. After the introduction of Western painting into China, Yan Wenliang was known as an early landscape painter. Wu Guanzhong's landscape paintings are rich in ethnic sentiments.