(object) array( 'id' => '1068157', 'url' => 'ZT/Nouveau_Réalisme', 'image' => '', 'title' => '新寫實主義', 'tags' => array ( 0 => '新寫實主義', 1 => 'Art history', 2 => 'General art history', 3 => 'Tate', 4 => '', ), 'term' => '新寫實主義', 'source_id' => 771175, 'type' => 'term', 'namespace' => 1990, 'nstext' => 'ZT', 'industry' => array ( 0 => 'Art history', ), 'category' => array ( 0 => 'General art history', ), 'company' => array ( 0 => 'Tate', ), 'lastedit' => '20110415192138', 'part_of_speech' => 'noun', 'creation_user' => 'Siaoning', 'special_term' => '', 'definition' => '法國運動 (含義新現實主義) 成立于 1960 年由評論家皮埃爾 · Restany。它是這可以被看作是波普藝術的歐洲對應的事態發展的重點。以及繪畫、 Nouveau Réalistes 作廣泛使用拼貼畫和裝配、 使用真實物件直接納入工作和承認，債務與馬塞爾 · 杜尚的 readymades。在這方面領先指數是阿爾曼、 塞薩爾、 克裡斯、 Tinguely 和丹尼爾 · 波里。鐘泰 Hains、 Mimmo 羅特、 雅克 · 馬埃 de la Villeglé 和狼 Vostell 開發了 décollage，或撕海報技術，從累積層數他們從廣告圍板中刪除的海報製作醒目的工程。畫家當中 Valerio 阿達米、 Alain Jacquet、 武術雷西 (也取得顯著裝置) 和德國人，格哈德 · 裡克特，叫他工作資本主義現實主義。伊夫 · 克萊因過早地死于 1962 年是關聯 Nouveau Réalisme 最重要的演出者之一。他是在他短暫的職業生涯，極大地發明臨時發生的事情和開展早期例子使用他自己的身體，和預測概念藝術，以及卓越的繪畫創作表演藝術。', 'usage_comment' => 'MT', 'glossary' => '', 'width' => 0, 'height' => 0, '_version_' => 1503602141215850497, 'nstext_full' => 'Chinese, Traditional (ZT)', 's_attr' => (object) array( 'Term' => 'Nouveau Réalisme', 'Company' => 'Tate', 'Definition' => 'French movement (meaning new realism) founded in 1960 by the critic Pierre Restany. It was the focus for developments which can be seen as the European counterpart to Pop art. As well as painting, Nouveau Réalistes made extensive use of collage and assemblage, using real objects incorporated directly into the work and acknowledging a debt to the readymades of Marcel Duchamp. The leading exponents of this aspect were Arman, César, Christo, Tinguely and Daniel Spoerri. Raymond Hains, Mimmo Rotella, Jacques Mahé de la Villeglé and Wolf Vostell developed the décollage, or torn poster technique, making striking works from accumulated layers of posters they removed from advertising hoardings. Among the painters were Valerio Adami, Alain Jacquet, Martial Raysse (who also made notable installations) and the German, Gerhard Richter, who named his work Capitalist Realism. One of the most significant artists associated with Nouveau Réalisme was Yves Klein who died prematurely in 1962. He was enormously inventive in his short career, staging Happenings and carrying out early examples of Performance art using his own body, and anticipating Conceptual art as well as making remarkable paintings.', 'Domain' => 'Documentation', 'Industry' => 'Art history', 'Part of Speech' => 'noun', 'Product Category' => 'General art history', 'Usage Status' => 'New', 'Creation User' => 'genart', 'Creation Date' => '2011/2/20', 'Source Lang' => '1180', ), 's_namespace_text' => 'EN', 's_namespace_text_full' => 'English (EN)', 's_title' => 'Nouveau_Réalisme', )

(object) array( 'id' => '1052255', 'url' => 'ZT/Gutai', 'image' => '', 'title' => '具體藝術', 'tags' => array ( 0 => '具體藝術', 1 => 'Art history', 2 => 'General art history', 3 => 'Tate', 4 => '', ), 'term' => '具體藝術', 'source_id' => 771081, 'type' => 'term', 'namespace' => 1990, 'nstext' => 'ZT', 'industry' => array ( 0 => 'Art history', ), 'category' => array ( 0 => 'General art history', ), 'company' => array ( 0 => 'Tate', ), 'lastedit' => '20110413222005', 'part_of_speech' => 'proper noun', 'creation_user' => 'Siaoning', 'special_term' => '', 'definition' => '日本前衛組。峪泰 Bijutsu 協會 (峪泰藝術協會) 成立于 1954 年在大阪的葭原次郎、 Kanayma Akira、 村上三郎、 白髮一夫，島本莊三。這個詞已被譯成英語 \'體現\' 或 \'具體\'。葭原是誰集團合併和誰資助它周圍老演出者。在其早期的公開展覽，于 1955 年和 1956年峪泰演出者創造了一系列的驚人預測以後發生的事件和性能和概念藝術作品。對泥 1955 年，在其中，演出者在一堆泥，熱軋半裸著白髮的挑戰仍然是與組相關聯的最著名的事件。此外在 1955 年村上創建他據報導令人驚歎的表現裂傷的紙，在其中他跑著穿過紙螢幕。在 1956 年第二次峪泰展上，白髮用他的腳來畫一個大的畫布攤開四肢躺在地板。從大約 1950 年島本作出了繪畫從層的報紙粘貼在一起，繪和與孔，然後刺穿了預測的盧西奧 Fontana 鏤空的工作。在 1954 年村上了由一系列的作品扔一個球在油墨在紙張中浸泡。島本講 1956 年去做的工作由打碎玻璃樽裝滿顏料到躺在地上的畫布上調用將引發的膚色。Yve-阿蘭 · 博伊斯藝術歷史學家說 \'在 1950 年代中期峪泰集團的活動構成的戰後日本文化最重要的時刻之一。蘆屋市藝術博物館和歷史在日本舉行峪泰工作和檔案的大集合。該集團在 1972年去世後，葭原溶化了。有他們在巴黎德波姆在 1999 年的工作回顧展覽。', 'usage_comment' => 'MT', 'glossary' => '', 'width' => 0, 'height' => 0, '_version_' => 1503602064351035392, 'nstext_full' => 'Chinese, Traditional (ZT)', 's_attr' => (object) array( 'Term' => 'Gutai', 'Company' => 'Tate', 'Definition' => 'Japanese avant-garde group. Gutai Bijutsu Kyokai (Gutai Art Association) was formed in 1954 in Osaka by Yoshihara Jiro, Kanayma Akira, Murakami Saburo, Shiraga Kazuo, and Shimamoto Shozo. The word has been translated into English as \'embodiment\' or \'concrete\'. Yoshihara was an older artist around whom the group coalesced and who financed it. In their early public exhibitions in 1955 and 1956 Gutai artists created a series of striking works anticipating later Happenings and Performance and Conceptual art. Shiraga\'s Challenge to the Mud 1955, in which the artist rolled half naked in a pile of mud, remains the most celebrated event associated with the group. Also in 1955 Murakami created his reportedly stunning performance Laceration of Paper, in which he ran through a paper screen. At the second Gutai show in 1956, Shiraga used his feet to paint a large canvas sprawled across the floor. From about 1950 Shimamoto had been making paintings from layers of newspaper pasted together, painted and then pierced with holes, anticipating the pierced work of Lucio Fontana. In 1954 Murakami had made a series of paintings by throwing a ball soaked in ink at paper. In 1956 Shimamoto went on to make works called Throws of Colour by smashing glass jars filled with pigment onto canvases laid out on the floor. The art historian Yve-Alain Bois has said that \'the activities of the Gutai group in the mid 1950s constitute one of the most important moments of post-war Japanese culture\'. Ashiya City Museum of Art and History in Japan holds a large collection of Gutai work and archives. The group dissolved in 1972 following the death of Yoshihara. There was a retrospective exhibition of their work at the Jeu de Paume in Paris in 1999.', 'Domain' => 'Documentation', 'Industry' => 'Art history', 'Part of Speech' => 'proper noun', 'Product Category' => 'General art history', 'Usage Status' => 'New', 'Creation User' => 'genart', 'Creation Date' => '2011/2/20', 'Source Lang' => '1180', ), 's_namespace_text' => 'EN', 's_namespace_text_full' => 'English (EN)', 's_title' => 'Gutai', )

(object) array( 'id' => '1047451', 'url' => 'ZT/public_₂', 'image' => '', 'title' => '公眾', 'tags' => array ( 0 => '公眾', 1 => 'Art history', 2 => 'Visual arts', 3 => '', ), 'term' => '公眾', 'source_id' => 744574, 'type' => 'term', 'namespace' => 1990, 'nstext' => 'ZT', 'industry' => array ( 0 => 'Art history', ), 'category' => array ( 0 => 'Visual arts', ), 'lastedit' => '20110413124657', 'part_of_speech' => 'noun', 'creation_user' => 'Siaoning', 'special_term' => '', 'definition' => '社區或接收藝術和一般自覺感到關切的是它的字元在時間和空間的人。從觀眾，是那些可尊敬的公眾接受藝術品在一個給定的、 具體的地方和/或時間。', 'usage_comment' => 'MT', 'glossary' => '', 'width' => 0, 'height' => 0, '_version_' => 1503602042196721664, 'nstext_full' => 'Chinese, Traditional (ZT)', 's_attr' => (object) array( 'Term' => 'public', 'Definition' => 'The community or people who receive art and are generally self-consciously concerned with its character over time and space. The public may be distinguished from an audience, who are those receiving an artwork at a given, specific place and/or time.', 'Domain' => 'Documentation', 'Industry' => 'Art history', 'Part of Speech' => 'noun', 'Product Category' => 'Visual arts', 'Usage Status' => 'New', 'Creation User' => 'Gabrielle Tait', 'Creation Date' => '2011/2/14', 'Source Lang' => '1180', ), 's_namespace_text' => 'EN', 's_namespace_text_full' => 'English (EN)', 's_title' => 'public_₂', )

(object) array( 'id' => '1047157', 'url' => 'ZT/canvas_₁₀', 'image' => '', 'title' => '帆布', 'tags' => array ( 0 => '帆布', 1 => 'Art history', 2 => 'General art history', 3 => 'Tate', 4 => '', ), 'term' => '帆布', 'source_id' => 770974, 'type' => 'term', 'namespace' => 1990, 'nstext' => 'ZT', 'industry' => array ( 0 => 'Art history', ), 'category' => array ( 0 => 'General art history', ), 'company' => array ( 0 => 'Tate', ), 'lastedit' => '20110413120224', 'part_of_speech' => 'noun', 'creation_user' => 'Siaoning', 'special_term' => '', 'definition' => '強、 編織布傳統用於演出者的支援。通常由亞麻或棉的執行緒，但也從如滌綸人造材料製作。', 'usage_comment' => 'MT', 'glossary' => '', 'width' => 0, 'height' => 0, '_version_' => 1503602040847204352, 'nstext_full' => 'Chinese, Traditional (ZT)', 's_attr' => (object) array( 'Term' => 'canvas', 'Company' => 'Tate', 'Definition' => 'Strong, woven cloth traditionally used for artists\' supports. Commonly made of either linen or cotton thread, but also manufactured from man-made materials such as polyester.', 'Domain' => 'Documentation', 'Industry' => 'Art history', 'Part of Speech' => 'noun', 'Product Category' => 'General art history', 'Usage Status' => 'New', 'Creation User' => 'genart', 'Creation Date' => '2011/2/20', 'Source Lang' => '1180', ), 's_namespace_text' => 'EN', 's_namespace_text_full' => 'English (EN)', 's_title' => 'canvas_₁₀', )

(object) array( 'id' => '1206065', 'url' => 'ZT/brawny', 'image' => '', 'title' => '強勁；醇厚', 'tags' => array ( 0 => '強勁；醇厚', 1 => 'Beverages', 2 => 'Wine', 3 => '', ), 'term' => '強勁；醇厚', 'source_id' => 29490, 'type' => 'term', 'namespace' => 1990, 'nstext' => 'ZT', 'industry' => array ( 0 => 'Beverages', ), 'category' => array ( 0 => 'Wine', ), 'lastedit' => '20110505213511', 'part_of_speech' => 'noun', 'creation_user' => 'Siaoning', 'special_term' => '', 'definition' => '用來描述那是硬的、 強烈的、 單甯和有木質、 原始風味的葡萄酒。相反的優雅。', 'usage_comment' => 'MT', 'glossary' => '', 'width' => 0, 'height' => 0, '_version_' => 1503602773001764864, 'nstext_full' => 'Chinese, Traditional (ZT)', 's_attr' => (object) array( 'Term' => 'brawny', 'Definition' => 'Used to describe wines that are hard, intense, tannic and that have raw, woody flavors. The opposite of elegant.', 'Part of Speech' => 'noun', 'Industry' => 'Beverages', 'Product Category' => 'Wine', 'Domain' => 'Documentation', 'Usage Status' => 'New', 'Creation User' => 'Hvang', 'Creation Date' => '2010/05/21', 'Revision User' => 'Hvang', 'Revision Date' => '2010/05/21', 'Source Lang' => '1180', ), 's_namespace_text' => 'EN', 's_namespace_text_full' => 'English (EN)', 's_title' => 'brawny', )

(object) array( 'id' => '1067703', 'url' => 'ZT/neo-geo', 'image' => '', 'title' => '新幾何繪畫', 'tags' => array ( 0 => '新幾何繪畫', 1 => 'Art history', 2 => 'General art history', 3 => 'Tate', 4 => '', ), 'term' => '新幾何繪畫', 'source_id' => 771156, 'type' => 'term', 'namespace' => 1990, 'nstext' => 'ZT', 'industry' => array ( 0 => 'Art history', ), 'category' => array ( 0 => 'General art history', ), 'company' => array ( 0 => 'Tate', ), 'lastedit' => '20110415180035', 'part_of_speech' => 'noun', 'creation_user' => 'Siaoning', 'special_term' => '', 'definition' => '短，近地物體幾何概念論。這學期進入了八十年代初在美國使用的來形容彼得哈雷、 艾什比克頓、 傑夫 • 昆斯和其他人的工作。特別是受到法國思想家讓 · 鮑德里亞強烈影響哈雷。他們的工作旨在被批判的機械化和商業化的現代世界 — — 哈雷稱為 \'現代生活的 geometricisation\'。作為對社會的隱喻看到幾何，哈雷作出出色地彩色幾何抽象畫的但是，有一個比喻的基礎。他們都來自電路板、 哈雷使用來表示各自的有機體和網路的當代城市存在這樣的事情。這些畫是描寫的社會景觀，隔離和連接。比克頓和 Koons 的工作，主要是三維立體的。Koons 通過作為的永恆之美的作品呈現真正消費品消費文化拙劣了地模仿。比克頓在他的 Biofragment 系列，作品中創建視覺的啟示。', 'usage_comment' => 'MT', 'glossary' => '', 'width' => 0, 'height' => 0, '_version_' => 1503602139364065282, 'nstext_full' => 'Chinese, Traditional (ZT)', 's_attr' => (object) array( 'Term' => 'neo-geo', 'Company' => 'Tate', 'Definition' => 'Short for Neo-Geometric Conceptualism. This term came into use in the early 1980s in America to describe the work of Peter Halley, Ashley Bickerton, Jeff Koons and others. Halley in particular was strongly influenced by the French thinker Jean Baudrillard. Their work aimed at a being a critique of the mechanisation and commercialisation of the modern world—what Halley referred to as the \'geometricisation of modern life\'. Seeing geometry as a metaphor for society, Halley made brilliantly coloured geometrically abstract paintings which, however, have a figurative basis. They are derived from things such as circuit boards, which Halley uses to represent the individual organisms and networks of contemporary urban existence. The paintings are depictions of the social landscape, of isolation and connectivity. The work of Bickerton and Koons was mainly three dimensional. Koons parodied consumer culture by presenting real consumer goods as works of timeless beauty. Bickerton in works such as his Biofragment series, created a vision of apocalypse.', 'Domain' => 'Documentation', 'Industry' => 'Art history', 'Part of Speech' => 'noun', 'Product Category' => 'General art history', 'Usage Status' => 'New', 'Creation User' => 'genart', 'Creation Date' => '2011/2/20', 'Source Lang' => '1180', ), 's_namespace_text' => 'EN', 's_namespace_text_full' => 'English (EN)', 's_title' => 'neo-geo', )

(object) array( 'id' => '1134695', 'url' => 'ZT/watertight', 'image' => '', 'title' => '不透水的, 防水', 'tags' => array ( 0 => '不透水的, 防水', 1 => 'Architecture', 2 => 'Architecture contemporaine', 3 => 'Architecture_contemporaine_twgid1296485784889488', ), 'term' => '不透水的, 防水', 'source_id' => 694695, 'type' => 'term', 'namespace' => 1990, 'nstext' => 'ZT', 'industry' => array ( 0 => 'Architecture', ), 'category' => array ( 0 => 'Architecture contemporaine', ), 'lastedit' => '20110422134706', 'part_of_speech' => 'adjective', 'creation_user' => 'Siaoning', 'special_term' => '', 'definition' => '其中不允許對考績制度水進進出出，，防止洩漏。', 'usage_comment' => 'MT', 'glossary' => 'Architecture_contemporaine_twgid1296485784889488', 'width' => 0, 'height' => 0, '_version_' => 1503602437440667648, 'nstext_full' => 'Chinese, Traditional (ZT)', 's_attr' => (object) array( 'Term' => 'watertight', 'Definition' => 'Which doesn\'t allow water to pas in and out, which prevent leaks.', 'Part of Speech' => 'adjective', 'Usage Status' => 'New', 'Industry' => 'Architecture', 'Product Category' => 'Architecture contemporaine', 'Creation User' => 'Kizsok', 'Creation Date' => '2011/2/2', 'Glossary' => 'Architecture_contemporaine_twgid1296485784889488', 'Source Lang' => '1180', ), 's_namespace_text' => 'EN', 's_namespace_text_full' => 'English (EN)', 's_title' => 'watertight', )

(object) array( 'id' => '992312', 'url' => 'ZT/sign_₉', 'image' => '', 'title' => '符號', 'tags' => array ( 0 => '符號', 1 => 'Art history', 2 => 'Visual arts', 3 => '', ), 'term' => '符號', 'source_id' => 744548, 'type' => 'term', 'namespace' => 1990, 'nstext' => 'ZT', 'industry' => array ( 0 => 'Art history', ), 'category' => array ( 0 => 'Visual arts', ), 'lastedit' => '20110407210112', 'part_of_speech' => 'noun', 'creation_user' => 'Siaoning', 'special_term' => '', 'definition' => '站立的東西-，有人向外表現。符號學研究文化，並認為其物質產品和發生在它作為標誌。', 'usage_comment' => 'MT', 'glossary' => '', 'width' => 0, 'height' => 0, '_version_' => 1503601786490978305, 'nstext_full' => 'Chinese, Traditional (ZT)', 's_attr' => (object) array( 'Term' => 'sign', 'Definition' => 'An outward manifestation that stands for something - and for somebody. Semiotics studies culture and views its material products and what happens in it as signs.', 'Domain' => 'Documentation', 'Industry' => 'Art history', 'Part of Speech' => 'noun', 'Product Category' => 'Visual arts', 'Usage Status' => 'New', 'Creation User' => 'Gabrielle Tait', 'Creation Date' => '2011/2/14', 'Source Lang' => '1180', ), 's_namespace_text' => 'EN', 's_namespace_text_full' => 'English (EN)', 's_title' => 'sign_₉', )

(object) array( 'id' => '1042438', 'url' => 'ZT/engraving_₂', 'image' => '', 'title' => '雕刻; 版畫', 'tags' => array ( 0 => '雕刻; 版畫', 1 => 'Art history', 2 => 'General art history', 3 => 'Tate', 4 => '', ), 'term' => '雕刻; 版畫', 'source_id' => 770922, 'type' => 'term', 'namespace' => 1990, 'nstext' => 'ZT', 'industry' => array ( 0 => 'Art history', ), 'category' => array ( 0 => 'General art history', ), 'company' => array ( 0 => 'Tate', ), 'lastedit' => '20110412201236', 'part_of_speech' => 'noun', 'creation_user' => 'Siaoning', 'special_term' => '', 'definition' => '在其中一塊金屬板手動切割與銅版用雕刻，雕刻工具 （如錠劑的筆尖很細鑿凹版技術。銅版用雕刻使切口成不同角度的金屬和與不同的壓力也就是要求的油墨量線可以舉行 — — 因此寬度和黑暗列印時的變化。技術的雕刻金屬日期從古典上古作為裝飾的物件的方法。然而它是不直到約 1430年在雕花的板開始用於製作版畫的德國。防是使用酸蝕刻一塊金屬板，然後可以從印刷攝影製作的映射的過程。', 'usage_comment' => 'MT', 'glossary' => '', 'width' => 0, 'height' => 0, '_version_' => 1503602016066207745, 'nstext_full' => 'Chinese, Traditional (ZT)', 's_attr' => (object) array( 'Term' => 'engraving', 'Company' => 'Tate', 'Definition' => 'An intaglio technique in which a metal plate is manually incised with a burin, an engraving tool like a very fine chisel with a lozenge-shaped tip. The burin makes incisions into the metal at various angles and with varying pressure which dictates the quantity of ink the line can hold—hence variations in width and darkness when printed. The technique of engraving metal dates from classical antiquity as a method of decorating objects. However it was not until about 1430 in Germany that engraved plates began to be used for making prints. Photoengraving is a process using acid to etch a photographically produced image onto a metal plate that can then be printed from.', 'Domain' => 'Documentation', 'Industry' => 'Art history', 'Part of Speech' => 'noun', 'Product Category' => 'General art history', 'Usage Status' => 'New', 'Creation User' => 'genart', 'Creation Date' => '2011/2/20', 'Source Lang' => '1180', ), 's_namespace_text' => 'EN', 's_namespace_text_full' => 'English (EN)', 's_title' => 'engraving_₂', )

(object) array( 'id' => '1050242', 'url' => 'ZT/acrylic_paint_₂', 'image' => '', 'title' => '丙烯漆料; 壓克力顏料', 'tags' => array ( 0 => '丙烯漆料; 壓克力顏料', 1 => 'Art history', 2 => 'General art history', 3 => 'Tate', 4 => '', ), 'term' => '丙烯漆料; 壓克力顏料', 'source_id' => 771033, 'type' => 'term', 'namespace' => 1990, 'nstext' => 'ZT', 'industry' => array ( 0 => 'Art history', ), 'category' => array ( 0 => 'General art history', ), 'company' => array ( 0 => 'Tate', ), 'lastedit' => '20110413163619', 'part_of_speech' => 'noun', 'creation_user' => 'Siaoning', 'special_term' => '', 'definition' => '在合成的丙烯酸樹脂顏料分散生產從丙烯酸酯和甲基丙烯酸酯。丙烯酸漆烘乾蒸發的液體的車輛，並由此產生的聚合物鏈變形，然後聯合起來形成漆膜。雖然丙烯酸塗料一般被認為是非常快速乾燥，厚厚的應用程式可能會花幾個月甚至幾年到完全乾燥。首次提出演出者丙烯酸塗料在 1950 年代使用聚 (n 丁基甲基丙烯酸酯) 樹脂溶于溶劑 （礦物油或松節油） 與顏料和其他小部件。在 20 世紀 60 年代開發的下一個類型是今天仍然如此受歡迎的丙烯酸乳液塗料。這些變薄 (和刷子清洗) 用水 ；然而，一旦乾燥、 漆膜是防水的。', 'usage_comment' => 'MT', 'glossary' => '', 'width' => 0, 'height' => 0, '_version_' => 1503602056197308418, 'nstext_full' => 'Chinese, Traditional (ZT)', 's_attr' => (object) array( 'Term' => 'acrylic paint', 'Company' => 'Tate', 'Definition' => 'A dispersion of pigments in a synthetic acrylic resin produced from acrylates and/or methacrylates. Acrylic paint dries as the liquid vehicle evaporates, and the resulting polymer-chains then deform and coalesce to form the paint film. While acrylic paints are generally thought to be very fast drying, thick applications may take months or even years to fully dry. Artist acrylic paints were first made in the 1950s using poly (n butyl methacrylate) resin dissolved in solvent (mineral spirits or turpentine) with pigments and other minor components. The next type developed in the 1960s was the acrylic emulsion paint that remains so popular today. These are thinned (and brushes cleaned) using water; however, once dry, the paint films are water-resistant.', 'Domain' => 'Documentation', 'Industry' => 'Art history', 'Part of Speech' => 'noun', 'Product Category' => 'General art history', 'Usage Status' => 'New', 'Creation User' => 'genart', 'Creation Date' => '2011/2/20', 'Source Lang' => '1180', ), 's_namespace_text' => 'EN', 's_namespace_text_full' => 'English (EN)', 's_title' => 'acrylic_paint_₂', )