The principle and constitution of model EQD-3 electron beam gun and the preparation of nu-clear targets with the electron gun of magnet deflection are described.

This paper introduced the applications and the specifications of property of bimetal strips laterally welded and the welding process by the vacuum electron-beam gun.

本文主要介绍彩管用横拼双金属材料的应用概况和对材料的性能要求，以及有关真空电子束焊接的看法。

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Design of Electronic Optical System of Space Electron Beam Gun

空间用电子束焊枪电子光学系统的设计

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The grotto art in Dunhuang combines the style of Chinese traditional cave tomb murals and figurines of the Han Dynasty and Indian grotto art, and is modified by Chinese artists of different ethnic groups.

敦煌石窟艺术融合了中国传统墓穴壁画艺术，汉代人物造像艺术和印度石窟艺术。并且经中国不同民族艺术家的创新。

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By looking for the source text in the image, and other parts of northern Shaanxi, Gansu, Sichuan and other places of the comparison, analysis of the grotto art style and geographical characteristics of the times.

通过探寻钟山3窟图像的文本来源，与陕北其它地区、甘肃、四川等地的比较，深入分析了石窟的艺术风格和地域、时代特征。

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The fine Bingling temple grotto art, abundant fossils, and the colorful pottery artifacts create a good cultural environment and favorable conditions for the emergence and development of Nuo culture in Yongjing.

永靖地区有精美的炳灵寺石窟艺术，多彩的古生物化石，多彩的彩陶文物等，这些都为永靖傩文化的产生、发展创造了优良的文化环境和有利条件。

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The mechanism of gaining the furit of Dunhuang grotto art regeneration is based on the exploring and refining of the national art's tension, and the operating of market as well.

敦煌艺术的再生机制在于全球化背景下的民族艺术张力和人为的发掘提炼，以及市场运作。

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Standing firmly on the vast desert for over a thousand years, Dunhuang grotto art is the synthetical arts that include architectural relics, painted statues and wall paintings.

屹立于茫茫隔壁之上千年之久的敦煌石窟艺术，是融建筑、雕塑、壁画于一体的综合性艺术。

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The Dazu Carvings, dating from the 9th to the 13th century, represent the last period of the developments in the foreign Buddhism grotto art.

在敦煌、云岗、龙门三大石窟艺术之后，9～13世纪的大足石刻显示了外来的佛教石窟遣像艺术在中国发展的最后成果：完全中国化，并成为中国日常生活的艺术载体。

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Art and religion is the transcending of human beings to themselves and the grotto art is called a combination of art and religion produced inside soul of human beings.

艺术和宗教是人类对自身的一种超越，石窟艺术可称为是一种产生于人类灵魂深处的艺术与宗教物化的融合。

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Grotto art visually shows the godship with humanization and the course of humanization, which gradually changed to be godship.

石窟艺术形象展示了人性化的神性，以及逐渐转化为神性的人性化过程。

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The grotto art of Buddhism, originated from India and spread eastward through ancient Silk Road of China, has been selected and improved by Chinese native culture.

起源于印度的佛教石窟艺术，经由我国古代的丝绸之路渐次东传，并积极地接受了中国本土文化对它的选择与改造。

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In research for grotto art we deeply felt that the grotto art is more humanized it is accepted by people much more and also believed by more people.

在石窟艺术研究中我们深深地感受到越是人性化的石窟艺术，越被人们所接受，也越会获得更多人的信仰。

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Being the early focus of Buddhism during the Northern Wei Dynasty, the Yungang Grottos had great influence on grotto art development in other Chinese areas.

它作为北魏早期佛教艺术的中心，给各地石窟艺术以巨大的影响。

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Dunhuang grotto art regeneration is the new production of art-form and art-school and proliferation of classical art in the new era.

敦煌艺术再生既是新的艺术品种和艺术流派的产生，又是经典艺术在新的时代背景下的价值增值。

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Proposed be must to enhance the protection of cultural heritage, aesthetic culture inheritance and promotion, so as to promote the Chinese traditional grotto art essence.

提出加强对文化遗产的保护措施与审美文化的传承与推广，以弘扬中华传统石窟艺术精髓。

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The study of Dunhuang grotto art regeneration should be carried out by using the typical analytic method from philosophy, aesthetic and arts categories perspectives.

对敦煌艺术再生问题的研究应该从哲学、美学、宗教、门类艺术的不同角度，运用典型分析法展开。

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Though Buddhist statues dominate, Taoist and Confucian figures can also be seen which is rather rare in Chinese grotto art.

尽管佛像占多数，大足石刻也有道教和儒教人物，这在中国石窟艺术中十分罕见。

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Humanized Connotation of Grotto Art

石窟艺术的人性化内涵

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Secondly, grotto art is the reappearance of inosculation of real living scene in the religious area and different times of China.

其次，石窟艺术又是佛教境地与中国不同时代真实生活情景融合的再现。

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An Introduction to Dunhuang Grotto Art

敦煌石窟艺术概述

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