详细解释
锴
1、好铁。
铜锴之垠。---《文选·左思·吴都赋》
锴铁：好铁。
2、铁的别称。
锴,铁也。九江谓铁曰锴。---《说文》
例句
杨锴，是在他的作品中生活和成长的。
Yang Kai has been living and growing in his own works.
第一次看到杨锴的作品，很吃了一惊。
The first time I saw Kai Yang's works, I was surprised.
明锴包装，品质保证！
Ming Kai Packaging, quality assurance!
明锴包装，精益求精！
Ming Kai Packaging, Excellence!
明锴包装，质优价平！
Ming Kai Packaging, high quality-low price!
锴锴祝所有我的朋友关心我的人永远幸福健康！
I'm so happy 'Because I have many friends!
杨锴在努力寻找他想要的答案，但始终都不会有答案。
Yang Kai is trying to find the answers he want, but always not have the answer.
认识杨锴是在广州的一个温煦的冬日，那是广州最好的季节。
Understanding Yang Kai was in Guangzhou in a warming winter that is the best season in the city.
在其后的一系列作品当中，骷髅成为杨锴主要表现的形象之一。
In the subsequent series of works, skeleton becomes one of the main images showed by Yang Kai.
杨锴的绘画不是一种抽象表现主义，更接近一种象征的表现主义。
Yang Kai's painting is not an abstract expressionism, but closer to a symbolic expressionism.
因此，从某种意义上说，杨锴作品所创造的场景是未知的死亡的情景。
Therefore, in a sense, Yang Kai's works created the unknown death scene.
李锴摘要目的观察椎旁神经阻滞配合小针刀松解治疗颈源性头痛的疗效。
Objective: To observe the effects of paravertebral nerve block therapy combining with acupotomy on the cervicogenic headache.
杨锴这一代尽管不能马上达到对中国的自觉认识，但他的良知已经意识到这一黑暗时刻。
Although Yang Kai's generation cannot immediately reach a conscious knowledge of China, his conscience had already been aware of this dark moment.
杨锴的绘画触及到了一个关于死亡的绘画主题，对于这个死亡的想象图景，是一种黑暗时代的精神骷髅。
Yang Kai's painting concerns about a painting theme, death. The imagination of death is a spirit skeleton in dark ages.
通过寓言化的灵魂雾团中的骷髅，以及直接的表现性笔触，杨锴的画面与对现实世界的深层经验具有一种同构性。
Through an allegorized skeleton in soul air mass and direct expressional brush strokes, Yang Kai's painting has stricken an isomorphism with the deep real-world experience.
对杨锴而言，死亡意味着灵魂已不能聚集起一个主体的形象，他被压扁及变形，最终变成一个气流弥散似的气团。
To Yang Kai, death means that the soul can no longer gather into a main image. He was crushed and deformed and eventually became a diffusing air mass.
杨锴因此意识到并表现了一种“人与神（无限）之间有一道无法跨越的鸿沟”，即灵魂因被消散可以回归神，而人则无法追随而去。
Therefore Yang Kai has realized and showed "an insurmountable gap between man and God (infinite) ", that is to say, soul can be dispersed and return to God, while man can not follow with it.
杨锴因此意识到并表现了一种“人与神（无限）之间有一道无法跨越的鸿沟”，即灵魂因被消散可以回归神，而人则无法追随而去。
Therefore Yang Kai has realized and showed "an insurmountable gap between man and God (infinite) ", that is to say, soul can be dispersed and return to God, while man can not follow with it.