Unit3Theartofpainting課文及譯文Firstimpressions第一印象3June六月3日Paris,France法國巴黎Asahugeartfan,IknewexactlywhatIwaslookingforwardtomostaboutmytriptoParis:visitingtheMuseed’Orsay.Housedinanoldrailwaybuilding,thisworld-famousartmuseumfeaturessomeofthebest-knownpaintingsfromtheImpressionistmovementofthe19thcentury.作為一個狂熱的藝術(shù)家，我非常清楚自己此次巴黎之旅最期待的是什么參觀奧賽博物館。這家世界聞名的藝術(shù)博物館設(shè)在一座古老的鐵路建筑里，以19世紀(jì)印象派運(yùn)動時期一些最著名的畫作為特色。AsIwanderedthroughtheImpressionistgallery,IappreciatedmasterpieceslikeTheBalletClassandTheCardPlayers.EventhoughIhadadmiredthemhundredsoftimesonmycomputerscreen,nothingcouldhavepreparedmeforthewonderIfeltwhenIfinallylaideyesontherealthing.Whileitwashardtopickafavouritepaintingoutofsomanyamazingworks,theartistswhomadethedeepestimpressiononmeweretwoofthegreatestImpressionistpainters,ClaudeMonetandPierre-AugusteRenoir.漫步于印象派展館，我欣賞著像《舞蹈課》和《玩紙牌者》這樣的杰作。盡管我在電腦屏幕上已經(jīng)欣賞過數(shù)百次，但當(dāng)我終于親眼見到實物時，還是覺得猝不及防，驚嘆不已。雖然從這么多令人稱奇的作品中很難選出一幅最喜歡的，但兩位偉大的印象派畫家給我留下了深刻的印象--克勞德·莫奈和皮埃爾-奧古斯特·雷諾阿。IcouldseefromMonet’sworksthathewasgreatlyinspiredbynature.Inthelastthreedecadesofhislifehepaintedmostlyscenesfromhisgarden.OneofthesescenesisshowninthefamouspieceBlueWaterLilies,whichIstudiedforquiteawhileinthegallery.Icouldn’tbelieveitwhenIheardhedidaround250paintingsofthesamewaterlilypond,allindifferentcoloursandstyles.ItisamazingthateverytimeMonetstudiedthissimplescene,hebroughtthepond’sbeautytothecanvasinauniqueway.從莫奈的作品中，我可以看出他深受大自然的啟發(fā)。在他生命的最后30年里，他畫的大多使自家花園的風(fēng)景，其中一處風(fēng)景就展現(xiàn)在他著名的《藍(lán)睡蓮》里，我在展館里端詳了好一陣子。當(dāng)聽說同一個睡蓮池他畫了大約250幅畫，每一幅顏色和風(fēng)格都各異時，我簡直難以置信。令人贊嘆的是，莫奈每次端詳睡蓮池這處簡單的風(fēng)景，都以獨(dú)特的方式讓它的美躍然于畫布之上。Renoir,Inoticed,preferredtopaintscenesofeverydaylife.Forme,themostinterestingofhispaintingsishis1876masterpieceDanceatLeMoulindelaGalette,whichshowslifeinabusyneighbourhoodofParisonaSundayafternoon.WhenIsawitupclose,Iwasstruckbythesmallareasoflightacrossthepainting,andthewaythesoftedgesofthefiguresseemedtomixtogether.There’ssomuchgoingon,butsolittlecleardetail.Thiseffectmakesthelivelymovementofthedancealmostjumpoutattheviewer.我注意到，雷諾阿更喜歡描繪日常生活場景。在我看來，它最有趣的畫作是他1876年的杰作《煎餅?zāi)Х坏奈钑?，這幅畫展現(xiàn)了某個周日下午巴黎一處熱鬧街區(qū)的生活。近距離觀賞，畫布上遍布著小面積的光斑，人物柔和的輪廓似乎融為一體，令我大為震撼。畫上呈現(xiàn)的內(nèi)容如此豐富，但清晰的細(xì)節(jié)又如此之少。這種效果使得舞蹈動作活靈活現(xiàn)，引人注目。Althoughthepaintingshadverydifferentsettings,itwastheirsimilaritiesthatstayedwithmelongafterIlefttheMuseed’OrsaysimilaritieswhichcanbeseenthroughouttheImpressionist’spaintings.MonetandRenoir,alongwithotherlike-mindedartists,soughtliberationfromtherulesoftheoldstyle.Everydaysubjectmatterwasthemainfocusoftheirworks,asopposedtothehistorypaintingsthathadtraditionallydominatedEuropeanart.Theyemployedfreebrushworkandusedcolourstoshowtheeffectoflightonthings,creatingpaintingsthatwerefarlessrealisticthantheworksthatcamebefore.Tome,thesetechniquesaretheessenceoftheImpressionistviewofart.Impressionistartistsdidnottrytopainteverydetailinascene--justabrief“impression”theyhadatthatmoment,burningwithvividcoloursandlight,beforeitdisappeared.盡管這兩幅畫的背景截然不同，但在我離開奧賽博物館后很長一段時間里，一直縈繞著我的卻是它們的相似之處這種相似之處在印象派的畫作中隨處可見。莫奈和雷諾阿，以及其他志趣相投的藝術(shù)家，都力求從之前風(fēng)格的束縛中掙脫出來。印象派的作品主要關(guān)注日常主題，這與傳統(tǒng)上歐洲藝術(shù)界占主流的歷史題材畫作大相徑庭。他們運(yùn)用自由的筆法，使用色彩來表現(xiàn)光線投射在物體上的效果，創(chuàng)作的畫遠(yuǎn)不如前人之作那么寫實。在我看來，這些技巧是印象派藝術(shù)觀的精髓。印象派畫家試圖描繪的并非某個場景的所以細(xì)節(jié)--而是他們當(dāng)時產(chǎn)生的瞬間“印象”，在它消失之前，迸發(fā)著鮮明的光彩。TheImpressionists’visioninspiredawholenewgenerationofPost-ImpressionistpainterssuchasVincentvanGoghandPaulGauguin,whoseworksarealsodisplayedattheMuseed’Orsay.ItisalsoworthyofnotethatPost-ImpressionistpainterswerenottheonlyonestobeinfluencedbyImpressionism--themovementhashadalastinginfluenceonmodernart,encouragingartiststolookattheworldfromanentirelynewpointofview.Itcertainlyleftalastingimpressiononmetoo!印象派的遠(yuǎn)見卓識啟發(fā)了新一代的后印象派畫家，如文森特·高更，奧賽博物館有展出他們的作品。值得注意的是，后印象派畫家并不是唯一受印象派影響的群體--這場運(yùn)動還對現(xiàn)代藝術(shù)產(chǎn)生了持久的影響，鼓勵著藝術(shù)家們從一個全新的視覺去看待世界。當(dāng)然，這也給我留下了難忘的印象！QingmingScroll《清明上河圖》ZhangZeduan’sQingmingScrollisamasterworkofChineseart.Paintedonafive-metre-longsilkscroll,itoffersanimportantinsightintolifeinChinainbe12thcentury.ItiscommonlybelievedthatthecitydescribedinthepaintingisBianjing(present-dayKaifeng),thecapitaloftheNorthernSongDynasty.Theancientscrollhassurvivedthetestoftimeremarkablywell,andiscurrentlyhousedinthePalaceMuseuminBeijing.張擇端的《清明上河圖》是中國藝術(shù)的杰作。此畫為五米絹本長卷，它對于我們洞悉12世紀(jì)中國的生活面貌是極其重要的。人們通常認(rèn)為，畫中描繪的城市是汴京（今開封），即北宋的都城。這幅古老卷歷經(jīng)滄桑依舊完好，現(xiàn)藏于北京故宮博物院。Thescrollconsistsofthreemainsections.ThefirstsectionpresentsapeacefulsceneofrurallifenearBianjing,featuringcropfields,ariverwindingthroughthelandscape,andfarmershardatwork.ThesecondsectionshowstheriverbanksandthecentralbridgealivewithactivityasboatssailinandoutofBianjing.Civilianscanalsobeseenwalkingthroughthecitygateinbothdirections.Thethirdandfinalsectionpictureslifeinsidethecityitself.Here,hundredsofpeoplefromallwalksoflife,includingbutchers,hairdressersandgovernmentofficials,canbeseengoingabouttheirdailybusiness.ThecombinationofthesethreesectionsgivesthevieweranideaofwhatlifewaslikeforthepeopleofBianjing.全畫可分為三部分。第一部分展現(xiàn)了汴京近郊恬靜的鄉(xiāng)村生活，重點描繪了農(nóng)田、蜿蜒而過的河流和辛勤勞作的農(nóng)民。第二部分則展現(xiàn)了熙熙攘攘的河岸和中心橋，往來京城的船只穿梭著。城門處能看到進(jìn)進(jìn)出出的百姓。第三部分，同時也是最后一部分，描繪了城內(nèi)的生活。我們能看到數(shù)以百計各行各業(yè)的人，肉販、理發(fā)店、官差，都在忙著各自的營生。三部分綜合起來，觀者便可對當(dāng)時汴京人的生活狀況有一大致了解。Zhang’samazingartistictechniquesisapparentallacrossthescroll.Usinginkonsilk,hecreatesrealisticimagesofscenery,buildingsandpeople,anddisplaysaremarkablemasteryofperspective.Themostimpressiveaspectofthepainting,however,isprobablyZhang’sprecisebrushwork.Thiswell-developedability,aswellasthescroll’sambitionssize,allowsZhangtoshowanenormousamountofdetail--youcouldstudythepaintingforhoursandstilldiscoversomethingnew.顯然，張擇端在整幅畫中表現(xiàn)了他高妙的藝術(shù)技巧。他高超的藝術(shù)技巧。他施墨于娟，落筆之處，風(fēng)景、建筑、人物，無不逼真?zhèn)魃?，同時展現(xiàn)出透視法的精通。不過，此畫最引人注目之處是其精準(zhǔn)細(xì)膩的筆法。憑借高超的技藝，以及恢宏的畫幅，畫家刻畫了海量的細(xì)節(jié)，哪怕端詳幾個小時，你還是會有新的發(fā)現(xiàn)。Thankstoallthisfinedetail,theQingmingScrollprovidesacomprehensivelookatlifeduringtheNorthernSongDynasty.Itrevealsagreatdealaboutthe12th-centuryChinesecustoms,clothing,transportationmethods,businesspractices.Atfirstsight,theoverallsceneoflifeinthecapitalcityappearspeacefulandcheerful.However,somecriticsuggestthatoncloserinspection,thepaintingactuallyexposesseriouspoliticalandsocialproblems.Someboatscarryingfooddonotseemtobelongtothegovernment,whichsuggeststhatthegovernmenthaslostcontroloffoodsuppliesandtransportation.Alsointhepaintingaresoldierswhoappeartoignoretheirduties.Therearesomelessobviousindicatorsoftroubletoo.Forexample,inthecentreofthescroll,aboatisindangerofcrashingintothebridge.Thesesortsofdetailspointtoacrisisdevelopinginthecity.Infact,theNorthernSongDynastywasindeclinebythisstage.Abouttwentyyearsafterthepaintingwascompleted,itwasoverthrown.多虧這些精準(zhǔn)的細(xì)節(jié)，《清明上河圖》全面展示了北宋時期的生活景象。它透露了12世紀(jì)中國在民俗、服飾、交通方式、商業(yè)活動，以及諸如廟宇、茶館、政府設(shè)施等種類繁多的建筑方面的諸多細(xì)節(jié)。咋看上去，京城生活總體上安寧而歡愉。然而，有評論家指出，細(xì)心觀察，這幅畫其實揭露了嚴(yán)重的政治和社會問題。有些運(yùn)糧船看上去不像官船，這意味著官府已失去了對糧食供應(yīng)和運(yùn)輸?shù)目刂?。畫中有些官兵似乎疏于職守。此外還有一些不好的苗頭，不太容易覺察。比如，畫卷中部有一艘船眼看就要撞到橋上。種種細(xì)節(jié)都預(yù)示著某種危機(jī)正在京城中醞釀。事實上，當(dāng)時的北宋王朝已經(jīng)在走下坡路了。這幅畫完成約20年后，北宋覆滅。Zhang’stimelessscrollisanimportantexampleofrealisminthehistoryofChinesepaintings.Itsvalueisdownnotonlytoitsgreatscale,artisticqualityandattentiontodetail,butalsotoitsrepresentationofdailylife.Suchisitsworththatseverallateremperorsevenaskedthemosttalentedartistsoftheirdaytomakecopiesofthescroll.Someofthesecopiesarenow