2014.06.26【中译英】中国美术发展史的基本特点3

发表于:2014-06-26 17:46 [只看楼主] [划词开启]

3,  发展的不平衡性

Uneven development

王国维先生曾说:“凡一代有一代之文学,楚之骚,汉之赋、六朝之骈语、唐之诗、宋之词、元之曲,皆所谓一代之文学,而后世莫能继焉者也”。

Wang Guowei, the master of Chinese culture, once said: “Every age has its own literary art, such as Lisao of Chu Dynasty, Han Fu, Parallel Phrase of Six Dynasties, Tang Poetry, Song Poems, Yuan Verse, are all the literature of that generation, which is incomparable by later generations.” 

中国美术又何尝不是一代有一代之美术呢?每一时代美术的各个门类并不是并驾齐驱平衡地发展,而总有一个或几个门类因最能体现那个时代的精神和审美理想而大放异彩,如原始时代无疑是以彩陶的艺术成就为最高,这不仅是因为我们今天见到的彩陶数量最多,而根本的是陶器的出现本身就标志着一个新的时代的开始。

Chinese art also refers to art of every generation, doesn’t it? In each era, various categories of arts did not developed side by side, instead, there were always one or several categories of arts which yielded unusually brilliant results, and could best reflect the spirit and aesthetic ideal of that age. For example, in primitive times, the highest art achievement was no doubt belong to the art of coloured pottery. The root cause was not only for it produced the largest amount of pottery we’ve seen today, but most important, it marked the beginning of a new age. 

同样,我们称之青铜时代的奴隶制阶段,必然是青铜工艺的成就最为辉煌。这种艺术门类之间的发展不平衡是不能否认的。

Similarly, the reason we call stage of slavery as Bronze Age is because its Bronze technical obtained the most glorious achievements. We can not deny the uneven development between various kinds of arts.

 

除此之外,我们还应看到,就是同一门类在同一时期的不同区域,如在文化经济发达之地和边塞僻壤的发展总是存在着差异的,汉代画像石(砖)艺术在中原大地、“天府”巴蜀的兴旺发达与这些地区当时经济文化的发达有密切的关系。

Besides, we should notice that, the development of the same art category of the same age also differed from regions, such as in regions of highly developed culture and economy, and in frontier, remote and backward places. For example, in Han Dynasty, the art of stone reliefs were flourished in Central China and Bashu (two ancient cities in Sichuan, a self-sufficient and strategically located region), and this had closed relationship with the developed culture and economy of the regions at that time. 

明清时期,文人画在长江下游的繁荣,是这个地区这个时期文人有闲阶层扩大,文化发达的必然结果。

In Qin and Ming Dynasty, paintings of man-of-letters were prosperous in the lower reaches of Yangtze River, and this was the inevitable result of the expansion of leisure Scholars and the developed culture in those regions then.


字数统计:417

最后编辑于:2014-07-03 17:03
分类: 英语
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