文勇黄金阅读翻译及解析：古埃及雕塑.docxVIP

智课网TOEFL备考资料 文勇黄金阅读翻译及解析：古埃及雕塑 摘要： 最新版刘文勇新托福黄金阅读翻译，高清PDF格式支持免费下载，一共71篇，包括原刘文勇黄金阅读29篇，下面是文勇黄金阅读翻译及解析：古埃及雕塑 ，希望对大家备考托福阅读考试有所帮助。  文勇黄金阅读翻译及解析：Ancient Egyptian Sculpture 古埃及雕塑  In order to understand ancient Egyptian art, it is vital to know as much as possible of the elite Egyptians view of the world and the functions and contexts of the art produced for them. Without this knowledge we can appreciate only the formal content of Egyptian art, and we will fail to understand why it was produced or the concepts that shaped it and caused it to adopt its distinctive forms. In fact, a lack of understanding concerning the purposes of Egyptian art has often led it to be compared unfavorably with the art of other cultures: Why did the Egyptians not develop sculpture in which the body turned and twisted through space like classical Greek statuary? Why do the artists seem to get left and right confused? And why did they not discover the geometric perspective as European artists did in the Renaissance? The answer to such questions has nothing to do with a lack of skill or imagination on the part of Egyptian artists and everything to do with the purposes for which they were producing their art.  The majority of three-dimensional representations, whether standing, seated, or kneeling, exhibit what is called frontality: they face straight ahead, neither twisting nor turning. When such statues are viewed in isolation, out of their original context and without knowledge of their function, it is easy to criticize them for their rigid attitudes that remained unchanged for three thousand years. Frontality is, however, directly related to the functions of Egyptian statuary and the contexts in which the statues were set up. Statues were created not for their decorative effect but to play a primary role in the cults of the gods, the king, and the dead. They were designed to be put in places where these beings could manifest themselves in order to be the recipients