第六单元意大利文艺复兴的艺术参考译文.pptVIP

第六单元 意大利文艺复兴 RENAISSANCE ART IN ITALY 意大利文艺复兴的艺术 （参考译文） During the fourteenth century, Renaissance painters and sculptors, like Italian writers, obtained inspiration from classical models. This was so partly because Roman antiquities (monuments and ruins ) were so numerous and near at hand, partly because Gothic art（哥特式艺术）, so prominent elsewhere in Europe, had penetrated only slightly into Italy. 在14世纪，意大利文艺复兴的画家和雕刻家，与意大利的作家们一样，从古典的榜样那里获得了灵感和鼓舞。 之所以如此，一部分是因为罗马的古迹（建筑物和遗迹）数量众多且就在眼前，一部分是因为在欧洲其它地方无处不在的哥特式艺术并没有深入意大利。 A distinctive trait of Italian artists was their close observation of nature. This trend, evident in late Gothic art, was reinforced by the Franciscan（方济各派） preaching that all things in nature were divine creations for human happiness. New tendencies in art included the substitution of landscapes for bank backgrounds and emphasis on movement and expression of emotion. 意大利艺术家的一个突出特征是他们对自然的密切细致观察。 这种趋势，在晚期哥特式艺术中很明显，并为法兰西斯派（方济各会）的教义予以强化，法兰西斯派人物自然界的一切都是为了人的幸福而予以的神圣的创造。 艺术上的新趋势包括将过去的空白背景用风景予以替换，以及对于动作和情感表现的强调。 A serious obstacle to imitating nature in painting was the difficulty of simulating movement and depth on a flat surface. A late medieval painter, the Florentine Giotto di Bondone (1266-1337)（佛罗伦萨人乔托·狄波恩多内）, overcame this obstacle by discarding the flat forms, aloof figures, and formal compositions of the Byzantine style that had dominated Italian painting. 在绘画中，模仿自然的一大障碍是在一个平面上对运动及立体感的模仿和描绘。 中世纪晚期的一位画家，佛罗伦萨人乔托（与但丁同时代的人），通过弃用支配着意大利绘画界的拜占庭风格的平面形式、冷酷无情的人物以及正式的构图而克服了此障碍。 Allegedly able to draw a fly so realistically that viewers attempted to brush it away, he made this human figures look round and solid. Foreshortening, careful modeling of the body and its parts, and skillful contrast of light and shadow created an illusion of depth. 据说他能够将一只苍蝇画得如此逼真，以至于看到此画的观众总试图去赶走苍蝇。 他将人物画得完整且具有立体感。 简言之，仔细地模仿身体及其各个部位，娴熟地有技巧地运用光线、明暗对比而创造出一种立体感层次感。 During the fifteenth century, Florentine painters mastered the art of depicting nature. Tomasso Guidi (1401-1428)（托马索·