關(guān)于藝術(shù)的英語(yǔ)文章閱讀范文欣賞
關(guān)于藝術(shù)的英語(yǔ)文章閱讀范文欣賞
藝術(shù)是一個(gè)開放的、流動(dòng)的體系,藝術(shù)的含義是變化的,沒(méi)有固定不變的藝術(shù)規(guī)則。下面是學(xué)習(xí)啦小編帶來(lái)的關(guān)于藝術(shù)的英語(yǔ)文章閱讀，歡迎大家閱讀!
關(guān)于藝術(shù)的英語(yǔ)文章閱讀篇一
生活的藝術(shù)The art of living is to know when to hold fast and when to let go.For life is a paradox: it enjoins us to cling to its many gifts even while it ordains their eventual relinquishment. The rabbis of old put it this way:”A man comes to this world with his fist clenched, but when he dies, his hand is open. ”
Surely we ought to hold fast to lift, for it is wondrous, and full of a beauty that breaks through every pore of God’s own earth. We know that this is so,but all too often we recognize this truth only in our backward glance when we remember what was and then suddenly realize that it is no more.
We remember a beauty that faded, a love that waned. But we remember with far greater pain that we did not see that beauty when it flowered, that we failed to respond with love when it was tendered.
Hold fast to life but not so fast that you cannot let go. This is the second side of life’s coin, the opposite pole of its paradox: we must accept our losses, and learn how to let go.
譯文：
生活的藝術(shù)在于懂得什么時(shí)候追求，什么時(shí)候放棄。因?yàn)樯罹褪且粋€(gè)矛盾體：它要我們緊緊抓住它賜予我們的生命之禮，然后最終又讓它們從我們手中跑掉。老先生們說(shuō)：“人們緊握著拳頭來(lái)到這個(gè)世界上，離開這個(gè)世界時(shí)卻攤開了雙手。”
當(dāng)然我們應(yīng)該緊緊把握生活，因?yàn)樗烂畹貌豢伤甲h，充滿了從上帝的每個(gè)毛孔里蹦出來(lái)的美。我們都清楚這一點(diǎn)，但我們常常只有在回首往事時(shí)才會(huì)想去過(guò)去，才會(huì)突然意識(shí)到過(guò)去永遠(yuǎn)地消逝了，才會(huì)承認(rèn)這個(gè)道理。
我們都記得美的褪去，愛的老去。但我們更痛苦地記得美正艷時(shí)，我們卻沒(méi)有發(fā)現(xiàn)，愛正濃時(shí)，我們卻沒(méi)有回應(yīng)。
關(guān)于藝術(shù)的英語(yǔ)文章閱讀篇二
科學(xué)與藝術(shù)
I beg leave to thank you for the extremely kind and apprieciative manner in which you have received the toast of science.It is the more grateful to me to hear that toast proposed in an assembly of this kind. Because I have noticed of late years a great and growing tendency among those who were once jestingly said to have been born pre-scientific age to look upon science as an invading and aggressive force, which of it had find its own way, it would oust from the universe all other pursuits. I think there are many persons wholook upon the new birth of our times as a sort of monster rising out of the sea of modern thought with thepurpose of devouring the Andromeda of art.And now and then a Perseus, equipped with the shoes of swiftnessof the ready writer, and with the cap of invisibility of the editorial article,and it may be with the Medusa head of vituperation, shows herself ready to try conclusions with the scientific dragon. Sir, I hope that Perseus should think better of it. First, for the sake of his own, because the creature is hard of head,strong of jaw,for some time past has shown a great capacity for going over and through whatever comes in his way; and secondly, for the sake of justice, for I assure you, of my own personal knowledge if left alone, the creature is a very debonair and gentle monster.As for the Andromeda of art, the creature has the tenderest respect for the lady, and desires nothing more than to see her happily settled and annually pruducing a flock of such charming children as those we see about us.
But putting parables aside, I am unable to understand how any one with a knowledge of mankind can imagine that the growth of science can threaten the development of art in any of its forms. If I understand the matter of all, science and art are the obverse and reverse of the Nature's medal; the one expressing the external order of things, in terms of feeling, and the other in terms of thought. When men no longer love norhate; when suffering causes no pity, and the tale of great deeds ceases to thrill. when the lily of the field shall seem no longer more beautifully arrayed than the Solomon in all his glory, and the owe has vanished from the snow-capped peak and deep ravine, and indeed the science may have the world to itself, but itwill not be because the monster has devoured the art, but because one side of human nature is dead, and because men have lost half of their ancient and present attributes.
請(qǐng)?jiān)试S我為你們?nèi)绱擞焉坪唾澷p地為科學(xué)干杯而深表感謝。我尤其感激在這般友善的大會(huì)上來(lái)為科學(xué)祝酒。因?yàn)槭聦?shí)上近些年我確實(shí)發(fā)現(xiàn)有些戲稱自己是在前科學(xué)時(shí)代出生的人，正在醞釀一股很強(qiáng)大而且日漸強(qiáng)大的傾向，將科學(xué)視為入侵和占領(lǐng)的勢(shì)力，而且若假以時(shí)日，必將我們宇宙其他的事物驅(qū)逐出去。我想有很多人認(rèn)為我們的時(shí)代是從現(xiàn)代頭腦中爆發(fā)的怪物，目的就是要吞噬掉藝術(shù)的安德洛默達(dá)。時(shí)不時(shí)的，還有一位珀?duì)栃匏?，腳蹬寫作快手之超速鞋，頭戴社論文章之陰形帽，或許還安著充斥漫罵之詞的“美杜沙之腦”威風(fēng)凜凜，大有與科學(xué)之龍一比高下的氣勢(shì)。但是，各位紳士，我勸這位珀?duì)栃匏瓜壬级小Ｊ紫?，為了他自己的安全著想，因?yàn)檫@怪物腦殼堅(jiān)硬，口鄂強(qiáng)壯，從它過(guò)往的經(jīng)歷可以看出它所到之處，勢(shì)如破竹，所向披靡，無(wú)人能攔，實(shí)不易對(duì)付。再者，為正義說(shuō)句話，我可以向你們保證，以我愚見，只要放任不管，它還是一個(gè)溫而文雅，無(wú)比紳士的怪物。至于藝術(shù)的安德洛默達(dá)，此怪物窮其所有的敬仰，別無(wú)他求，只希望看到她能夠安居樂(lè)業(yè)，每年都能生一大群如我們所見的快樂(lè)迷人的小孩子。
不過(guò)撇去那些比喻，我實(shí)在不能理解那些有一點(diǎn)人文知識(shí)的人為什么會(huì)擔(dān)心科學(xué)的進(jìn)步怎么就會(huì)威脅到藝術(shù)的發(fā)展。依我所見，科學(xué)和藝術(shù)實(shí)乃大自然這枚圣牌的正反兩面，一個(gè)以情感的方式表達(dá)了事物的外在規(guī)律，而另外一個(gè)則是一理性的方式。當(dāng)人類不再愛，也不再恨;當(dāng)苦難不再引起憐憫;當(dāng)壯舉不再讓人激動(dòng)，當(dāng)山野的百合花還比不上所羅門的榮光，當(dāng)雪山之巔和萬(wàn)丈深淵不再博得敬畏，那么科學(xué)是真的統(tǒng)治了這個(gè)世界。但是那不是因?yàn)楣治锿淌闪怂囆g(shù)，而是因?yàn)槿诵缘牧硪幻嬉呀?jīng)死亡，而是因?yàn)槿祟愐呀?jīng)失去了他們從古到今的天性。
關(guān)于藝術(shù)的英語(yǔ)文章閱讀篇三
中國(guó)古代建筑藝術(shù)
Chinese architecture is an independent art featuring wooden structures. It consists of various roof molding, upturned eaves and wings, dougong with paintings, vermilion pillars and golden roofs, ornament gates and gardening. All of these embody the maturity and artistic appeal of Chinese architecture. 7000 years ago, mortise and tenon and tongue-and-groove were used in Hemudu. The buildings of Banpo village had the division of antechamber and back rooms. Great palaces were built in Shangyin period. Bricks and tiles were used and the layout of Siheyuan emerged in the Western Zhou. There are even building drawings in Spring and Autumn and the Warring States periods passed down.
中國(guó)建筑體系是以木結(jié)構(gòu)為特色陽(yáng)的建筑藝術(shù)。傳統(tǒng)建筑叫種屋頂造型、飛檐翼角、斗拱彩畫、朱柱金頂、內(nèi)外裝修門及園林景物等，充分體現(xiàn)出中國(guó)建筑藝術(shù)的純熟和感染力。七千年前河姆渡文化中即有樺卵和企口做法。半坡村已有前堂后室之分。商殷時(shí)已出現(xiàn)高大宮室。西周時(shí)已使用磚瓦并有四合院布局。春秋戰(zhàn)國(guó)時(shí)期更有建筑圖傳世。京邑臺(tái)柵宮室內(nèi)外梁柱、斗拱上均作裝飾，墻壁上飾以壁畫。
In Qin and Han, wooden building tended to be mature gradually. Complex buildings, like Epang Palace, were constructed. Temples and pagodas developed rapidly in the period of Weijin and Southern and Northern dynasties. Glass tiles used in Sui and Tang made the building more glorious. The city construction in the period of Five dynasties and Song was booming. Luxury restaurants and shops with lofts and railings were very beautiful. Many palaces and private gardens built in Ming and Qing are reserved today, which are more magnificent and stately than that of the Song Dynasty.
秦漢時(shí)期木構(gòu)建筑日趨成熟，建筑宏偉壯觀，裝飾豐富，舒展優(yōu)美，出現(xiàn)了阿房宮等龐大的建筑組群。魏晉南北朝時(shí)期佛寺、佛塔迅速發(fā)展。隋唐時(shí)期建筑采用琉璃瓦，更是富麗堂皇。五代、兩宋都市建筑興22，商業(yè)繁榮，豪華的酒樓、商店各有飛閣欄檻，風(fēng)格秀麗。明清時(shí)代的宮殿苑固和私家園林保存至今者尚多，建筑亦較宋代華麗繁瑣、威嚴(yán)自在。
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