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托福TPO-45 Lecture 1-2

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Alberti believed that the most important approach for a painter was to capture a story or narrative.

Alberti认为对一个画家来说最重要的行为就是捕捉一个故事。
Now, as I’ve indicated, this narrative could be the religious or secular, depending on what the work of art was for.
正如我提到过的,这种故事可以是宗教性质的或者现世题材的,取决于这个艺术品的用途。
If the work was to be placed in a church, then obviously, it’d have a religious theme,
如果这个作品要被放在教堂里,那么显然,它要有一个宗教性的主题,
whereas, if it was for someone’s home,then it could deal with a different subject matter.
然而,如果是要放在某个人家里,那它可以涉及一个不同的主题。
The exact narrative didn’t really matter, so long as it was one that captivated the audience, that held the viewers’ attention.
确切的故事并不重要,只要它能俘获欣赏者,也就是能抓住观赏者的注意力就行。
So, what is actually needed to tell a story?
那么要讲一篇故事真正需要什么?
Well, Alberti needed characters, right? Human figures.
Alberti需要角色,对吗?人物形象。
And he wanted to represent them as realistically as possible, to capture the viewers’ attention.
而且为了吸引观赏者的注意,他想把它们呈现得尽可能逼真一些。
One way he achieved this was to make use of what’s known as “the contrapposto pose”.
他实现这一点的一个方法就是使用“扭曲姿态”。
A contrapposto pose basically entails showing a slight twist in the body.
“扭曲姿态”主要需要展现出身体的一个轻微扭曲。
The shoulders and hips are usually bent in different directions.
肩膀和臀部通常朝着不同方向弯曲。
In other words, if the left shoulder is bent, so that it’s slightly higher than the right shoulder,
换句话说,如果左肩膀有所弯曲,这样它就比右肩膀稍微高一些,
then the hips will be bent, so that the left side will be slightly lower than the right side.
然后臀部也会弯曲,这样左边就会比右边稍微低一些。

重点单词   查看全部解释    
narrative ['nærətiv]

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n. 叙述,故事
adj. 叙事的,故事体的

 
bent [bent]

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bend的过去式和过去分词 adj. 下定决心的,弯曲的

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approach [ə'prəutʃ]

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n. 接近; 途径,方法
v. 靠近,接近,动

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slight [slait]

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adj. 轻微的,微小的,纤细的,脆弱的
vt

 
capture ['kæptʃə]

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vt. 捕获,俘获,夺取,占领,迷住,(用照片等)留存<

联想记忆
theme [θi:m]

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n. 题目,主题

 
twist [twist]

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v. 拧,捻,搓,扭曲
n. 扭曲,盘旋,捻,

 
secular ['sekjulə]

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n. 牧师,凡人 adj. 世俗的,现世的,不朽的

联想记忆
shoulder ['ʃəuldə]

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n. 肩膀,肩部
v. 扛,肩负,承担,(用肩

 
slightly ['slaitli]

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adv. 些微地,苗条地

 

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