Techniques used during the Renaissance托福聽力原文翻譯及問題答案

Techniques used during the Renaissance托福聽力原文翻譯及問題答案

一、Techniques used during the Renaissance托福聽力原文：

NARRATOR:Listen to part of a lecture in an art history class.

MALE PROFESSOR:As I was saying,the Renaissance period—which started in the fourteen hundreds in Europe—the Renaissance was still a pretty religious period.And that's reflected in the artwork of that time.

But artists were starting to experiment with a more secular point of view as well—a tendency to also use the natural world as the subject matter for their art.

And there were different ways that these natural themes were explored.For instance,many artists would paint portraits,while others—although this was more common in northern Europe—would make landscapes the subject of their works.

But today I'd like to consider an influential Italian Renaissance artist,Leon Battista Alberti,who took a slightly different approach.

Leon Battista Alberti was a painter,sculptor,architect,musician,poet—very wide-ranging interests—like daVinci or Michelangelo,the sort of guy for whom the term“Renaissance man”was in fact created.

Alberti believed that the most important approach for a painter was to capture a story or narrative.Now,as I've indicated,this narrative could be either religious or secular,depending on what the work of art was for.If the work was to be placed in a church then obviously it'd have a religious theme,whereas if it was for someone's home then it could deal with a different subject matter.The exact narrative didn't really matter,so long as it was one that captivated the audience—that held the viewer's attention.

So what is actually needed to tell a story?

Well,Alberti needed characters,right?Human figures.And he wanted to represent them as realistically as possible to capture the viewer's attention.One way he achieved this was to make use of what's known as the contrapposto pose.

A contrapposto pose basically entails showing a slight twist in the body.The shoulders and hips are usually bent in different directions.In other words,if the left shoulder is bent so that it's slightly higher than the right shoulder,then the hips will be bent so that the left side will be slightly lower than the right side.Similarly,in sculptures,most of the weight seems to be on one foot,which also results in this slanted position—making it seem like the figure is about to walk or move.This adds to the realistic aspect of the figure.

But there are actually a lot of things that could go wrong in the attempt to create such a pose.You could make a figure’s arms bigger than its legs,or the head too small for the body.Messing up the proportions can leave a figure looking cartoon-like and unnatural.But Alberti had a solution:He encouraged artists to visualize a figure's bones and structure.This would give the artist an idea of the proportions of the figure.From there,Alberti suggested the artist imagine attaching the tendons and muscles,then covering those with flesh and skin.

Now,although this method may seem complicated,artists since antiquity have used anatomical observations to try to get the proportions of the human figure as accurate as possible—though obviously not to the degree that Alberti was recommending.

Now,in addition to characters,the setting is extremely important,especially when attempting to tell a story realistically.Renaissance artists essentially needed to create a three-dimensional scene on a two-dimensional surface.They accomplished this by the use of perspective—a relatively new idea for artists at the time.In particular,the type of perspective that Alberti advocated was called linear one-point perspective.In fact,Alberti was one of the artists who developed the geometry behind linear one-point perspective.

Linear perspective basically consists of drawing straight lines that extend from the forefront of the painting into the background—lines that seem to be parallel to each other,but which actually converge on a single point in the horizon,called the vanishing point.By drawing figures and objects smaller and smaller as the lines get closer together,the artist is able to create depth in a painting.This gives the illusion of a third dimension and makes the work of art more realistic.

二、Techniques used during the Renaissance托福聽力中文翻譯：

旁白：在藝術(shù)史課上聽一節(jié)課的一部分。

男教授：正如我所說，始于歐洲十四世紀的文藝復興時期，文藝復興仍然是一個相當宗教化的時期。這反映在當時的藝術(shù)作品中。

但藝術(shù)家們也開始嘗試一種更世俗的觀點，一種將自然世界作為其藝術(shù)主題的傾向。

這些自然主題有不同的探索方式。例如，許多藝術(shù)家會畫肖像畫，而其他藝術(shù)家（盡管這在北歐更為常見）會將風景畫作為他們作品的主題。

但今天，我想考慮一位有影響力的意大利文藝復興藝術(shù)家利昂·巴蒂斯塔·阿爾貝蒂，他采取了一種稍微不同的方法。

利昂·巴蒂斯塔·阿爾貝蒂（LeonBattistaAlberti）是一位畫家、雕塑家、建筑師、音樂家、詩人，興趣廣泛，比如達芬奇（daVinci）或米開朗基羅（Michelangelo），事實上，“文藝復興時期的人”一詞就是為他創(chuàng)造的。

阿爾貝蒂認為，畫家最重要的方法是捕捉故事或敘事。現(xiàn)在，正如我所指出的，這種敘述可以是宗教的，也可以是世俗的，這取決于藝術(shù)作品的用途。如果作品放在教堂里，那么很明顯它會有一個宗教主題，而如果是放在某人的家里，那么它可以處理不同的主題。確切的敘述并不重要，只要它能吸引觀眾的注意力。

那么，講述一個故事實際上需要什么呢？

阿爾貝蒂需要人物，對嗎？人體模型。他希望盡可能真實地表現(xiàn)它們，以吸引觀眾的注意力。他做到這一點的一個方法是利用所謂的“對立面”姿勢。

相反的姿勢基本上需要身體稍微扭轉(zhuǎn)。肩部和臀部通常向不同方向彎曲。換句話說，如果左肩彎曲，使其略高于右肩，則臀部將彎曲，使左側(cè)略低于右側(cè)。同樣，在雕塑中，大部分重量似乎都集中在一只腳上，這也導致了這種傾斜的姿勢，使人物看起來好像要行走或移動。這增加了人物的真實感。

但實際上，在嘗試創(chuàng)建這樣的姿勢時，有很多事情可能會出錯。你可以使一個人的胳膊比腿大，或者頭部比身體小。弄亂比例可能會使人物看起來像卡通，不自然。但阿爾貝蒂有一個解決辦法：他鼓勵藝術(shù)家將人物的骨骼和結(jié)構(gòu)形象化。這會讓藝術(shù)家對人物的比例有一個概念。從那里，阿爾貝蒂建議藝術(shù)家想象連接肌腱和肌肉，然后用肉和皮膚覆蓋這些肌腱和肌肉。

現(xiàn)在，盡管這種方法可能看起來很復雜，但自古以來，藝術(shù)家們就一直使用解剖學觀察，試圖盡可能準確地獲得人體的比例，盡管顯然沒有達到阿爾貝蒂所推薦的程度。

現(xiàn)在，除了角色之外，場景也非常重要，尤其是在試圖真實地講述故事時。文藝復興時期的藝術(shù)家基本上需要在二維表面上創(chuàng)建三維場景。他們通過使用透視法實現(xiàn)了這一點，這在當時對藝術(shù)家來說是一個相對較新的想法。特別是，阿爾貝蒂提倡的透視類型被稱為線性單點透視。事實上，阿爾貝蒂是在線性單點透視法背后發(fā)展幾何學的藝術(shù)家之一。

線性透視基本上包括繪制從繪畫最前端延伸到背景線的直線，這些背景線似乎彼此平行，但實際上在地平線上的一個點上會聚，稱為消失點。當線條越來越近時，通過繪制越來越小的人物和物體，藝術(shù)家能夠在繪畫中創(chuàng)造出深度。這給人一種三維的錯覺，使藝術(shù)作品更加逼真。

三、Techniques used during the Renaissance托福聽力問題：

Q1:1.What is the lecture mainly about?

A.Reasons for the transition from religious to secular themes in Renaissance art

B.The disproportionate influence of Italian artists during the Renaissance period

C.Techniques used during the Renaissance to produce realistic works of art

D.A comparison of themes in paintings and sculptures during the Renaissance

Q2:2.What is the professor's opinion of Leon Battista Alberti as an artist?

A.Alberti's interests were too diverse for him to succeed in any one field.

B.Alberti was ineffective in imposing his own theories on other artists.

C.Alberti was a much more skilled artist than da Vinci or Michelangelo.

D.Alberti represents the Renaissance ideal of wide-ranging achievement.

Q3:3.According to the professor,what did Alberti consider to be the most important aspect of a Renaissance painting?

A.That it convey an appealing narrative

B.That its figures be posed symmetrically

C.That its theme not be religious

D.That its characters be positioned within a landscape

Q4:4.Why did some artists begin to use the contrapposto pose?

A.To create a cartoon-like effect

B.To help viewers identify the main figure in a work of art

C.To show the relative sizes of human figures

D.To make human figures appear more natural

Q5:5.Why does the professor discuss tendons and muscles?

A.To emphasize that Alberti's study of anatomy led to his interest in art

B.To show the emphasis Alberti placed on using physically fit models

C.To illustrate the difficulty of maintaining a contrapposto pose in real life

D.To explain one of Alberti's methods for creating accurate proportions

Q6:6.Why was the development of linear one-point perspective important to Renaissance artists?

A.It helped painters to place figures more symmetrically within their paintings.

B.It allowed painters to create an illusion of three dimensions.

C.It enabled artists to paint large landscapes for the first time.

D.It encouraged artists to take an interest in geometry.

四、Techniques used during the Renaissance托福聽力答案：

A1:正確答案：C

A2:正確答案：D

A3:正確答案：A

A4:正確答案：D

A5:正確答案：D

A6:正確答案：B

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