Greek And Roman Statues托福聽力原文翻譯及問題答案

Greek And Roman Statues托福聽力原文翻譯及問題答案

一、Greek And Roman Statues托福聽力原文：

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

MALE PROFESSOR:I'm sure you've all been to a museum where you've seen beautiful white marble statues sculpted by the Greeks and Romans…or at least that you've seen photos of such statues,right?We have come to expect these classical Greek and Roman statues to be monochrome—just one color…white skin,white hair,white eyes,white everything—the natural color of the marble they’re carved from.

Now,the ideal of plain,white sculpture goes back to fifteenth-century Europe,when Renaissance artists rediscovered ancient Greek and Roman culture.They were inspired by sculptures that appeared monochrome,so they created white marble statues.The impact of these Renaissance statues,such as Michelangelo's David,gave rise to new standards for sculpture,standards that emphasized form rather than color.

But what if many of those ancient statues were originally polychrome—colored from head to toe?

Early in the nineteenth century,archaeologists found traces of paint on ancient sculptures.And since then,classical art historians have begun to realize that Greek and Roman marble sculptures were originally colored.

Even if an ancient marble statue doesn't have any visible traces of paint,that does not mean it was originally monochrome.

In many cases,the pigment would have simply deteriorated—ancient artists used mineral-based paints with organic binding media that would've disintegrated on its own over time.

In other cases,the pigment may have been weathered away while exposed to the elements…or someone may have rigorously cleaned the statues and unknowingly removed the last traces of pigment.

So…the fact is we do have evidence of polychrome sculptures from Greece and Rome from the seventh century B.C.E.all the way through at least the third or fourth century C.E.It's now generally accepted that most—maybe even all—marble sculptures from that time period received some kind of surface treatment like the application of pigments,colored stones,or metals that would’ve modified their color.

So do we interpret a statue differently if we know it had originally been polychrome?

I feel strongly when it comes to this.A marble sculpture that had been colored has another layer of meaning that was meant to affect the viewer.As art historians,we must try to interpret the intentions of the artists—what were the artists trying to achieve?

Certain features of the sculpture were highlighted through color,were made to stand out….In other words,they caused the viewer to focus on certain features.And certain colors represented certain things to the ancient artists and cultures:a color might symbolize heroism,divinity,or youth.

One example to consider is the statue of Roman Emperor Augustus.This particular statue of Augustus that I'm referring to was discovered just outside of Rome in 1863,and was in terrific condition.It’s about two meters tall—just larger than life-size.It was made from an expensive,high-quality type of marble,and was obviously carved by an expert.

Now…it still had visible traces of color on the hair,eyes,and its clothing and armor.The paints have been very carefully studied,and it turns out that the colors weren't just from any pigments—they were from expensive pigments.The use of these pigments showed the importance of Augustus and that he should be honored.

And let’s consider the extensive traces of a red pigment that were found on the statue's cloak.The cloak's a special garment that was traditionally worn by an emperor on the battlefield,and in real life was a red color which,to the Romans,signified the emperor's authority—military and political authority.

OK…I won't point out any further details about the colors on the Augustus statue,because you can already begin to see that there was cultural importance associated with the colors—symbolism which should help us understand the statue better.

There are many,many more sculptures that have traces of pigments left on them,and we have the technology these days to be able to carry out effective studies of these pigments.There's a lot of work to be done.But it needs to be done fast.Like I said before,these pigments deteriorate rapidly.So we really need to do the research before the traces are gone,so that we can increase our understanding of ancient polychrome sculptures and the cultures which created them.

二、Greek And Roman Statues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：我肯定你們都去過一個博物館，在那里你們看到了希臘和羅馬人雕刻的美麗的白色大理石雕像……或者至少你們看到了這些雕像的照片，對吧？我們已經(jīng)開始期待這些古典希臘和羅馬雕像是單色的，只有一種顏色……白色的皮膚、白色的頭發(fā)、白色的眼睛、白色的一切——它們是用大理石雕刻而成的。

現(xiàn)在，樸素、白色雕塑的理想可以追溯到15世紀(jì)的歐洲，當(dāng)時文藝復(fù)興時期的藝術(shù)家重新發(fā)現(xiàn)了古希臘和羅馬文化。他們受到單色雕塑的啟發(fā)，所以創(chuàng)作了白色大理石雕像。這些文藝復(fù)興時期的雕像，如米開朗基羅的大衛(wèi)雕像，產(chǎn)生了新的雕塑標(biāo)準(zhǔn)，這些標(biāo)準(zhǔn)強(qiáng)調(diào)形式而非顏色。

但是，如果這些古老的雕像中有許多最初從頭到腳都是彩色的呢？

十九世紀(jì)初，考古學(xué)家在古代雕塑上發(fā)現(xiàn)了繪畫的痕跡。從那時起，古典藝術(shù)歷史學(xué)家開始意識到希臘和羅馬大理石雕塑最初是彩色的。

即使一座古老的大理石雕像沒有任何可見的油漆痕跡，也不意味著它原來是單色的。

在許多情況下，這種顏料只會變質(zhì)，古代藝術(shù)家使用的礦物顏料和有機(jī)結(jié)合介質(zhì)會隨著時間的推移自行分解。

在其他情況下，顏料可能在暴露于惡劣的環(huán)境中時被風(fēng)化掉……或者有人可能在不知情的情況下嚴(yán)格清理了雕像，去除了最后的顏料痕跡。

所以……事實(shí)上，我們確實(shí)有證據(jù)表明，從公元前七世紀(jì)到公元前三世紀(jì)或四世紀(jì)，希臘和羅馬都有多色雕塑。現(xiàn)在人們普遍認(rèn)為，大多數(shù)甚至所有這一時期的大理石雕塑都經(jīng)過了某種表面處理，如使用顏料、彩石、，或者會改變顏色的金屬。

那么，如果我們知道雕像最初是彩色的，我們對它的理解會有不同嗎？

說到這一點(diǎn)，我感覺很強(qiáng)烈。一個涂過顏色的大理石雕塑還有另一層含義，意在影響觀者。作為藝術(shù)史學(xué)家，我們必須試圖解釋藝術(shù)家的意圖，藝術(shù)家試圖實(shí)現(xiàn)什么？

雕塑的某些特征通過顏色突出顯示出來，使其脫穎而出…。換言之，它們使觀眾專注于某些功能。對于古代藝術(shù)家和文化來說，某些顏色代表著某些東西：一種顏色可能象征著英雄主義、神性或青春。

要考慮的一個例子是羅馬皇帝奧古斯都的雕像。我指的這座奧古斯都的雕像是1863年在羅馬城外發(fā)現(xiàn)的，當(dāng)時狀況非常好。它大約有兩米高，比真人大小略大。它是由一種昂貴的優(yōu)質(zhì)大理石制成的，顯然是由專家雕刻的。

現(xiàn)在……它的頭發(fā)、眼睛、衣服和盔甲上仍然有可見的顏色痕跡。這些顏料經(jīng)過了非常仔細(xì)的研究，結(jié)果表明，這些顏色不僅僅來自任何顏料，它們來自昂貴的顏料。這些顏料的使用表明了奧古斯都的重要性，他應(yīng)該受到尊敬。

讓我們考慮一下在雕像斗篷上發(fā)現(xiàn)的大量紅色顏料痕跡。斗篷是傳統(tǒng)上皇帝在戰(zhàn)場上穿著的一種特殊服裝，在現(xiàn)實(shí)生活中是紅色，對羅馬人來說，紅色象征著皇帝的權(quán)威——軍事和政治權(quán)威。

好吧……我不會再指出關(guān)于奧古斯都雕像上顏色的更多細(xì)節(jié)，因為你已經(jīng)開始看到顏色象征的文化重要性，這應(yīng)該有助于我們更好地理解雕像。

有許許多多的雕塑上留下了顏料的痕跡，而我們現(xiàn)在有了能夠?qū)@些顏料進(jìn)行有效研究的技術(shù)。還有很多工作要做。但這需要盡快完成。正如我之前所說，這些色素會迅速變質(zhì)。所以我們真的需要在痕跡消失之前進(jìn)行研究，這樣我們才能加深對古代多色雕塑和創(chuàng)造它們的文化的理解。

三、Greek And Roman Statues托福聽力問題：

Q1:1.What is the main purpose of the lecture?

A.To explain why a particular statue of a Roman emperor is so famous

B.To discuss how classical Greek and Roman statues looked in ancient times

C.To describe the types of pigments Greek and Roman artists applied to statues

D.To explain a shift from monochrome to polychrome statues in ancient times

Q2:2.Why does the professor mention statues created by Renaissance artists in fifteenth-century Europe?

A.To emphasize the importance of color in Renaissance works of art

B.To help explain the method used to determine the age of a statue

C.To point out the origin of the belief that ancient marble statues were monochrome

D.To point out that Renaissance artists used other materials besides marble to create statues

Q3:3.According to the professor,what are two reasons that ancient statues may no longer have any visible traces of paint?[Click on 2 answers.]

A.The paint was eroded away.

B.The marble absorbed the paint over time.

C.Museum curators intentionally removed the paint.

D.The paint was accidentally removed during cleaning.

Q4:4.What is the professor's opinion about ancient statues that were once painted?

A.They should be judged by their form rather than their color.

B.They should be interpreted with the artists'intentions in mind.

C.They should be fully restored to their original colors.

D.They probably represent only a small minority of classical statues.

Q5:5.According to the professor,what is significant about the paint on the statue of Augustus?[Click on 2 answers.]

A.It helped protect the statue from erosion.

B.The different colors were made from valuable pigments.

C.The color of the armor indicated the youth of Augustus.

D.The color of the cloak symbolized authority.

Q6:6.What does the professor imply that art historians should do?

A.Try to preserve deteriorating ancient pigments with an organic surface treatment.

B.Educate the public about the damage caused by cleaning works of art.

C.Study the remaining traces of pigments on as many ancient sculptures as possible.

D.Try to re-create the mineral-based paints that were used in ancient times.

四、Greek And Roman Statues托福聽力答案：

A1:正確答案：B

A2:正確答案：C

A3:正確答案：AD

A4:正確答案：B

A5:正確答案：BD

A6:正確答案：C

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