使渺小

It became the main American export, dwarfing all others.

它成为了美国的主要出口物，并且使其他的出口物变得无比渺小。

In one of 'Myth' paintings, the huge stones almost occupy fully the whole surface; in contrast, the figures let down, after intense struggle, as if collapsedly, chikenlike, tiny, impotent, unreconciled and depressed, just like giving up battling with the stones. In this series of heroist mode, particularly as against with the picture surfaces in which the giantlike bodies and energy are expressed, the figures in it even look a sense of funniness – wherein we are certain that irony has been engaged in his paintings, and it can be understood as a self-irony that it is not a floppy laziness, while he indeed does not need to tighten his muscles, not to keep a zealous and single gesture for fighting, as if it seems difficult for everything to continue, and in the paintings when the heroes unpack the stones, the artist seems unpack the dream of heroes, letting alone the huge stones burning and overspreading, surrounding us, pressing us and scorching us, even running over the whole picture. It suffocates us with all these heaviness, hardness, and acuity, as registers our weak life like a paper-cut.

尹朝阳的《神话》系列里有一幅，巨大的石头几乎占满了整个画面，相比之下，画中的人经过了激烈的挣扎，松弛了下来，形将瘫软一般，渺小，无能，心有不甘而黯然神伤，俨然已经放弃了与石头的搏斗，在这个英雄主义调式的系列里，尤其是与其中表现了英雄那巨人般的体魄和能量的画面相对，这幅画中的人甚至显出了一种酸楚的滑稽感——这里，我们确知反讽已经介入了他的绘画，并且，可以理解为一种自我反讽，它并非是纨绔式的慵懒，然而，确实不再绷紧他全身的肌肉，不再保持激昂而单一的斗姿，好像一切都已经难以为继，在画中的英雄卸下了石头的同时，艺术家自己也仿佛卸下了英雄梦，任凭那巨大的石头像烈火般燃烧和蔓延，包围我们，紧紧地挤压、烤炙我们，并且溢出整个画面，它以全部的沉重、坚硬和尖锐使我们窒息，反衬出我们脆薄如剪纸般的生命。

Because we have Some One higher than our parents to thank for the souls which make us great or small; and because, while family noses and family chins may descend in orderly sequence from father to son, from grandsire to grandchild, as the fashion of the fading flowers of one year are reproduced in the budding blossoms of the next, the spirit, more subtle than the wind which blows among those flowers, independent of all earthly rule, owns no order but the harmonious Law of God.

因为，亏得有个比我们的父母更高的上帝，正是上帝赋予我们以灵魂，从而使我们成为伟大的或渺小的；因为，一个家庭所特有的鼻子和下巴，会瓜迭绵绵地由父亲遗传给儿子，由祖父遗传给孙子，其方式，就象今天凋谢的花朵重新再现于明年的蓓蕾一样；而精神呢，较之在繁花间吹过的风更为微妙，它独立于尘世的一切规律之外，除了上帝的和谐法则，它不承认任何秩序。

One's character, noble or ignoble, is entirely determined by his own will.

是使自己的人格伟大还是渺小，这完全仰仗这个人自己的意志。

Little as you may know of Him, it is more than enough to keep you low and humbled.......God, by our Infirmity and weakness, keeps us in continual dependence upon Him for teachings and revelation of Himself from His Word ......Let us, then, discerning once more the awful distance between the inconceivably great God and our own smallness, fill our soul with a holy and awesome fear of Him.

然而，即使对神了解如此之少，也足够让我们自抑与谦卑了……神透过人的软弱，使人不断地依靠他，寻求他的教导和圣经中所启示的他自己……让我们再一次看到伟大的神和渺小的我们之间莫大的差别，让我们灵魂深处充满对神圣洁的敬畏吧。

This strange and full frightened special environment,which was full of terror, makes characters in the story and readers themselves toisolate from the reality. That makes them to know the external strength and thehelplessness and miserableness of individuals.

这种陌生而又充满恐惧的特异环境同时把故事中的人物和读者自身从现实中疏离孤立出来，使他们体味到外在力量的强大和个人的无助、渺小、凄凉。

And they are humbled by the task of transforming so many ambitious individuals and obstreperous regions into a harmonious but innovative whole.

要将如此众多胸怀大志的个体和难以驾驭的地区转化成一个和谐而富于创新的整体，这样的重任使他们的努力显得渺小。

The ability to communicate via e-mail to everyone in the world creates a sense of the world's smallness relative to the abundance of people in it.

能通过电子邮件和世界上各个角落的人交流使人感到世界相对于其大量的人口来说是多么的渺小。

The reason of generating such feeling comes from the natural on one hand and comes from the society on the other hand. The force of nature makes the human being feel their tininess and shrug again. While, the social war is man-made, they can be avoided, but they are happening.

自然的力量使人再一次的感到自身的渺小和无奈，而来自社会的战争却是人为的，可以避免的，但是却发生着，历史已经无法改变。

I hope to use visualized language to probe the injuries and pains that inflict our bodies and souls, to probe the tininess of the individual and the vastness of the times. We encounter these conundrums and pressures in every era, and it seems that in our historical experience, every time we encounter massive social change and destruction, Chinese culture comes out with a shocking ability to recover, so that our spiritual roots have never totally collapsed but continued on to this day through the impermanent cycles of the millennia. Rebirth and transmutation from destruction seems to be the religion that universally connects us as a people.

我希望是用视觉化的语言来讨论我们的灵与肉的创伤和阵痛，个体的渺小和时代的漫无边际，在任何时代里我们都会遭遇这种相似的困境和压力，似乎在过去的历史经验中我们每遇重大社会变革和灾难中，中国文化总是有一种惊人的自我修复能力，才使我们的精神文脉并没有全面的崩溃，反而是在数千年无常的时间轮回中绵延至今，在幻灭中重生和蜕变似乎是我们这个具有现世宗教的民族的普遍性联系。

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。