雕像的

Allard Pierson Museum is the archaeological museum of the University of Amsterdam46; The ancient civilisations of ancient Egypt, the Near East, the Greek World, Etruria and the Roman Empire are revived in this museum46; Art-objects and utensils, dating from 4000 B46;C46; till 500 A46;D46; give a good impression of everyday-life, mythology and religion in Antiquity46; There are also several scale models of ancient temples and buildings46; In the ancient Egypt department there is a room dedicated to death with mummies, sarcophagi and a film showing the process of mummification46; Our so-called plaster-cast-attic, only to be visited with a guided tour, shows copies of world-famous Roman and Greek statues46

地中海考古博物馆是阿姆斯特丹大学的一个考古博物馆。古埃及古老的文明，近东，希腊世界，埃特鲁斯坎和罗马帝国都在这个博物馆里复活。公元前4000年至公元500年的器具和艺术品给我们的日常生活，神话和古代的宗教以深刻的印象。还有几座古代庙宇和建筑的模型。在古埃及馆有一间房子，里面陈列着木乃伊和石棺，在那儿你还可以看到如何制作木乃伊的电影演示。我们所谓的plaster-cast-attic，只对那些有导游带队的游客开放，展示了世界闻名的罗马和希腊雕像。

Anyway I feel that the harp is the most poetic musical instrument: it has a smooth and undulate shape, best being played by a woman in a white embroidered hellenic gown with a tight sash, showing her concinnity and charming figure, with her hair in a high knot,and wearing no jewelry but asandalwood bracelet. Her mistlike azure blue eyes droop down; her typical Grecian nose and thin curving lips are kissable andher face is as sharp as a statuary with a light smile; her nicety long fingers pluck the strings elegantly, from which music flows out, sparkling and harmonic. Maybe she is the Psyche who stepped out of the Anderson's fairytales, even we can see her translucent wings flapping with the rhythm in the air.

不过还是觉得竖琴算是乐器中最富诗意的一种了：外形流畅起伏动人心弦，由穿着古希腊白色刺绣长袍，紧束腰带，显露出优美动人的体态，盘着高高的发髻却除了宽大的手镯外别无饰物的女人弹奏，湛蓝的眼睛低垂迷茫，鼻子优美高挺，嘴角翘起，噙着淡淡的微笑，脸庞如同雕像一般轮廓分明，十指纤细修长，优雅的不慌不忙的拨动着琴弦，音乐如水一般从闪耀着光芒的琴弦间流出；也许就是安徒生童话里走出来的那位活生生的普赛克，甚至都可以看到她的两只透明的翅膀随着音乐扇动着。

The ambience of the city is ornate and frothy: white horses dancing to elegant music; snow dusting the opulent draperies of Empress Maria Theresa's monument; lavish decorations filling the interior courtyards of outwardly severe town houses; a gilded Johann Strauss among a grove of green trees; the voluptuous music of Richard Strauss; the geometric impasto of Klimt's paintings; the stately pavane of a mechanical clock.

维也纳的气氛是华丽和肤浅的：白马随着优雅的音乐翩翩起舞；雪花飘落在玛利亚。特里萨女皇纪念碑上华丽的装饰物上；外表朴素的住宅内，庭院却装饰奢华；在绿树从中有约翰。施特劳斯的镀金雕像；还有理查德。施特劳斯的悦耳音乐，克里木特的油画几何厚涂法和机械大钟奏响的庄严的孔雀舞曲。

Designed by the distinguished architectural firm of Cram, Goodhue and Ferguson and completed in , Saint Thomas Church is built in the French High Gothic style, with stone ornamentation of the later Flamboyant period in the windows, small arches of the triforium, and stonework surrounding the statuary in the reredos. The flat wall behind the altar is characteristic of English cathedrals, and the magnificent reredos, one of the largest in the world, is strongly suggestive of the single, massive windows that terminate终止 the naves of many English churches designed in the Perpendicular style.

1913由著名的克拉姆，古德修以及佛格森联合建筑师事务所设计且完工於1913年，圣汤玛斯教堂是以法国崇高的哥德式风格所建造的，在窗户上有著火焰时期晚期的石块装饰品，教堂拱门上之三拱式拱廊的小型拱，和石头制成的东西围著在圣坛后有装饰的屏风里的雕像，在圣坛背后的是英格兰大教堂独特的平墙，和那宏伟的圣坛后有装饰的屏风，是世界上最大的之一，也是坚固的暗示的表示，魁伟的窗户设计垂直式的风格终止许多英格兰教堂的教堂中央的部分。

Philosophers of the tradition, to the degree that they had thought about art at all, thought chiefly about the art of their own time: Plato, about the illusionistic sculptures of his contemporaries; Kant, about the tasteful objects of the Enlightenment; Nietzsche, about Wagnerian opera; the Wittgensteinians, about the extraordinary proliferation of styles in the twentieth century, when a whole period of art history appeared to last about six months.

传统的哲学家们，就他们对艺术所做的思考的范围而言，想的主要是他们自己时代的艺术：柏拉图，想的是他的同代人搞的那些幻象性质的雕像；康德，想的是启蒙时代的那些颇有品味的东西；尼采，想的是瓦格纳的歌剧；魏特根斯坦，想的是二十世纪各种风格的大量繁殖（其时整个一个艺术史阶段似乎只延续六个月）。

The grim malachite statues, an honor guard of six, flanked a huge, heavy chair that seemed entirely carved from yellowing ivory, the chair arms knobbed and knuckled, the back capped with a huge, many-toothed, serpentine skull whose eyes were pools of shadow.

那些威严的六个孔雀石雕像，作为荣耀，在它们的侧面守护着一个巨大沉重的椅子，这把椅子整个由一个泛黄的牙齿雕刻而成，多节的椅臂的后面，罩着一个巨大的有着很多牙齿的蛇的头骨，它有一双阴暗的眼睛。

The grim malachite statues, an honor guard of six, flanked a huge, heavy chair that seemed entirely carved from yellowing ivory, the chair arms knobbed and knuckled, the back capped with a huge, many-toothed, serpentine skull whose eyes were pools of shadow.

那些威严的六个孔雀石雕像，作为荣耀，在它们的侧面守护着一个巨大沉重的椅子，这把椅子整个由一个泛黄的牙卡脖子雕刻而成，多节的椅臂的后面，罩着一个巨大的有着很多牙齿的蛇的头骨，它有一双阴暗的眼睛。

In another set of works of the same series《Chairman》, Mao's statue on a pedestal assumes exactly the same waving posture. This posture is a classic image of Mao in the Nation's visual memory - as though he still stood on the Tiananmen Tower, proclaiming the establishment of People's Republic of China, or receiving thousands of red guards during the Cultural Revolution. But the artist tries to plot a difference in this iconic gesture. Mao's palm is painted in the shape of a hand gun. By doing so, he also instils a sense of violence in a solemn and imposing spiritual symbol. The replaced gesture evokes different kinds of historical memories - memories of civil war, memories of class struggles, as well as memories of total destruction.

他那挥手的姿态已经在有意无意之间模拟了领袖的举动；在这个系列的另一组作品《主席》之中，站立在雕像基座上的毛泽东正是一个挥手致意的姿态，这个姿态可以说是他留给整个中国的经典性的视觉记忆，仿佛他仍然站在天安门城楼上宣告中华人民共和国的成立，或者在文化大革命期间接见着从各地赶来的红卫兵们，而画家在这个手势中找茬，他将毛的手掌换成了一个手枪的样式，某种安详、伟大的精神象征被暴力感替换了，这个手势唤起的是另一种历史的记忆：内战的记忆，阶级斗争的记忆，打倒与毁灭一切的记忆。

You have never traveled far and yet All the adjectives are returning from your present time To their origins of nouns You are now not like anything else, but you are a thing itself Black and white, and at most grey with few shades The sharp edges of your shape are rounded It is winter now, and when the exuberant grows thin You are clad in puffiness, exempted from overt movements Reclining into a posture with no rococo clothes, you do not Expect the world in one color to detect The snowmelt streamlets trickling on your body Some life has to be off twice before it is recognized First it dies, and then it is dead, as if it turns away and disappears But now you've come back to it, simply forever

你从未行远过，而所有的形容词都纷纷从你的此刻剥落退回到它们名词的始源你不再像任何其它事物，而是物本身黑白的，至多呈现出层次不多的灰你的形状曾经锐利，如今那些棱角都已圆润冬天稳实，一切茂密也都变瘦唯有你裹得松松泡泡，免除了显见的动作半倚在一个没有螺纹皱的雕像姿态里不再期待同一种颜色的世界能体察你身上暗暗淌过融雪的细流有时生命需要离开两次才被铭记死去，然后消亡，犹如转身与不见而今你和它贴在一起，最简单的永远

The absence of the stigmata, halo, and title of saint in this fresco form its chief claim to be considered a contemporary picture; it is not, however, a real portrait in the modern sense of the word, and we are dependent for the traditional presentment of Francis rather on artists' ideals, like the Della Robbia statue at the Porziuncola, which is surely the saint's vera effigies, as no Byzantine so-called portrait can ever be, and the graphic description of Francis given by Celano Vita Prima, c.

没有该stigmata ，光环，和标题圣在这壁画的形式，其行政声称被视为当代图片，这是没有，不过，一个真正的画像，一所现代意义上的Word ，我们依赖传统的出示的弗朗西斯，而不是对艺术家们的理想，像岱拉洛比亚的雕像在porziuncola ，这是肯定圣人的维拉，高，因为没有拜占庭，使所谓的肖像以往任何时候都可以，和图形的描述弗朗西斯所给予的切拉诺

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失