關於藝術的英語文章閱讀篇壹
生活的藝術The art of living is to know when to hold fast and when to let go.For life is a paradox: it enjoins us to cling to its many gifts even while it ordains their eventual relinquishment. The rabbis of old put it this way:?A man comes to this world with his fist clenched, but when he dies, his hand is open. ?
Surely we ought to hold fast to lift, for it is wondrous, and full of a beauty that breaks through every pore of God?s own earth. We know that this is so,but all too often we recognize this truth only in our backward glance when we remember what was and then suddenly realize that it is no more.
We remember a beauty that faded, a love that waned. But we remember with far greater pain that we did not see that beauty when it flowered, that we failed to respond with love when it was tendered.
Hold fast to life but not so fast that you cannot let go. This is the second side of life?s coin, the opposite pole of its paradox: we must accept our losses, and learn how to let go.
譯文：
生活的藝術在於懂得什麽時候追求，什麽時候放棄。因為生活就是壹個矛盾體：它要我們緊緊抓住它賜予我們的生命之禮，然後最終又讓它們從我們手中跑掉。老先生們說：?人們緊握著拳頭來到這個世界上，離開這個世界時卻攤開了雙手。?
當然我們應該緊緊把握生活，因為它美妙得不可思議，充滿了從上帝的每個毛孔裏蹦出來的美。我們都清楚這壹點，但我們常常只有在回首往事時才會想去過去，才會突然意識到過去永遠地消逝了，才會承認這個道理。
我們都記得美的褪去，愛的老去。但我們更痛苦地記得美正艷時，我們卻沒有發現，愛正濃時，我們卻沒有回應。
關於藝術的英語文章閱讀篇二
科學與藝術
I beg leave to thank you for the extremely kind and apprieciative manner in which you have received the toast of science.It is the more grateful to me to hear that toast proposed in an assembly of this kind. Because I have noticed of late years a great and growing tendency among those who were once jestingly said to have been born pre-scientific age to look upon science as an invading and aggressive force, which of it had find its own way, it would oust from the universe all other pursuits. I think there are many persons wholook upon the new birth of our times as a sort of monster rising out of the sea of modern thought with thepurpose of devouring the Andromeda of art.And now and then a Perseus, equipped with the shoes of swiftnessof the ready writer, and with the cap of invisibility of the editorial article,and it may be with the Medusa head of vituperation, shows herself ready to try conclusions with the scientific dragon. Sir, I hope that Perseus should think better of it. First, for the sake of his own, because the creature is hard of head,strong of jaw,for some time past has shown a great capacity for going over and through whatever comes in his way; and secondly, for the sake of justice, for I assure you, of my own personal knowledge if left alone, the creature is a very debonair and gentle monster.As for the Andromeda of art, the creature has the tenderest respect for the lady, and desires nothing more than to see her happily settled and annually pruducing a flock of such charming children as those we see about us.
But putting parables aside, I am unable to understand how any one with a knowledge of mankind can imagine that the growth of science can threaten the development of art in any of its forms. If I understand the matter of all, science and art are the obverse and reverse of the Nature's medal; the one expressing the external order of things, in terms of feeling, and the other in terms of thought. When men no longer love norhate; when suffering causes no pity, and the tale of great deeds ceases to thrill. when the lily of the field shall seem no longer more beautifully arrayed than the Solomon in all his glory, and the owe has vanished from the snow-capped peak and deep ravine, and indeed the science may have the world to itself, but itwill not be because the monster has devoured the art, but because one side of human nature is dead, and because men have lost half of their ancient and present attributes.
請允許我為妳們如此友善和贊賞地為科學幹杯而深表感謝。我尤其感激在這般友善的大會上來為科學祝酒。因為事實上近些年我確實發現有些戲稱自己是在前科學時代出生的人，正在醞釀壹股很強大而且日漸強大的傾向，將科學視為入侵和占領的勢力，而且若假以時日，必將我們宇宙其他的事物驅逐出去。我想有很多人認為我們的時代是從現代頭腦中爆發的怪物，目的就是要吞噬掉藝術的安德洛默達。時不時的，還有壹位珀爾修斯，腳蹬寫作快手之超速鞋，頭戴社論文章之陰形帽，或許還安著充斥漫罵之詞的?美杜沙之腦?威風凜凜，大有與科學之龍壹比高下的氣勢。但是，各位紳士，我勸這位珀爾修斯先生三思而行。首先，為了他自己的安全著想，因為這怪物腦殼堅硬，口鄂強壯，從它過往的經歷可以看出它所到之處，勢如破竹，所向披靡，無人能攔，實不易對付。再者，為正義說句話，我可以向妳們保證，以我愚見，只要放任不管，它還是壹個溫而文雅，無比紳士的怪物。至於藝術的安德洛默達，此怪物窮其所有的敬仰，別無他求，只希望看到她能夠安居樂業，每年都能生壹大群如我們所見的快樂迷人的小孩子。
不過撇去那些比喻，我實在不能理解那些有壹點人文知識的人為什麽會擔心科學的進步怎麽就會威脅到藝術的發展。依我所見，科學和藝術實乃大自然這枚聖牌的正反兩面，壹個以情感的方式表達了事物的外在規律，而另外壹個則是壹理性的方式。當人類不再愛，也不再恨;當苦難不再引起憐憫;當壯舉不再讓人激動，當山野的百合花還比不上所羅門的榮光，當雪山之巔和萬丈深淵不再博得敬畏，那麽科學是真的統治了這個世界。但是那不是因為怪物吞噬了藝術，而是因為人性的另壹面已經死亡，而是因為人類已經失去了他們從古到今的天性。
關於藝術的英語文章閱讀篇三
中國古代建築藝術
Chinese architecture is an independent art featuring wooden structures. It consists of various roof molding, upturned eaves and wings, dougong with paintings, vermilion pillars and golden roofs, ornament gates and gardening. All of these embody the maturity and artistic appeal of Chinese architecture. 7000 years ago, mortise and tenon and tongue-and-groove were used in Hemudu. The buildings of Banpo village had the division of antechamber and back rooms. Great palaces were built in Shangyin period. Bricks and tiles were used and the layout of Siheyuan emerged in the Western Zhou. There are even building drawings in Spring and Autumn and the Warring States periods passed down.
中國建築體系是以木結構為特色陽的建築藝術。傳統建築叫種屋頂造型、飛檐翼角、鬥拱彩畫、朱柱金頂、內外裝修門及園林景物等，充分體現出中國建築藝術的純熟和感染力。七千年前河姆渡 文化 中即有樺卵和企口做法。半坡村已有前堂後室之分。商殷時已出現高大宮室。西周時已使用磚瓦並有四合院布局。春秋戰國時期更有建築圖傳世。京邑臺柵宮室內外梁柱、鬥拱上均作裝飾，墻壁上飾以壁畫。
In Qin and Han, wooden building tended to be mature gradually. Complex buildings, like Epang Palace, were constructed. Temples and pagodas developed rapidly in the period of Weijin and Southern and Northern dynasties. Glass tiles used in Sui and Tang made the building more glorious. The city construction in the period of Five dynasties and Song was booming. Luxury restaurants and shops with lofts and railings were very beautiful. Many palaces and private gardens built in Ming and Qing are reserved today, which are more magnificent and stately than that of the Song Dynasty.
秦漢時期木構建築日趨成熟，建築宏偉壯觀，裝飾豐富，舒展優美，出現了阿房宮等龐大的建築組群。魏晉南北朝時期佛寺、佛塔迅速發展。隋唐時期建築采用琉璃瓦，更是富麗堂皇。五代、兩宋都市建築興22，商業繁榮，豪華的酒樓、商店各有飛閣欄檻，風格秀麗。明清時代的宮殿苑固和私家園林保存至今者尚多，建築亦較宋代華麗繁瑣、威嚴自在。
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