Unit4
Text
Chinese traditional painting has a long history. It bears its own [əun] characteristics and formed a style of its own.
traditional [trəˈdɪʃənl] 传统的; 口传的; 惯例的;
bear [beə] v..具有；承担; 支撑; 生育; 结（果实）
n.熊; 蛮横的人;
adj.跌价的; 股票行情下跌的;
characteristic [ˌkærəktəˈrɪstɪk] n. 特征，特性，特色，独特性; 性质;
adj.特有的; 独特的;
form [fɔ:m] n.形状，形式; 外形; 方式; 表格;
vt.形成; 构成; 组织; 塑造; vi.形成，产生; 排队，整队;
style [staɪl] n. 风格；方式; 样式;品位;
vt.设计; 为…造型; vi.使符合流行式样; 用刻刀作装饰画;
中国画有着悠久的历史。它具有自己的特征，并已形成了独特的风格。
Chinese Painting
Chinese traditional painting is highly regarded throughout the world for its theory, expression, and techniques, Different from Western paintings, a Chinese painting is not restricted by the focal point in its perspective. The picture “Mulan Returns Home” provides an example. In the picture the artist painted all the scenes along the Yangtse River on a long and narrow piece of paper. One can see what people are doing both outside and inside the courtyard and the house. It can be said the adoption of shifting perspective is one of the characteristics of Chinese painting.
highly 非常、高度地、赞许地 speak/think highly of sb. 高度赞美/评价某人
regard [rɪ'ɡɑ:d] v.重视; 关注；注意; 注视; 尊敬;
throughout [θru:ˈaʊt] prep. 自始至终; 在…期间; 遍及…地域/场所;
adv. 处处; 始终; 在所有方面;
theory [ˈθiəri] n. 理论;学说; 原理;
expression [ɪk'spreʃn] n.表现，表示，表达; 表情（脸色，态度）
technique [tekˈni:k] n.技巧，技术，手段; 技能; 手法;
restrict [rɪ'strɪkt] vt.限制，限定; 约束，束缚 restriction n. restrictive a.
focal ['fəʊkl] adj.焦点的，有焦点的; 集中在点上的;
point [pɔɪnt] n.点; 要点; 得分; 标点;
v.指向; 指路; 表明
perspective [pə'spektɪv] n.a.透视（画）法; 远近（画）法；透视的; 望远镜;
shifting/ linear perspective散点/线性透视
n. 景; 远景；前途；想法；观点；洞察力;
in/out of perspective
provide [prə'vaɪd] vt.& vi.提供，供给，供应; provide sb with sth/ provide sth for sb
scene [si:n] n.场面，现场; 景色，风景
narrow ['nærəʊ] adj.狭隘的; 狭窄的; 有限的; 仔细的，精确的;
v.限制，限定; 变窄; 收缩;
n.海峡; 狭路，隘路;
courtyard [ˈkɔ:tjɑ:d] n.庭院，院子; 天井 adoption [ə'dɒpʃn] n.采用，收养;
shifting [ʃɪftɪŋ] n.移位; 转移，偏移; 狡猾; v.改变(shift的现在分词);
adj.移动的; 多变的;
It can be said that …
It is know to all that
It has been found that
传统中国画因其理论、表现及技法特征在全世界受到高度关注。与西洋画不同，中国画在透视上不受焦点的限制。在西方绘画中，以《木兰还乡》这副作品为例。画家在狭长的画纸上展示出长江沿岸的全景。你能看到人们在院子和房子内外的一切活动。可以说，采用散点透视/移位透视是中国画的特点之一。
Why do the Chinese artists emphasize the shifting perspective? They want to break away from the restriction of time and space and to include in their pictures both things which are far and things which are near. Also, the artists find that in life people view their surroundings from a mobile focal point. As one walks along a river or in a garden, one sees everything on the way. The shifting perspective enables the artist to express freely what he wants.
emphasize ['emfəsaɪz] vt.强调，着重
restriction [rɪ'strɪkʃn] n.限制，限定; 拘束，束缚; 管制;
include [ɪnˈklu:d] vt.包括; 包含; 计入; 包住;
view [vju:] vt.看; 观看; 认为; 观察;
surrounding [səˈraʊndɪŋ] n.环境，周围的事物;
adj.周围的，附近的;
v.包围( surround的现在分词 ); 与…紧密相关; 围绕;
mobile ['məʊbaɪl] adj.移动的，可移动的; 变化的;
express vt. 表达; 快递;
为什么中国艺术家强调散点透视呢？他们想突破时空的限制，把远景和近景都纳入画面之中。而且画家们发现，在现实中，人们是通过移动焦点来看周围环境的。一个人走在河边或花园中，一路的景物尽收眼底。移位/散点透视使得艺术家能够自由地表达想要表达的东西。
According to the means of expression, Chinese painting can be divided into two categories: the xieyi school and the gongbi school. The xieyi school is marked by exaggerated forms and freehand brushwork. The gongbi school is
characterized by close attention to detail and fine brushwork.
根据的表现方式，国画可以分成两大类:写意和工笔。写意的特征是夸张的形式和随意粗糙的笔风。工笔的特点是注意细节和精妙的画风。
Xieyi, however, is the fundamental approach to Chinese painting. It constitutes an aesthetic theory which, above all, emphasizes the feelings. Even in ancient times, Chinese artists were unwilling to be restrained by reality. A famous artist of the Jin Dynasty Gu Kaizhi was the first to put forward the theory of \"making the form show the spirit\". In his opinion a painting should serve as a means to express not only the appearance of an object, but also how the artist looks at it. Gu's views were followed by theories such as \"likeness in spirit resides in unlikeness\" and \"a painting should be something between likeness and unlikeness\". Guided by these theories, Chinese artists disregard the limitations of proportion, perspective, and light.
然而写意是中国绘画的基础。它构成一种强调感觉的美学理论。即使是在古代中国艺术家们也不愿受到现实得束缚。一位著名的艺术家的魏晋顾恺之(345-406)是第一个提出“以形写神”的理论。在他看来，绘画不英国仅仅是表现出了实际所见的东西，更应该表达出画者看到这东西时自己内心的想法。顾恺之的观点后来演变成“神似而形不似”和”作画要有虚有实”的理论。这些理论指导下,中国画家忽视比例、远近配置、和色彩明暗。
Chinese calligraphy and Chinese painting are closely related because lines are
used in both. Chinese people have turned simple lines into a highly-developed form of art. Lines are used not only to draw contours but to convey the artist's concepts and feelings. So the use of lines and strokes is one of the elements that give Chinese painting its unique qualities.
书法和国画是密切相关的，因为都是用线条表示。中国人已经把简单的线条变成了发展成熟的一种艺术形式。线条不仅可以用于画轮廓而且也是为了表现画家的概念和情感。由于不同的主题和不同的目的要使用各种各样的线条。它们可能或直、或曲、或重、或轻、或浅、或深、或白，或黑，而且墨可能干燥、可能未干。线条的运用是一种让中国画与众不同的元素。
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