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我想找一则有关陶瓷器的英语历史文献

Despite their ostensible crumbling , flaking ,sagging or wilting ,the diminutive ceramic sculptures of Chinese artist Bai Ming are inspired less by fascination with the visual effects of decay than by respect for forms that resist the destructive influences of time .In these minimalist works ,time seems the agent in a process of abstraction that seizes the essence of endurance ,and compresses that quality into dense masses of clay scarcely larger than a person’s heart . This vague allusion to the heart ----both as a vital organ and as the symbolic locus of sentiment - provides a key to the integral relationship between time and humanity that Ming’s works are intended to express.

These simple sculptures, simultaneously melancholic and majestic, are in their ambivalence characteristically human, blending a lamentation over the effects of time with a kind of apologia for it. “I am,” say Ming, “very sensitive to the significance of time for human life .In my work, I strongly emphasize transformation. It is a serious theme ,because time changes people form young to old .However ,I am also acutely aware of the value of time , since it can leave behind an elite body of cultural knowledge.”

Once a student and now a faculty member at the Central Academy of Art and Design at Tsing-Hua University in Beijing , Ming could hardly have been indoctrinated into a more “elite body of cultural knowledge ” than that of Jingdezhen porcelain production . The utilitarian works through which he established his reputation as a ceramist in the early 1990s clearly the influence of this venerable tradition, not only in terms of materials and techniques but also through incorporation of such distinctive features as the glazed foot, a Jingdezhen innovation once reserved exclusively for wares commissioned by the imperial household.

Technically flawless and serenely elegant , Ming’s porcelain vessels are all the more impressive for the knowledge that ,over the past decade ,only part of his time has been devoted to his career as a potter .Truly multifaceted ,he has authored three books on contemporary ceramics ,and achieved important stature as a painter whose somber textural compositions recall European postwar abstractionists such as Alberto Burri and Antoni Tapies ,while elaborating a distinctly Chinese perspective on nature.

Four pieces the "sit in meditation-The Forms and Process" series ,to approximately 8 inches(20 centimeters) in high, porcelain

Despite the material and stylistic distinctions between his pottery and paintings, he has always maintained a conceptual unity to his creative activity .The long -standing Jingdezhen tradition -into which new forms have been periodically introduced while the porcelain itself and the technology used to produce it have remained remarkably constant over the centuries-is analogous, for Ming, to the eternal essence of nature, which perseveres despite the convolutions of history.

Perhaps it was inevitable that he would consider bringing his work in clay stylistically more in line with the nature symbolism of his paintings .This would entail a move into the realm of sculpture -where conceptual concerns would be solely responsible for dictating form and content--- without compromising the knowledge of convention gained form his background as a potter.

Working in Jingdezhen porcelain, Ming decided to develop a series of abstract sculptures that would simultaneously emphasize the characteristics of tradition and transformation, perseverance and natural decay .Although the softness of the clay body initially hindered his efforts, it would ultimately lead to the fortuitous discovery of the simple, compact stele form to which he subsequently adhered for the majority of his sculptures.

“I frequently failed in my early sculptures,” he recalls, “because the clay was just not stiff enough, and the form that I constructed collapsed. But after one such unsuccessful attempt ,I massed the clay in the traditional Jingdezhen way and was preparing to discard it ,when I realized that its shape was reminiscent of a meditative position in yoga .Form the time I was ten years old ,I have worked while sitting in a similar fashion cross-legged on the floor . I can sit in that position comfortably for five or six hours at a time .Something about the piece that I had made by accident suggested this position .Obviously, it wasn’t literal. It had something to do with the motion, the feeling of being both compact and slightly twisted around.”

Drawing inspiration from this impression, Ming set about producing a series of unobtrusive 8-inch sculptures intended to suggest contemplative states, Entitled “Sit in Meditation-The Forms and Process,” the series reflects Ming’s general affinity for meditative practices rather than a specifically religious dedication. “I’m not a devout follower of Zen,” he explains, “but I have always been involved in cultural practices that derive from it.

Untitled ,from the "sit in meditation-The Forms and Process" series ,to approximately 8 inches(20 centimeters) in high, porcelain

“My way of stretching or positioning myself when I work is very much related to Zen .The works themselves reflect upon this kind of motion ,which in turn is a way of ordering the mind .My work is simple and pure ,a reflection of my lifestyle. I’m accustomed to spending time drinking tea, writing and meditating .They’re peaceful activities, and that’s the sense that I want to convey through my work.”

The early works in the “Sit in Meditation” series ,consisting of porcelain accentuated by sparing applications of blue and white glazes ,are closely linked ,materially and conceptually , to Jingdezhen pottery .Their is enhanced by the balance between incised rectangular forms and more spontaneous punctuate patterns. In addition, a quiet dialogue is established between smoothly glazed surfaces and irregularly dimpled and fissured expanses.

Often the individual sculptures appear similar to one another in form but are unique in the traces of process on their surfaces, a point that Ming emphasizes in relation to the dynamic between the one and the many in Zen. “The position of meditation is the form,” he explains, “not the content , which is process .This process involves achieving levels of understanding .The sculptures could be compared to a group of people sitting together in the same meditative position ,but each achieving a different state of understanding .”

In the spring of 2001, his work entered a new and more openly expressive phase when he began a residency at the Clay Studio in Philadelphia .Although he continued to emphasize the serene ,concentrated mass characteristic of his “Sit in Meditation” series , he temporarily abandoned porcelain for stoneware ,and began exploring a slightly brighter and more varied palette.

“In Philadelphia, I began to exaggerate the color,” he explains. “It was a natural response to my experiences in America. There were so many things that were different in my daily life. I heard a lot of jazz music, for instance, and I was trying a lot of new foods. My new lifestyle began to affect my work in important ways. ”

Equally significant was the availability of a variety of commercial glazes. Unaccustomed to such a broad selection, Ming enthusiastically explored new and more dynamic color combinations.

Although the works that Ming produced in Philadelphia, he is quick to assert that their underlying inspiration remained essentially Chinese. For example , in addition to works for the “Sit in Meditation” series , he produced several low ,horizontal sculptures that allude both to the narrow ,rectangular format of traditional Chinese scrolls and to the mountain ranges that are a recurring theme in classical literati painting .

"scenery No.1,"from the "Mountains and Rivers with Time " series,26 inches(66 centimeters) in length ,glazed stoneware

"scenery No.2,"from the "Mountains and Rivers with Time " series,26 inches(66 centimeters) in length ,glazed stoneware ,by Bai Ming, Beijing, China

The overall form shared by the sculptures of the “Mountains and Rivers with Time” series suggests a literal expanse of peaks, and the rough textures of the pieces are reminiscent of eroded stone. At the same time, the surfaces are articulated in a loose brushwork that emphasizes the nature of the mountains as representations. “I like to develop two principles in my work,” Ming explains. “One is clearly that of the ceramic artist, a three-dimensional orientation toward real space, but there is also the conceptual sensitivity of a painter.”

The integral relationship between the material and the conceptual in the work of art became particularly significant to Ming several years ago during a visit to the famous Yungang Buddhist caves at the foot of Wuzhou Mountain in China’s Shanxi Province .The 53 chambers of this historic site contain dozens of sculptures hewn from the living rock, but the most imposing feature is the colossal Buddha carved from the face of the mountain itself ,an insinuation of the human body into the immortal substance of nature .While Ming made no attempt to represent the specific attributes of the site in his own sculptures ,the caves and their carving held important implications for him regarding the integration of human art and ingenuity with a form and material that are literally as old as the hills.

If there is melancholy in the reflection that the cave reliefs are the work of ancient hands that left no other trace of their brief existence in the world, there is something equally inspirational about the perseverance of the sculptures themselves. For Ming, time is the greatest abstracter of all, and what survives its relentless negation is not only awe inspiring, but the purest form of truth.

“I am interested in the motion of time and the traces of meaning that it leaves behind in things that seem eternal,” he explains. “For that reason ,inorganic objects touch me more than living things .The carvings in the Yungang caves ,for example ,affect me more than grass or birds ,the kind of nature that doesn’t endure for thousands of years .The region where the caves are located is a dry expanse under a vast sky ,but somehow in those conditions a great culture left its traces for the ages . That is what excites me, and that is what inspires my sculpture.”

有关自由女神的英语作文,80词(带翻译的)

The United States, the Statue of Liberty, cultural heritage, in 1984 the World Heritage List.

Goddess of the steel frame design in Paris from the Eiffel Tower design, the statue by the French sculptor维雷勃

designed and completed in Paris. French Government to commemorate the

of the logo image, as a celebration of the 100th anniversary of independence of the United States presented to the United States a gift. Since been completed in 1886, it stands in the entrance of New York Harbor.

Statue of Liberty as a symbol of the United States, located in the United States west of New York City, Manhattan, a small island - free on the island, holding her torch in New York, Hong Kong stands at the entrance, at the city observe day and night, since the late 19th century ushered in since the to the millions of immigrants to settle in the United States. In 1984, it was inscribed on the World Heritage List.

Statue of Liberty like the French people a gift presented to the American people is a symbol of

like 46 meters high, with a

base of about 100 meters high, is the time to commemorate the worlds highest building, its wholly-called "Statue of Liberty Bronze as national monuments, "officially known as" the Statue of Liberty illuminate the world ", the entire statue to 120 tons of steel for

, 80 tons of copper for the skin to 300,000 Liu nail fixed in the stent assembly, with a

weight 225 tons, the statue inside the steel stent is维雷勃

by the

and the construction industry world-famous Eiffel Tower in Paris France Eiffel design engineers produced.

Goddess lips closed, wearing the crown of

, dressed in Roman loose robe, the symbol of the

of the right hand高擎torch a few meters long, left hand grasping a copper top, engraved with Roman numerals, "the United States Declaration of Independence," published date - Year 4 July, 1776, strewn with the shoes and the chain has been broken, lifted his right foot with the road for like, a whole to get rid of the yoke, to come forward before the rebel image of the

, an air of masculinity to the inviolability of people a sense of awe-inspiring. And the dignified又似a rich body of ancient Greek beauty, warm and natural feel. When the time comes夜暮, statue lighting up the base of the exposure, the mirror was like a

of the jade淡青色. Goddess crown from the window lights in the shoot, it would seem that the heads of the goddess is made up of a string of golden lights flashing, to the lively bustle of the city and added to the

is quite spectacular. To create a

of the Art of French sculptor

迪, the image of the goddess from the 17-year-old when he witnessed the exciting scene: in 1851, the overthrow of Louis Bonaparte of France launched a second coup Republic. One day, a group of party members in the streets to build the Republic of Defense official, who started street fighting with the coup. Around dusk, one loyal to the Republican regime, young girl, holding a

torch, jumping obstacles, shouting "Forward" slogan to the red enemies, and the expense of the unfortunate shot. Since then, the brave girl高擎torch sculptor became a symbol of the pursuit of freedom in mind, In addition, the goddess of the body as to the wife for

迪

was created from the face while his

In 1869, Patel completed a draft of the design of the Statue of Liberty. Imaging project in 1874, completely built in 1884 to complete, before and after the last decade, the statue had only the index finger 2.5 meters long, 1 meter wide, and nails 75 cm thick.

July 6, 1884, formally presented the Statue of Liberty to the United States. August 5, the foundation works statue base, the base about 27 meters high, made from granite, concrete. The following is a base to enter the

center

the depths of six meters of concrete columns. The

is a military fort, star anise was in 1808-1811 in Hong Kong in order to strengthen the defense of New York built in 1840 renovated. June 1885, the entire statue is divided into more than 200 pieces of packing, from Lyon, France by tugboat to New York. In mid-October 1886, 75 workers in the

will rivet 30 about 100 parts, a combination. 28, U.S. President Cleveland presided over a million people to participate in the opening ceremony of the Statue of Liberty. In 1916, President Wilson for the goddess of the night to install the lighting system is immortal and presided over the ceremony. The U.S. government in 1942 made a decision to the United States the Statue of Liberty as a national heritage.

More than a century, standing on the freedom of the Statue of Liberty statue on the island has become a law the people of the United States and the United States national symbol of friendship, the

of the American people will always fight for democracy, longing for the noble ideals of freedom.

美国，自由女神像，文化的联合。既然已经完成1886，它耸立在纽约港的入口。自由女神像是美国的象征，位于纽约市，曼哈顿西部的美国，一个小岛屿--自由岛上，她手持火炬在纽约，香港站在门口，在城市观察白天和黑夜，自第十九年代后期以来迎来了自于移民数百万的人在美国定居。1984，它被列入世界遗产名录。自由女神像是法国人民的礼物赠送给美国人民是自由的象征，goddesslike高46米，有totalbase高约100米，是为了纪念世界上最高的建筑，其全称为“自由女神像青铜作为国家纪念碑，”正式被称为“自由女神像照亮世界”为框架，钢120吨，整个塑像，为肌肤300000柳钉固定在支架总成80吨铜，与totalweight 225吨，钢支架内维雷勃杜克雕像是由建筑师建筑业闻名世界的埃菲尔铁塔在法国巴黎埃菲尔设计工程师，生产。女神双唇紧闭，穿着耀眼的皇冠，身着古罗马宽松的长袍，右手的自由高擎火炬几米长的标志，左手抓铜顶，刻有罗马数字，《美国独立宣言，“发布日期年七月1776，4，充满鞋链已被打破，抬起右脚的道路一样，整个摆脱桎梏，挺身而出，在女神的气宇轩昂反叛的形象，一个男子气概的神圣不可侵犯的人有令人敬畏的。而又似机身丰富的古希腊的美丽，温暖的和自然的感觉。到时候夜暮，雕像照明曝光的基地，镜子像一goddessof玉淡青色。在拍摄从窗户里灯光女神的皇冠，它似乎是女神的头是由一个字符串的黄金闪烁的灯光，城市的喧闹活泼，并添加到一个相当壮观之夜。创建一个masterpieceof法国雕塑家巴特尔迪艺术，女神的形象从17岁时，他目睹了激动人心的场面：路易斯1851，法国的波拿巴发起了第二次政变推翻共和国。有一天，在街头的党员队伍建设的国防官员的共和国，与政变者展开巷战。暮色时分，一位忠于共和政体，年轻的姑娘，拿着一burningtorch，跳跃障碍，高呼“前进”的口号向敌人冲去，不幸中弹牺牲的。自那时以来，勇敢的女孩高擎火炬雕塑家成为另外一个自由的心，追求符号，身体的女神为妻巴特尔迪原型创建的脸，他的母亲。1869，帕特尔完成了自由女神像的设计稿。1874成像方案，完全建立在1884完成，前后历时十年，雕像仅食指就有2.5米长，宽1米，厚75厘米，指甲。1884年7月6日，自由女神像正式赠送给美国。八月五日，地基基础工程的雕像底座，底座高约27米，由花岗岩，混凝土。以下是一个基地进入castlecenter弗特伍德六米的混凝土柱的深度。该castleis军事要塞，八角是1808-1811在香港为加强纽约建于1840装修的防御。1885六月，整个雕像是从里昂分成200多件包装，由拖船，法国纽约。1886十月中旬，75名工人在scaffoldingwill铆钉30约100部分，结合。28，美国总统克利夫兰主持了一百万人参加的自由女神像的开幕式。1916，威尔逊总统为夜间安装照明系统的女神的不朽，主持仪式

采纳哦

O(∩_∩)O谢谢

高分求西方的zhu名画家和他的经典作品的英语如是说...不要太难的

Michelangelo di Lodovico Buonarroti Simoni (March 6, 1475 – February 18, 1564), commonly known as Michelangelo, was an Italian Renaissance painter, sculptor, architect, poet and engineer. Despite making few forays beyond the arts, his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with his rival and fellow Italian Leonardo da Vinci.

Michelangelos output in every field during his long life was prodigious; when the sheer volume of correspondence, sketches and reminiscences that survive is also taken into account, he is the best-documented artist of the 16th century. Two of his best-known works, the Pietà and the David, were sculpted before he turned thirty. Despite his low opinion of painting, Michelangelo also created two of the most influential works in fresco in the history of Western art: the scenes from Genesis on the ceiling and The Last Judgment on the altar wall of the Sistine Chapel in Rome. Later in life he designed the dome of St. Peters Basilica in the same city and revolutionised classical architecture with his invention of the giant order of pilasters.

In a demonstration of Michelangelos unique standing, two biographies were published of him during his lifetime. One of them, by Giorgio Vasari, proposed that he was the pinnacle of all artistic achievement since the beginning of the Renaissance, a viewpoint that continued to have currency in art history for centuries. In his lifetime he was also often called Il Divino ("the divine one"), an appropriate sobriquet given his intense spirituality. One of the qualities most admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur, and it was the attempts of subsequent artists to imitate Michelangelos impassioned and highly personal style that resulted in the next major movement in Western art after the High Renaissance, Mannerism.

经典作品就那个最经典的大卫吧

Michelangelos David, sculpted from 1501 to 1504, is a masterpiece of Renaissance sculpture and one of Michelangelos two greatest works of sculpture, along with the Pietà. It is the David alone that almost certainly holds the title of the most recognizable statue in the history of art. It has become regarded as a symbol both of strength and youthful human beauty. The 5.17 meter (17 ft) marble statue portrays the Biblical King David at the moment that he decides to do battle with Goliath. It came to symbolize the Florentine Republic, an independent city state threatened on all sides by more powerful rival states. This interpretation was also encouraged by the original setting of the sculpture outside the Palazzo della Signoria, the seat of civic government in Florence. The completed sculpture was unveiled on 8 September 1504.

雕塑大师米开朗基罗简介

米开朗基罗·博那罗蒂(Michelangelo Bounaroti, 1475－1564)，意大利文艺复兴时期伟大的绘画家、雕塑家和建筑师，文艺复兴时期雕塑艺术最高峰的代表。1475年3月6日生于佛罗伦萨附近的卡普莱斯，父亲是奎奇市和卡普莱斯市的自治市长。他13 岁进入佛罗伦萨画家基尔兰达约（Ghirlandaio）的工作室，后转入圣马可修道院的美第奇学院作学徒。1496年，米开朗基罗来到罗马，创作了第一批代表作《酒神巴库斯》和《哀悼基督》等。1501年，他回到佛罗伦萨，用了四年时间完成了举世闻名的《大卫》。1505年在罗马，他奉教皇尤里乌斯二世之命负责建造教皇的陵墓，1506年停工后回到佛罗伦萨。1508年，他又奉命回到罗马，用了四年零五个月的时间完成了zhu名的西斯廷教堂天顶壁画。1513年，教皇陵墓恢复施工，米开朗基罗创作了zhu名的《摩西》、《被缚的奴隶》和《垂死的奴隶》。1519－1534年，他在佛罗伦萨创作了他生平最伟大的作品——圣洛伦佐教堂里的美第奇家族陵墓群雕。1536年，米开朗基罗回到罗马西斯廷教堂，用了近六年的时间创作了伟大的教堂壁画《末日审判》。之后他一直生活在罗马，从事雕刻、建筑和少量的绘画工作，直到1564年2月18日逝世于自己的工作室中。米开朗基罗代表了欧洲文艺复兴时期雕塑艺术的最高峰，他创作的人物雕像雄伟健壮，气魄宏大，充满了无穷的力量。他的大量作品显示了写实基础上非同寻常的理想加工，成为整个时代的典型象征。他的艺术创作受到很深的人文主义思想和宗教改革运动的影响，常常以现实主义的手法和浪漫主义的幻想，表现当时市民阶层的爱国主义和为自由而斗争的精神面貌。米开朗基罗的艺术不同于达·芬奇的充满科学的精神和哲理的思考，而是在艺术作品中倾注了自己满腔悲剧性的激情。这种悲剧性是以宏伟壮丽的形式表现出来的，他所塑造的英雄既是理想的象征又是现实的反应。这些都使他的艺术创作成为西方美术史上一座难以逾越的高峰。

传世作品如是说: 《大卫》，云石雕像，像高2.5米，连基座高5.5米，米开朗基罗创作于公元1501－1504年，现收藏于佛罗伦萨美术学院。米开朗基罗生活在意大利社会动荡的年代，颠沛流离的生活使他对所生活的时代产生了怀疑。痛苦失望之余，他在艺术创作中倾注着自己的思想，同时也在寻找着自己的理想，并创造了一系列如巨人般体格雄伟、坚强勇猛的英雄形象。《大卫》就是这种思想最杰出的代表。大卫是圣经中的少年英雄，曾经杀死侵略犹太人的非利士巨人哥利亚，保卫了祖国的城市和人民。米开朗基罗没有沿用前人表现大卫战胜敌人后将敌人头颅踩在脚下的场景，而是选择了大卫迎接战斗时的状态。在这件作品中，大卫是一个肌肉发达，体格匀称的青年壮士形象。他充满自信地站立着，英姿飒爽，左手拿石块，右手下垂，头向左侧转动着，面容英俊，炯炯有神的双眼凝视着远方，仿佛正在向地平线的远处搜索着敌人，随时准备投入一场新的战斗。大卫体格雄伟健美，神态勇敢坚强，身体、脸部和肌肉紧张而饱满，体现着外在的和内在的全部理想化的男性美。这位少年英雄怒目直视着前方，表情中充满了全神贯注的紧张情绪和坚强的意志，身体中积蓄的伟大力量似乎随时可以爆发出来。与前人表现战斗结束后情景的习惯不同，米开朗基罗在这里塑造的是人物产生激情之前的瞬间，使作品在艺术上显得更加具有感染力。他的姿态似乎有些象是在休息，但躯体姿态表现出某种紧张的情绪，使人有强烈的“静中有动”的感觉。雕像是用整块的石料雕刻而成，为使雕像在基座上显得更加雄伟壮观，艺术家有意放大了人物的头部和两个胳膊，使的大卫在观众的视角中显得愈加挺拔有力，充满了巨人感。这尊雕像被认为是西方美术史上最值得夸耀的男性人体雕像之一。不仅如此，《大卫》是文艺复兴人文主义思想的具体体现，它对人体的赞美，表面上看是对古希腊艺术的“复兴”，实质上表示着人们已从黑暗的中世纪桎梏中解脱出来，充分认识到了人在改造世界中的巨大力量。米开朗基罗在雕刻过程中注入了巨大的热情，塑造出来的不仅仅是一尊雕像，而是思想解放运动在艺术上得到表达的象征。作为一个时代雕塑艺术作品的最高境界，《大卫》将永远在艺术史中放射着不尽的光辉。

配上中文：

米开朗基罗·波纳罗蒂（Michelangelo di Lodovico Buonarroti Simoni，1475年3月6日—1564年2月18日），1475年生於佛罗伦斯加柏里斯镇，伟大的雕塑家、建筑师、画家和诗人。他与李奥纳多·达·文西和拉斐尔·桑乔并称「文艺复兴三杰」，以人物「健美」著称，即使女性的身体也描画的肌肉健壮。他的雕刻作品「大卫像」举世闻名，梅第奇墓前的「昼」、「夜」、「晨」、「昏」四座雕像构思新奇，此外zhu名的雕塑作品还有「摩西像」、「大奴隶」等。他最zhu名的绘画作品是梵蒂冈西斯廷教堂的《创世纪》天顶画和壁画《最后的审判》。他还设计和初步建造了罗马圣伯多禄大殿，设计建造了教宗尤利乌斯二世的陵墓。米开朗基罗脾气暴躁，不合群，和达·文西与拉斐尔都合不来，经常和他的恩主顶撞，但他一生追求艺术的完美，坚持自己的艺术思路。他於1564年在罗马去世，他的风格影响了几乎三个世纪的艺术家。

其实还有很多他的作品如是说。

但是我觉得你课前几分钟的时间讲不完的吧，就好好整理一下上边的就足够了。实在不行就去下边的参考资料看看。