如何用一幅画学会高级英语表达
字幕摘录
| 时间 | 英文 | 中文 |
|---|---|---|
| 0:09 | Why do we romanticise snow, and what is it about a cold, snowy landscape that captivates us as the viewer? | 为什么我们把雪变得浪漫呢? 寒冷的雪景让我们成为观赏者是什么? |
| 0:16 | With nights drawing in, cold winds and frost on the ground, winter reminds us to slow down and stay warm inside. | 随着夜晚的到来,寒风和地面上的霜雪,冬天提醒我们要慢下来,并保持里面的温暖. |
| 0:24 | Snowy landscapes appear to be sleeping, even dreaming, and prompt in us feelings of cosiness and hibernation. | 暴雪的风景似乎在睡觉,甚至在做梦, 并给我们带来舒适和休眠的感觉。 |
| 0:32 | Although the idea of venturing outside, wrapped up warm for a snowy walk, does sound rather appealing. | 虽然外出走走的想法, 包裹着温暖的雪漫步, 听起来相当吸引人. |
| 0:38 | In the changing world, many of us will rarely experience snow, so the depiction of snow will unlock nostalgic memories. | 在不断变化的世界中,我们许多人将很少经历雪,因此对雪的描绘将解开怀旧的记忆. |
| 0:47 | The ideas of snow days when school was cancelled, building a snowman, or wishing for a white Christmas. | 学校取消时的雪日,建雪人,或希望过白色圣诞节的想法. |
| 0:53 | For me, this painting by the Danish artist, Laurits Andersen Ring, unlocks all of those romanticised memories. | 对我来说,丹麦艺术家Laurits Andersen Ring的这幅画 解开了所有那些浪漫的记忆。 |
| 1:01 | Let's take a closer look at the painting. | 更仔细看画. |
| 1:03 | A road in the village of Bouldersbrond was created in 1912 and shows a village on the outskirts of Copenhagen where the artist lived at the time. | 1912年在Bouldersbrond村创建了一条道路,展示了当时艺术家居住的哥本哈根郊区的一个村庄. |
| 1:13 | Noticing the use of colour within the painting, at first it appears quite monochrome. | 在画中标注颜色的使用,起初显得相当单色. |
展开字幕全文（114 条）
| 序号 | 英文 | 中文 |
|---|---|---|
| 1 | Why do we romanticise snow, and what is it about a cold, snowy landscape that captivates us as the viewer? | 为什么我们把雪变得浪漫呢? 寒冷的雪景让我们成为观赏者是什么? |
| 2 | With nights drawing in, cold winds and frost on the ground, winter reminds us to slow down and stay warm inside. | 随着夜晚的到来,寒风和地面上的霜雪,冬天提醒我们要慢下来,并保持里面的温暖. |
| 3 | Snowy landscapes appear to be sleeping, even dreaming, and prompt in us feelings of cosiness and hibernation. | 暴雪的风景似乎在睡觉,甚至在做梦, 并给我们带来舒适和休眠的感觉。 |
| 4 | Although the idea of venturing outside, wrapped up warm for a snowy walk, does sound rather appealing. | 虽然外出走走的想法, 包裹着温暖的雪漫步, 听起来相当吸引人. |
| 5 | In the changing world, many of us will rarely experience snow, so the depiction of snow will unlock nostalgic memories. | 在不断变化的世界中,我们许多人将很少经历雪,因此对雪的描绘将解开怀旧的记忆. |
| 6 | The ideas of snow days when school was cancelled, building a snowman, or wishing for a white Christmas. | 学校取消时的雪日,建雪人,或希望过白色圣诞节的想法. |
| 7 | For me, this painting by the Danish artist, Laurits Andersen Ring, unlocks all of those romanticised memories. | 对我来说,丹麦艺术家Laurits Andersen Ring的这幅画 解开了所有那些浪漫的记忆。 |
| 8 | Let's take a closer look at the painting. | 更仔细看画. |
| 9 | A road in the village of Bouldersbrond was created in 1912 and shows a village on the outskirts of Copenhagen where the artist lived at the time. | 1912年在Bouldersbrond村创建了一条道路,展示了当时艺术家居住的哥本哈根郊区的一个村庄. |
| 10 | Noticing the use of colour within the painting, at first it appears quite monochrome. | 在画中标注颜色的使用,起初显得相当单色. |
| 11 | But when we look a little closer, we see different tones in white, we see mother of pearl grey, we see icy blue and yellow browns. | 但是,当我们看的更近一点,我们看到不同的色调在白色,我们看到珍珠灰色的母亲,我们看到冰蓝色和黄褐色. |
| 12 | This sense of cold is also emphasised in the sky that acts as a continuation of the ground. | 这种冷感在作为地面延续的天空中也得到了强调. |
| 13 | Although we have an atmosphere within the painting of cold and a misty nature, there is a subtle glow to the painting, perhaps suggesting that the sun is about to rise. | 虽然我们在绘画中有着寒冷和迷雾的自然气氛,但画中却有微妙的光芒,也许暗示太阳即将升起. |
| 14 | If we notice the use of line within the painting, we have a diagonal road leading our eye up to the top of the painting. | 如果我们注意到画中线的使用,我们有一个对角路 引导我们的眼睛到画的顶端。 |
| 15 | This is mirrored by a leafless brown hedge that follows the same shape. | 这被一个遵循相同形状的无叶棕色树篱所映射. |
| 16 | These shapes are then offset by the vertical lines in the painting, the trees and also the upward shape of the rooftops covered in snow. | 这些形状随后被绘画中的垂直线,树木以及雪覆盖的屋顶的向上形状所抵消. |
| 17 | This sense of the vertical is then created by the spacing of the trees towards the outside of the painting and then is reflected in the shape of the simple frame. | 这种垂直感后来由树向画外的间距产生,然后反应成简单的画框形状. |
| 18 | What atmosphere do we take from the painting? | 画里有什么气氛? |
| 19 | For me, there is a sense of stillness, of quiet and of isolation. | 对我来说,有一种静静,静静和孤立的感觉. |
| 20 | Although we see houses in the painting, we don't see any people, we don't even see any light coming from the windows. | 虽然在画中看到房屋,却没有看到任何人,甚至没有看到窗户发出的光芒. |
| 21 | We don't see any smoke coming from the chimneys or footprints in the snow. | 我们没有看到任何烟雾来自烟囱或雪中的脚印. |
| 22 | As the viewer, we are invited to take in this landscape alone. | 作为观众,我们受邀独自在这片风景中登场. |
| 23 | Time seems to pause or slow down as we stop and we linger at this beautiful winter landscape. | 时间似乎暂停或放慢 当我们停下来,我们停留在这个美丽的冬季景观。 |
| 24 | So who was Loritz Andersen Ring? | 洛丽兹·安德森环是谁? |
| 25 | The son of a wheelmaker and carpenter, he would never distance himself from his humble beginnings. | 车轮匠和木匠的儿子, 他永远不会远离他的谦卑的开始。 |
| 26 | Instead, it would become a prominent theme within his paintings, documenting the realities of rural life. | 相反,这将成为他绘画中一个突出的主题,记录农村生活的现实。 |
| 27 | He would go on to become one of the most prominent figures in Danish and Nordic painting. | 他将会继续成为丹麦和北欧画中最突出的人物之一. |
| 28 | Particularly known for creating portraits, he would show figures at a threshold, at doors, windows and at roads, with the idea of symbolising change or transition. | 他尤其以创作肖像画著称,在门槛、门窗和公路上展示数字,并有象征变化或过渡的想法。 |
| 29 | This idea of transitory spaces can be seen quite beautifully in this painting called Has It Stopped Raining, | 这种对过渡空间的构思,从这幅名为"Has It stopped Raining"的画中,可以相当美丽地看到, |
| 30 | where we see a figure clutching an umbrella, peering through a door into the landscape beyond. | 在那里,我们看到一个人物 抓住一个伞, 通过一个门 进入外面的景观。 |
| 31 | Towards the end of the 1880s, Ring would focus on creating landscape paintings. | 1880年代末,环将专注于创作风景画. |
| 32 | His depiction of nature would never be pristine. | 他对自然的描绘永远不会是纯洁的。 |
| 33 | Instead, it would always be marked by human activity. | 相反,它总是以人类活动为标志。 |
| 34 | We see roads and paths again showing the realities of rural life. | 我们再次看到道路和道路显示了农村生活的现实。 |
| 35 | In his work, he is showing Denmark on the precipice of modern life. | 在他的作品中,他向丹麦展示了现代生活的悬崖. |
| 36 | Often his work will show telegraph poles and railway lines cutting through rural villages, | 他的作品往往会显示电报杆和铁路线穿过乡村 |
| 37 | marking the process and irreversible change of the industrial revolution. | 标志着工业革命的进程和不可逆转的变化。 |
| 38 | Taking a look at another painting in the National Gallery collection, this work created by George Bellows also in 1912 is called Men of the Docks. | 从国家美术馆收藏的另一幅画来看,乔治·贝洛斯也于1912年创作的这部作品被称作"道克之门". |
| 39 | The figures in the painting are most likely newly arrived immigrant workers. | 画中的数字很可能是新来的移民工人. |
| 40 | They wear thick jackets, they have their hands deep in their pockets and their collars turned up from the cold. | 他们穿着厚厚的夹克,双手深藏在口袋里,领子从寒冷中出现. |
| 41 | They appear to be listening to something, perhaps the roll call for the day announcing who will be working. | 他们似乎在听一些东西,或许是当天的点名,宣布谁将工作。 |
| 42 | We notice one figure off to the side, separate from the group. | 我们注意到一个数字离侧, 与组别。 |
| 43 | He appears to be leaving, his head is down, he's hunched over. | 他好像要走了 他的脑袋掉下来了 他直觉过来了 |
| 44 | Perhaps he has not been chosen to work that day. | 也许他那天没有被选中工作。 |
| 45 | Within this painting, we also have themes of industrialisation, of transitory spaces and isolation. | 在这幅画里,我们也有工业化,过渡空间和孤立的主题. |
| 46 | Going back to Ring's work, there is a melancholy feeling to it. | 回到魔戒的作品, 有一种忧郁的感觉。 |
| 47 | Not only with the artist painting the realities facing working class people, but also painting his own emotions. | 不仅与艺术家绘画工人阶级人民面临的现实,还绘画自己的情感. |
| 48 | He's creating a landscape for the soul. | 他在为灵魂创造景观 |
| 49 | As an artist, he was particularly passionate about painting outside and would paint in all seasons. | 作为一个艺术家,他特别热衷于外面的绘画,并将在所有的季节进行绘画. |
| 50 | Although he would suffer from depression throughout his life, he would find great joy in painting outside. | 虽然他一生都会遭受抑郁症的折磨,但是在外头画画时会发现巨大的快乐. |
| 51 | So much so that he would purchase special shoes, socks and fur hats to enable him to paint outside in icy conditions. | 如此之多,以至于他会购买特别的鞋子,袜子和毛帽,使他能在冰冷的条件下在外边画画. |
| 52 | If we look at this artwork titled Painter in the Village, we see an artist wrapped up warm from the cold. | 如果我们在村里看这幅画 画家的作品 我们就会看到一位艺术家 被寒冷包裹起来 |
| 53 | He's wearing large rush shoes, he has his painting equipment and he's wearing a beret. | 他穿着大型的急速鞋,有他的绘画设备,还穿着贝雷帽. |
| 54 | As the viewer, I think we are supposed to imagine how he feels painting outside in these extreme conditions. | 作为观众,我认为我们应该想象他如何感受这些极端条件下的外面的绘画. |
| 55 | But also how he is connected to the landscape, both physically and emotionally. | 但是他如何在身体上和情感上与风景相联。 |
| 56 | If you'd like to find out more about art history, click here or here and subscribe to our channel. | 如果您想了解更多艺术史,请点击这里或这里并订阅我们的频道. |
| 57 | Thank you so much for watching and see you again next time. | 非常感谢你下次再来看你 |
| 58 | Why do we romanticise snow and what is it about a cold, snowy landscape that captivates us as the viewer? | 为什么我们要浪漫化雪 和它是什么 寒冷的,雪的风景 吸引我们作为观众? |
| 59 | With nights drawing in, cold winds and frost on the ground, winter reminds us to slow down and stay warm inside. | 随着夜晚的到来,寒风和地面上的霜雪,冬天提醒我们要慢下来,并保持里面的温暖. |
| 60 | Snowy landscapes appear to be sleeping, even dreaming and prompting us feelings of cosiness and hibernation. | 暴雪的风景似乎在睡觉,甚至在做梦,并激起我们对舒适和休眠的感觉. |
| 61 | Although the idea of venturing outside, wrapped up warm for a snowy walk, does sound rather appealing. | 虽然外出走走的想法, 包裹着温暖的雪漫步, 听起来相当吸引人. |
| 62 | In the changing world, many of us will rarely experience snow, so the depiction of snow will unlock nostalgic memories. | 在不断变化的世界中,我们许多人将很少经历雪,因此对雪的描绘将解开怀旧的记忆. |
| 63 | The ideas of snow days when school was cancelled, building a snowman or wishing for a white Christmas. | 学校取消时的雪日,建雪人或希望过白色圣诞节的想法. |
| 64 | For me, this painting by the Danish artist, Laurits Andersen Ring, unlocks all of those romanticised memories. | 对我来说,丹麦艺术家Laurits Andersen Ring的这幅画 解开了所有那些浪漫的记忆。 |
| 65 | Let's take a closer look at the painting. | 更仔细看画. |
| 66 | A road in the village of Bouldersbrond was created in 1912 and shows a village on the outskirts of Copenhagen where the artist lived at the time. | 1912年在Bouldersbrond村创建了一条道路,展示了当时艺术家居住的哥本哈根郊区的一个村庄. |
| 67 | Noticing the use of colour within the painting, at first it appears quite monochrome. | 在画中标注颜色的使用,起初显得相当单色. |
| 68 | But when we look a little closer, we see different tones in white, we see mother of pearl grey, we see icy blue and yellow browns. | 但是,当我们看的更近一点,我们看到不同的色调在白色,我们看到珍珠灰色的母亲,我们看到冰蓝色和黄褐色. |
| 69 | This sense of cold is also emphasised in the sky that acts as a continuation of the ground. | 这种冷感在作为地面延续的天空中也得到了强调. |
| 70 | Although we have an atmosphere within the painting of cold and a misty nature, there is a subtle glow to the painting, perhaps suggesting that the sun is about to rise. | 虽然我们在绘画中有着寒冷和迷雾的自然气氛,但画中却有微妙的光芒,也许暗示太阳即将升起. |
| 71 | If we notice the use of line within the painting, we have a diagonal road leading our eye up to the top of the painting. | 如果我们注意到画中线的使用,我们有一个对角路 引导我们的眼睛到画的顶端。 |
| 72 | This is mirrored by a leafless brown hedge that follows the same shape. | 这被一个遵循相同形状的无叶棕色树篱所映射. |
| 73 | These shapes are then offset by the vertical lines in the painting, the trees and also the upward shape of the rooftops covered in snow. | 这些形状随后被绘画中的垂直线,树木以及雪覆盖的屋顶的向上形状所抵消. |
| 74 | This sense of the vertical is then created by the spacing of the trees towards the outside of the painting and then is reflected in the shape of the simple frame. | 这种垂直感后来由树向画外的间距产生,然后反应成简单的画框形状. |
| 75 | What atmosphere do we take from the painting? | 画里有什么气氛? |
| 76 | For me, there is a sense of stillness, of quiet and of isolation. | 对我来说,有一种静静,静静和孤立的感觉. |
| 77 | Although we see houses in the painting, we don't see any people, we don't even see any light coming from the windows. | 虽然在画中看到房屋,却没有看到任何人,甚至没有看到窗户发出的光芒. |
| 78 | We don't see any smoke coming from the chimneys or footprints in the snow. | 我们没有看到任何烟雾来自烟囱或雪中的脚印. |
| 79 | As the viewer, we are invited to take in this landscape alone. | 作为观众,我们受邀独自在这片风景中登场. |
| 80 | Time seems to pause or slow down as we stop and we linger at this beautiful winter landscape. | 时间似乎暂停或放慢 当我们停下来,我们停留在这个美丽的冬季景观。 |
| 81 | So who was Loritz Andersen Ring? | 洛丽兹·安德森环是谁? |
| 82 | The son of a wheelmaker and carpenter, he would never distance himself from his humble beginnings. | 车轮匠和木匠的儿子, 他永远不会远离他的谦卑的开始。 |
| 83 | Instead, it would become a prominent theme within his paintings, documenting the realities of rural life. | 相反,这将成为他绘画中一个突出的主题,记录农村生活的现实。 |
| 84 | He would go on to become one of the most prominent figures in Danish and Nordic painting. | 他将会继续成为丹麦和北欧画中最突出的人物之一. |
| 85 | Particularly known for creating portraits, he would show figures at a threshold, at doors, windows and at roads, with the idea of symbolising change or transition. | 他尤其以创作肖像画著称,在门槛、门窗和公路上展示数字,并有象征变化或过渡的想法。 |
| 86 | This idea of transitory spaces can be seen quite beautifully in this painting called Has It Stopped Raining, | 这种对过渡空间的构思,从这幅名为"Has It stopped Raining"的画中,可以相当美丽地看到, |
| 87 | where we see a figure clutching an umbrella, peering through a door into the landscape beyond. | 在那里,我们看到一个人物 抓住一个伞, 通过一个门 进入外面的景观。 |
| 88 | Towards the end of the 1880s, Ring would focus on creating landscape paintings. | 1880年代末,环将专注于创作风景画. |
| 89 | His depiction of nature would never be pristine. | 他对自然的描绘永远不会是纯洁的。 |
| 90 | Instead, it would always be marked by human activity. | 相反,它总是以人类活动为标志。 |
| 91 | We see roads and paths again showing the realities of rural life. | 我们再次看到道路和道路显示了农村生活的现实。 |
| 92 | In his work, he is showing Denmark on the precipice of modern life. | 在他的作品中,他向丹麦展示了现代生活的悬崖. |
| 93 | Often his work will show telegraph poles and railway lines cutting through rural villages, | 他的作品往往会显示电报杆和铁路线穿过乡村 |
| 94 | marking the process and irreversible change of the industrial revolution. | 标志着工业革命的进程和不可逆转的变化。 |
| 95 | Taking a look at another painting in the National Gallery collection, this work created by George Bellows also in 1912 is called Men of the Docks. | 从国家美术馆收藏的另一幅画来看,乔治·贝洛斯也于1912年创作的这部作品被称作"道克之门". |
| 96 | The figures in the painting are most likely newly arrived immigrant workers. | 画中的数字很可能是新来的移民工人. |
| 97 | They wear thick jackets, they have their hands deep in their pockets and their collars turned up from the cold. | 他们穿着厚厚的夹克,双手深藏在口袋里,领子从寒冷中出现. |
| 98 | They appear to be listening to something, perhaps the roll call for the day announcing who will be working. | 他们似乎在听一些东西,或许是当天的点名,宣布谁将工作。 |
| 99 | We notice one figure off to the side, separate from the group. | 我们注意到一个数字离侧, 与组别。 |
| 100 | He appears to be leaving, his head is down, he's hunched over. | 他好像要走了 他的脑袋掉下来了 他直觉过来了 |
| 101 | Perhaps he has not been chosen to work that day. | 也许他那天没有被选中工作。 |
| 102 | Within this painting we also have themes of industrialisation, of transitory spaces and isolation. | 在这幅画中,我们也有工业化、过渡空间和孤立的主题。 |
| 103 | Going back to Ring's work, there is a melancholy feeling to it. | 回到魔戒的作品, 有一种忧郁的感觉。 |
| 104 | Not only with the artist painting the realities facing working class people, but also painting his own emotions. | 不仅与艺术家绘画工人阶级人民面临的现实,还绘画自己的情感. |
| 105 | He's creating a landscape for the soul. | 他在为灵魂创造景观 |
| 106 | As an artist he was particularly passionate about painting outside and would paint in all seasons. | 作为一名艺术家,他特别热衷于在外边画画,并且会在所有季节画画。 |
| 107 | Although he would suffer from depression throughout his life, he would find great joy in painting outside. | 虽然他一生都会遭受抑郁症的折磨,但是在外头画画时会发现巨大的快乐. |
| 108 | So much so that he would purchase special shoes, socks and fur hats to enable him to paint outside in icy conditions. | 如此之多,以至于他会购买特别的鞋子,袜子和毛帽,使他能在冰冷的条件下在外边画画. |
| 109 | If we look at this artwork titled Painter in the Village, we see an artist wrapped up warm from the cold. | 如果我们在村里看这幅画 画家的作品 我们就会看到一位艺术家 被寒冷包裹起来 |
| 110 | He's wearing large rush shoes, he has his painting equipment and he's wearing a beret. | 他穿着大型的急速鞋,有他的绘画设备,还穿着贝雷帽. |
| 111 | As the viewer I think we are supposed to imagine how he feels painting outside in these extreme conditions. | 作为观众,我认为我们应该想象 他如何感受外面的绘画 在这种极端的条件下。 |
| 112 | But also how he is connected to the landscape both physically and emotionally. | 但是他是如何在身体上和情感上与风景相联的。 |
| 113 | If you'd like to find out more about art history, click here or here and subscribe to our channel. | 如果您想了解更多艺术史,请点击这里或这里并订阅我们的频道. |
| 114 | Thank you so much for watching and see you again next time. | 非常感谢你下次再来看你 |
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