Frescos托福聽(tīng)力原文翻譯及問(wèn)題答案

Frescos托福聽(tīng)力原文翻譯及問(wèn)題答案

一、Frescos托福聽(tīng)力原文：

Narrator:Listen to part of a lecture in an art history class.The professor has been discussing the Italian Renaissance.MALE PROFESSOR:In our discussion of Italian Renaissance paintings from the 1400s and early 1500s,we've looked at some masterpieces on canvas and on wood...but our discussion will be grossly incomplete without talking about frescos.Frescos are basically paintings done on the interiors of buildings,on walls and ceilings.They weren't invented during the Renaissance.If you remember we looked briefly at frescos paintings way back in our discussion of ancient Romans and ancient Roman art a few weeks ago.But it was much later,during the Renaissance,that the term"fresco"was commonly used.It's an Italian word that means,literally,"fresh."And...well...to explain that,we have to get specific about technique.

Back then,most buildings had stone and brick walls with highly irregular surfaces.They weren't smooth.Also,the walls weren't completely waterproof.Moisture could seep in.Buildings were often damp.There was no way to really control humidity inside buildings in those days.So,because frescos are done inside buildings on walls,well,the walls needed to be prepared before work could begin.

So,for example,sometimes thin reed mats were stuck onto the walls...so these thin,reed mats would be—like an additional layer...between the original part of the wall and the frescoes—the painted part of the walls that were done over them.The reed mats could smooth out the surface of a rough wall or could also provide that all-important protection from moisture or do both.So it was the wall,then the mats,then plaster on top of the mats,then the fresco painted onto the plaster.

Other times,though,plaster was applied directly to the walls,a thick layer of plaster,to fill in spaces between the bricks,to smooth out the wall surface for painting the fresco.You see...Plaster is a whitish kind of paste—a mixture of lime,water,and sand...After you spread plaster on a surface,it'll harden,like cement does.But as I said,"fresco"means"fresh,"And that's because to create a fresco,the paint has to be applied very soon after the plaster has been spread over a surface,right on to the wet fresh plaster.By doing this,the painting actually becomes part of the plaster.Finishing a painting before the plaster dry was a real challenge for fresco painters.The technique of creating frescos was developed overtime and eventually perfected during the Renaissance,a time when immense buildings were being erected as symbols of wealth and power,very large buildings,which people wanted decorated on the inside as well as the outside.The owners of these grand buildings wanted to decorate the walls to reflect their own affluence and prestige.Now,few people would argue with the greatness of artists from that period—Michelangelo...Raphael...But there is this popular mental image people have of an artistic genius producing a masterpiece in total solitude.Well,that idea is fine for canvas painting or other small works,but a practical reality of fresco painting in the Renaissance was collaboration.The sheer dimensions of the surfaces involved,plus the physical properties of the plaster,meant it was inevitable that Renaissance artists would rely on assistants,apprentices they were called,to help create their masterpieces.Artists had to plan the work carefully....divide it into several days.Each day was a repetition of the same technical process.Apprentices mix paints,prepare the plaster...spread it on one section of the wall or ceiling,then finally paint on the wet plaster.This had to be done within a few hours before the plaster dried.So they go through that whole process in one day on one section.The next day they'd move on and do it again,on an adjacent part.So,any fresco commissioned to an artist was,for practical reasons,commissioned to a whole team.

Now,I am not saying a genius like Michelangelo lacked the skill to paint the enormous ceiling of The Sistine Chapel by himself,but he probably would have had to live until he was 200 years old to finish the ceiling's frescos like that without anyone's help!So although we aren't sure exactly how many people took an active role in actually painting the ceiling,we can see areas which are really inferior to Michelangelo's work...that must have been painted by his apprentices.

二、Frescos托福聽(tīng)力中文翻譯：

旁白：在藝術(shù)史課上聽(tīng)一部分講座。這位教授一直在討論意大利的文藝復(fù)興。男教授：在我們討論14世紀(jì)和15世紀(jì)初意大利文藝復(fù)興時(shí)期的繪畫時(shí)，我們看到了一些畫布和木頭上的杰作……但如果不討論壁畫，我們的討論將非常不完整。壁畫基本上是在建筑物內(nèi)部、墻壁和天花板上進(jìn)行的繪畫。它們不是文藝復(fù)興時(shí)期發(fā)明的。如果你還記得的話，我們?cè)趲字芮坝懻摴帕_馬和古羅馬藝術(shù)時(shí)簡(jiǎn)要地看了壁畫。但直到文藝復(fù)興時(shí)期，“壁畫”一詞才被廣泛使用。這是一個(gè)意大利語(yǔ)單詞，字面意思是“新鮮”。為了解釋這一點(diǎn)，我們必須對(duì)這一技術(shù)有具體的了解。

當(dāng)時(shí)，大多數(shù)建筑都有石頭和磚墻，表面高度不規(guī)則。他們并不順利。此外，墻壁也不是完全防水的。水分可能滲入。建筑物經(jīng)常潮濕。當(dāng)時(shí)沒(méi)有辦法真正控制建筑物內(nèi)部的濕度。所以，因?yàn)楸诋嬍窃诮ㄖ飪?nèi)部的墻上完成的，所以，在開(kāi)始工作之前，墻壁需要準(zhǔn)備好。

例如，有時(shí)薄的蘆葦墊粘在墻上…所以這些薄的蘆墊就像是一個(gè)附加層…在墻壁的原始部分和壁畫之間，墻壁的涂漆部分在上面完成。蘆葦墊可以平滑粗糙墻壁的表面，也可以提供非常重要的防潮保護(hù)，或者兩者兼而有之。所以是墻，然后是墊子，然后是在墊子上的石膏，然后是涂在石膏上的壁畫。

然而，其他時(shí)候，灰泥被直接涂在墻上，一層厚厚的灰泥，用來(lái)填充磚塊之間的空隙，使墻面光滑，以便繪制壁畫。你看…石膏是一種白色的糊狀物-石灰、水和沙子的混合物…當(dāng)你在表面上涂抹石膏后，它會(huì)變硬，就像水泥一樣。但正如我所說(shuō)，“濕壁畫”的意思是“新鮮的”，這是因?yàn)橐獎(jiǎng)?chuàng)作濕壁畫，必須在灰泥鋪在表面后很快涂上油漆，就在濕的新鮮灰泥上。通過(guò)這樣做，繪畫實(shí)際上成為石膏的一部分。在石膏干燥前完成一幅畫對(duì)壁畫畫家來(lái)說(shuō)是一個(gè)真正的挑戰(zhàn)。創(chuàng)作壁畫的技術(shù)隨著時(shí)間的推移不斷發(fā)展，并最終在文藝復(fù)興時(shí)期得到完善。文藝復(fù)興時(shí)期，巨大的建筑被樹(shù)立為財(cái)富和權(quán)力的象征，非常大的建筑，人們希望在內(nèi)部和外部進(jìn)行裝飾。這些宏偉建筑的業(yè)主希望裝飾墻壁，以反映他們自己的富裕和聲望。現(xiàn)在，很少有人會(huì)對(duì)那個(gè)時(shí)期的藝術(shù)家米開(kāi)朗基羅…拉斐爾…的偉大提出質(zhì)疑，但人們?cè)谀X海中普遍認(rèn)為，一位藝術(shù)天才在完全孤獨(dú)的環(huán)境中創(chuàng)作了一部杰作。這個(gè)想法對(duì)于油畫或其他小作品來(lái)說(shuō)很好，但文藝復(fù)興時(shí)期壁畫的一個(gè)現(xiàn)實(shí)是合作。所涉及的表面的純粹尺寸，加上石膏的物理性質(zhì)，意味著文藝復(fù)興時(shí)期的藝術(shù)家不可避免地會(huì)依賴助手，即他們被稱為學(xué)徒的人來(lái)幫助創(chuàng)作他們的杰作。藝術(shù)家們必須仔細(xì)規(guī)劃作品……將其分為幾天。每一天都是相同技術(shù)過(guò)程的重復(fù)。學(xué)徒們混合顏料，準(zhǔn)備灰泥…將其涂在墻壁或天花板的一部分上，最后在濕灰泥上涂漆。這必須在石膏干燥前幾個(gè)小時(shí)內(nèi)完成。所以他們?cè)谝惶斓臅r(shí)間里，在一個(gè)部分完成了整個(gè)過(guò)程。第二天，他們會(huì)繼續(xù)前進(jìn)，在相鄰的地方再做一次。因此，出于實(shí)際原因，任何委托給藝術(shù)家的壁畫都是委托給整個(gè)團(tuán)隊(duì)的。

現(xiàn)在，我并不是說(shuō)像米開(kāi)朗基羅這樣的天才缺乏獨(dú)自繪制西斯廷教堂巨大天花板的技能，但如果沒(méi)有任何人的幫助，他可能不得不活到200歲才能完成天花板上的壁畫！因此，雖然我們不確定到底有多少人積極參與了天花板的繪畫，但我們可以看到一些地方確實(shí)不如米開(kāi)朗基羅的作品……這些作品一定是他的徒弟畫的。

三、Frescos托福聽(tīng)力問(wèn)題：

Q1:1.What does the professor mainly discuss?

A.What inspired the main themes of Renaissance frescoes

B.Techniques used in the creation of Renaissance frescoes

C.How Renaissance painters restored ancient frescoes that were deteriorating

D.Different techniques for painting on indoor and outdoor surfaces

Q2:2.Why does the professor mention the ancient Romans?

A.To explain that they did not paint the walls and ceilings of buildings

B.To point out that they first made the term"fresco"popular

C.To make the point that frescoes were created before the Renaissance

D.To introduce an important difference between ancient art and Renaissance art

Q3:3.According to the professor,what were two purposes of the reed mats?[Click on 2 answers.]

A.To provide a comfortable area for artists to stand on while painting

B.To prevent moisture from damaging frescoes

C.To cover and protect frescoes during the cold season

D.To create a smooth surface for the application of plaster

Q4:4.What point does the professor emphasize about buildings from the Italian Renaissance?

A.They were large in order to indicate wealth.

B.They were designed by teams of engineers.

C.Most of them were built with very smooth walls.

D.Very few of them were decorated on the inside.

Q5:5.What does the professor imply about the idea that artistic geniuses worked in solitude?

A.It has been gaining support among today's scholars.

B.It is accurate for Michelangelo,but not for Raphael.

C.It is accurate for Renaissance artists,but not for today's artists.

D.It does not apply to artists working on frescoes.

Q6:6.What does the professor imply about the process of creating frescoes?

A.Some frescoes took hundreds of years to complete.

B.Many frescoes were created entirely by apprentices.

C.Apprentices worked independently of one another on different sections of a wall at the same time.

D.One section of a fresco was completed before the next section was begun.

四、Frescos托福聽(tīng)力答案：

A1:正確答案：B

A2:正確答案：C

A3:正確答案：BD

A4:正確答案：A

A5:正確答案：D

A6:正確答案：D

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