王海燕英语作业

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Hindu Art and Architecture
（07820110 王海燕） Hindu：n person, esp. of Indian,
whose religion is Hinduism
George Michelle
Preface
The art of Hinduism constitutes one of the world's great
traditions, as alive today as when the first images of Hindu gods were
fashioned out of the stone more than two thousand years ago. By no
means confined to the countries of South Asia, the area of its origin
and major phases of development ,Hindu temples and sculpted images are
found in Cambodia and Indonesia from the seventh century AD onwards
and, in more recent times, Malaysia and South Africa, and now even
Europe and the United States. It is , however, with India alone that
this book is concerned, with only occasional reference to the adjacent
countries of Pakistan and. Bangladesh and Nepal. Even so, it is
impossible to do justice to the wealth of Hindu monuments and works of
art that survive form the successive periods of Indian history in the
different regions of the country; only the most important monuments
are referred to here, and a painfully small selection has had to be
made from the profusion of stone and metal sculptures, murals and
miniature paintings. Onwards:adj directed or moving forward
Images：雕像
Fashioned：设计


Murals：壁画
Miniature:微型画

Profusion: in large quantities or abundances
Given these limitations, the book makes some claim to completeness
by adopting a broad chronological sweep, tracing the evolution of
Hindu art and architecture over some two millennia. The first chapter
establishes the required framework for the subject by outlining the
development of Hinduism and the principal iconic forms that were
devised for its pantheon of gods and goddesses; the symbolic basis for
Hindu religious architecture is many temples and the commissioning of
their attendant works of art. This is followed by a chapter that
examines the tentative beginnings of Hindu art in the period between
the second century BC and the second century AD. The next chapters
deal with consecutive phases,each of about the same time
lenghth,spanning the fifth to eighteenth centuries;they chart the
principal phase of Hindu temple architecture,sculpture and
painting ,focusing on the most significant examples. A shorter final
chapter on the nineteenth and twentieth centuries brings this survey
up to date.In order to impose a broad historical and regional
structure on this superabundance of materials,subsections covering
dynastic patrons are inserted into the chapters. Chronological:
arranged in the order in which they occurred
Iconic painting, carving, etc of a holy person, itself regarded as
sacred
Sweep：笼罩
Tentative:试探性的
Consecutive:adj coming one after the other without interruption;
following continuously
Pantheon：众神
Dynastic series of rulers all belonging to the same family
It may be worthwhile at the outset to comment on the traditional
chronological divisions of the subject into a sequence of
'ancient' .classical and 'medieval' phases, the last sometimes
extended as far as the nineteenth century. Such an obviously European--
derived terminology is not followed here because it gives a misleading
idea of the relationship between the successive stages of Hindu
architecture, sculpture and paint. Early Maturity and Culmination--are
intended to describe in a more convincing way the major art--historical
processes that determined Hindu architecture and sculpture between the
second century BC and the thirteenth century AD. As for the so--called
'Muslim' era of India art, spanning the twelfth to eighteenth
centuries, this is better understood from the Hindu point of views as
a temporary break in the tradition followed by a vigorous period of
revival; hence the chapter title used. Sequence:nset of
events,numbers,actions,etc with each following the one before
continuously or in a particular order
Terminology：术语



Vigorous:adj strong ,active,or energetic
No book on Hindu art and architecture can be written without
defining the boundaries of the subject; this is no easy task given the
confusing amalgam of beliefs and practices embraced by the term
'Hinduism'. Only the most narrow definition is adopted here, the
discussion being confined to shrines consecrated to Hindu cults, and
works of art portraying specifically Hindu divinities, semi--divine
personalities and narratives. There is, however, some acknowledgment
of the Buddhist legacy that affected early Hindu architecture and
sculpture, and a brief notice of the Jain artistic tradition that
coexisted and sometimes interacted with that of Hinduism. The
disadvantages of this approach are felt most keenly in the chapter
dealing with the fifteenth to eighteenth centuries. Where, sadly, it
has been necessary to exclude the palace architecture and secular
paintings of the Hindu courts. The only justification for these
omissions is that this is a book about Hindu art rather than Hindu
culture, even if the two are not readily distinguished.
Amalgam-1,alloy of mercury with another metal2 mixture or blend
Narratives;spoken or written
Account of events story

There already exists a wide--ranging scholarship for the subject by
both Indian and Western specialists. May of their studies focus on
particular periods or regions, while others are more concerned with
the iconic forms assumed by one or other deity. General surveys either
tackle the religious arts, including those of Hinduism, up to the
Muslim conquest in the twelfth--thirteenth centuries, or focus
exclusively on the arts of later centuries, including miniature
painting with Hindu themes. The scope of the present work is more
ambitions since it attempts to deal with all of these historical
phase, even thought the materials available vary considerably from one
period to another .This approach vary considerably from one period to
another. This approach has the advantage of demonstrating artistic
continuities down to the present day in the different regions of the
country; it also confirms the sustained visual potency of Hinduism,
obsessed as it by ritual and image worship. If the book communicates
anything of the of this tradition then the author will be very
pleased. He craves indulgence for compressing too much information in
too little space, and for succumbing to a plethora of Indian names and
terms; however, a glossary is provided at the end.



Potency：有性能力的

Obsessed：牵挂
Indulgence：勤奋
Succumbing：屈从

Compressing：压缩

Plethora:过量、过剩
Glossary：词汇表

Note to readers
Reading Indian spelling in Roman script is always a headache for any
author. The approach here to been to avoid the diacritical marks which
attempt to indicate the letters seed in the original but which may be
unhelpful to all but the initiate; 'sh' and 'ch' are used where
appropriate, to suggest the accrual pronunciation--'Shiva' and 'Chola',
for instance, not 'Siva' and 'Cola. Spellings of place names,
however ,conform to accepted norms in Roman script, even thought this
results in occasional inconsistencies; thus Srirangam, rather than
Shrirangam.



Script:textof play,film,broadcast,talk,etc
Dates are given according to the Christian era, thought obviously this
is not the system employed in Indian calendrical records. Calendrical:历
法
Cities and sites with Hindu monuments and works of art are located in
the present--day states of India or the adjacent countries, while
keeping in mind that these divisions do not always coincide with
ancient territorial boundaries. Territorial;adj of a
country'sterritory
（07820110 王海燕）
翻译 印度艺术与建筑
乔治 米歇尔
前沿
印度艺术是伟大的世界传统艺术之一，两千多年前雕刻出来的印度石头神像，自今仍栩栩如生。它的起源地区与重要发展阶段绝不仅限于南亚诸国，印度的神庙
和神像在十八世纪前就在柬埔寨和印度尼西亚被发现，近期甚至在马来西亚、南非、欧洲和美国也有印度神庙、神像的发现。然而此书仅仅关注印度的艺术与建
筑，偶尔提及印度的邻国如巴基斯坦、不丹和尼泊尔。去公正判断印度这个国家历史上不同地区遗留下来的建筑与艺术的价值是不可能的，因为本书仅提及重要的
建筑神庙，并且在此我们只能忍痛从大量的石头雕像与金属雕像、壁画和微型神像中选取了一小部分。
受这些限制，本书声明以广义的编年体例来做完整的阐述，追溯印度艺术两千多年的嬗变。第一章通过列出印度教的发展和主要圣像的形式来确立本书的主体框
架。印度宗教建筑的象征基础是许多神庙建筑和与之相关的绘画作品。第二章考察了印度艺术的发端（公元前2世纪--公元2世纪）。第三章描述了连续的艺术阶
段，每个阶段时间相同，时间跨度为5--18世纪，上述阶段囊括了印度神庙建筑、雕塑的主要内容，并聚集了精彩的个案。最后一小章考察了19世纪、20世
纪至今的印度艺术，为了增加这些材料的时空观，编者配置了一系列的插图。
传统的编年史的划分为："古代"、"古典"、和"中世纪"，这一划分是正确的，最后阶段延续到19世纪。 很明显，这里如果搬用欧洲人的术语，那就会产
生不同印度艺术阶段之间的误导。公元2-13世纪的早期成熟与高峰的艺术时期决定了印度的建筑与雕塑。（对此将用可信的方法去描述）。对于所谓的"穆斯
林"印度艺术，时间跨度是公元12世纪-18世纪。从印度教的视角看，把富有活力的复兴时期看作是对于传统的暂时中断将易于理解，正如本章标题。
每一本关于印度艺术与建筑的书都离不开对概念的说明。定义包含着复杂的信仰与惯例的"印度教"一词的概念是困难的，这里采用狭义的概念，探讨仅仅限于神
圣的印度教膜拜和 艺术作品及印度教诸神和半人半神 的偶像。然而一致认为佛教传说影响了早期的印度建筑与雕塑，此外，也简单关注健陀罗艺术传统与印度
教艺术的并存与影响，在对于15-18世纪这一章的论述中这种方法的缺陷是明显的，可惜的是在此把宫殿建筑与宫廷世俗绘画排除在外。虽然印度文化与印度
艺术是密不可分的，但书侧重于印度艺术而不是文化，所以对文化的省略是容许的。
印度和西方学者对印度艺术已有研究，这些研究是断代的与区域研究，有的学者进行了个案研究，总的研究要么集中于宗教艺术包括印度教艺术，12-13世纪
的印度穆斯林教，或者是关注于13世纪之后的艺术，这包括有关印度教主旨的微型绘画。此书视野广阔，包括历史的所有阶段，甚至不同阶段的材料应用也在研
究之内。对于不同时期研究方法也在变化，这种方法有利于展示从古到今不同地区艺术之间的连续性，也证明了印度教的视觉自足的能力，和对于神像与仪式的虔
诚。如果此书能给读者一些收获，不胜满意。著者通过勤奋的努力，在如此小的空间，传递了大量的信息，同时也采用了大量的印度名词与术语，该词汇表附
后。

[guoping feng]

我准备明天上课用这篇。请按照我们平时上课的课文呈现方式，把一些生词注释在英语文章的右边，然后附上翻译，发给张军，打印复印。另注意段与段之间空一行，英文原文再检查一下。

祝好。

冯国平