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建筑彩绘vi设计（建筑彩绘）

发布时间：2023-04-25 09:54:25 稿源：创意岭阅读： 108

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本文目录:

一篇关于哥特建筑的中英文对照资料（5000字左右，几篇组成也行），还有追分
美术专业可以找什么工作

建筑彩绘vi设计（建筑彩绘）

一篇关于哥特建筑的中英文对照资料（5000字左右，几篇组成也行），还有追分

【点评】公元1194年，沙特尔大教堂的建筑大师提出了新的建筑思想，对十三世纪所有的伟大建筑起到了启发作用。因为没有图库，它的立视图分为三层（应该明示三层间的关系），并且屋顶分为了四个部分，减少了相互间的交互支撑。从建筑的外部来看，通过放弃在十字形耳堂上建造五座塔的原设计方案，使教堂的建筑发生了一个新的变化。
【点评】位于肯特郡的迪尔城堡是一座著名的沿海防御堡垒建筑群，由亨利八世（Henry VIII）建于公元1539年。该建筑群专为炮兵设计，中央是一个圆柱形的大本营，外部是一圈半圆形的炮塔。整个建筑物外部是一条壕沟，与堡垒融为一体。
【点评】位于威尼斯的总督宫的正面建于公元1309至1424年，由Giovanni和Bartolomeo Buon设计。总督宫始建于公元9世纪，历经数次重建，于文艺复兴时期完工。它组成威尼斯伟大的城市规划方案的一部分，城市规划经历了连续几个世纪才最后完成。建筑物的正面总长近152米（500英尺），在较低的两层有开阔的拱廊，第三层在16世纪的一场大火后进行了重建，扩建超过了拱廊的高度。建筑物的上层贴有白色或者玫瑰色的大理石、同一华丽的窗户以及东方脊饰的花边似的城齿墙。
【点评】位于伯克利的基督教科学派第一教堂就好像同许多梅贝克（Maybeck）的作品一样已经被大火烧毁了，他从未获得过美国建筑师协会的金奖。没有其他的建筑能把他富有想象力的建筑天赋表现得如此完美！他对国内建筑设计的贡献是显著的，并且他在建筑教育领域取得的成就也是引人注目的。但是就是空间、结构、颜色和光线立刻获得了世俗的专业评论员的赞美。教堂于1910年设计，当时梅贝克48岁，它是梅贝克最有成效时期设计思想的生动体现。
只有天才和坚定不移的建筑大师才能把通常工厂中使用的材料与实用的建筑处理得如此恰当，与整个建筑和谐地统一起来。
建筑风格：法国哥特式描述：镀金、镶宝石的内部装饰，加油拱顶减少窗花格。该建筑为路易斯国王而建造
【点评】国王学院礼拜堂的空旷并不足为奇，从它开放、矩形的内部空间就能够看出。至今，这座狭窄、宏伟和长长的礼拜堂在建筑史上是伟大的建筑之一。该建筑能辐射出光线，其四面墙壁的每一面上约有2/3的区域安装有彩色玻璃，几乎填满了扶壁间的所有空间。玻璃虽然没有中世纪的华美但是明亮，且有透亮或者不透明的窗格衬托。除了西部的窗户于1879年设计之外，玻璃的年代追溯到1517至1547年，且出自德裔佛兰德艺术家之手。
【点评】罗马式的中殿源自公元1122至1135年，哥特式的高坛始于公元1450至1521年。
【点评】巴黎圣母院在法国哥特式建筑的发展史上具有开拓性的意义。它高达110英尺，是第一座真正纪念碑规模的大教堂。紧凑的十字形平面、六肋拱穹、高耸的扶壁以及超大型的窗户成为后来法国大教堂的原型。
【点评】新圣母玛利亚教堂设计于十五世纪五十年代，它的正面使得这座中世纪教堂的外部更加完美。因为它的尺寸互成八度音阶的1:2的比例，人们都把它描述成为一座伟大的文艺复兴时期建筑的典型。在中世纪意大利式建筑外部的大理石面板能产生出犹如马赛克一样的离散色斑效果，而在这里产生了一种比较有韵律的、几何统一的感觉。
【点评】索尔兹伯里大教堂完全根据一个基本的设计进行建造，它是英国哥特式教堂很少有的典范。教堂的内层明显地划分为及格水平带，广泛使用波白克大理石创造鲜明的色彩搭配。
【点评】教堂由英王爱德华一世于公元1045年左右开始修建，他扩大了诺曼底人的影响力，巩固了大英帝国的地位。今天，教堂仍然作为崇拜的活动场所。
Gothic Architecture
The term Gothic was first used during the later Renaissance, and as a term of contempt. Says Vasari, "Then arose new architects who after the manner of their barbarous nations erected buildings in that style which we call Gothic", while Evelyn but expresses the mental attitude of his own time when he writes, "The ancient Greek and Roman architecture answered all the perfections required in a faultless and accomplished building" -- but the Goths and Vandals destroyed these and "introduced in their stead a certain fantastical and licentious manner of building: congestions of heavy, dark, melancholy, monkish piles, without any just proportion, use or beauty." For the first time, an attempt was made to destroy an instinctive and, so far as Europe was concerned, an almost universal form of art, and to substitute in its place another built up by artificial rules and premeditated theories; it was necessary, therefore, that the ground should be cleared of a once luxuriant growth that still showed signs of vitality, and to effect this the schools of Vignola, Palladio, and Wren were compelled to throw scorn on the art they were determined to discredit. As ignorant of the true habitat of the style as they were of its nature, the Italians of the Renaissance called it the "maniera Tedesca", and since to them the word Goth implied the perfection of barbarism, it is but natural that they should have applied it to a style they desired to destroy. The style ceased, for the particular type of civilization it expressed had come to an end; but the name remained, and when, early in the nineteenth century, the beginnings of a new epoch brought new apologists, the old title was taken over as the only one available, and since then constant efforts have been made to define it more exactly, to give it a new significance, or to substitute in its place a term more expressive of the idea to be conveyed.
The word itself, in its present application, is repugnant to any sense of exact thought; ethnically, the art so described is immediately Franco-Norman in its origins, and between the Arian Goths, on the one hand, and the Catholic Franks and Normans. on the other, lies a racial, religious, and chronological gulf. With the conquest of Italy and Sicily by Justinian (535-553) "the race and name of Ostrogoths perished for ever" (Bryce, "The Holy Roman Empire", III, 29) five centuries before the beginnings of the art that bears their name. Modern scholarship seeks deeper even than racial tendencies for the root impulses of art in any of its forms, and apart from the desirable correction of an historical anachronism it is felt that medieval art (of which Gothic architecture is but one category), since it owes its existence to influences and tendencies stronger than those of blood, demands a name that shall be exact and significant, and indicative of the more just estimation in which it now is held.
But little success has followed any of the attempts at definition. The effort has produced such varying results as the epithets of Vasari and Evelyn, the nebulous or sentimental paraphrases of the early nineteenth century romanticists, the narrow archeological definitions of De Caumont, and the rigid formalities of the more learned logicians and structural specialists, such as MM. Viollet le Duc, Anthyme St-Paul, and Enlart, and Professor Moore. The only scientific attempt is that of which the first was the originator, the last the most scholarly and exact exponent. Concisely stated, the contention of this school is that
the whole scheme of the building is determined by, and its whole strength is made to reside in a finely organized and frankly confessed framework rather than in walls. This framework, made up of piers, arches and buttresses, is freed from every unnecessary incumbrance of wall and is rendered as light in all its parts as is compatible with strength -- the stability of the building depending not upon inert massiveness, except in the outermost abutment of active parts whose opposing forces neutralize each other and produce a perfect equilibrium. It is thus a system of balanced thrusts in contradistinction to the ancient system of inert stability. Gothic architecture is such a system carried out in a finely artistic spirit (Charles H. Moore, "Development and Character of Gothic Architecture", I, 8).
This is an admirable statement of the fundamental structural element in Gothic architecture, but, carried away by enthusiasm for the crowning achievement of the human intellect in the domain of construction, those who have most clearly demonstrated its pre- eminence have usually fallen into the error of declaring this one quality to be the touchstone of Gothic architecture, minimizing the importance of all æsthetic considerations, and so denying the name of Gothic to everything where the system of balanced thrusts, ribbed vaulting, and concentrated loads did not consistently appear. Even Professor Moore himself says, "Wherever a framework maintained on the principle of thrust and counter-thrust is wanting, we have not Gothic" (Moore, op. cit., I, 8). The result is that all the medieval architects of Western Europe, with the exception of that produced during the space of a century and a half, and chiefly within the limits of the old Royal Domain of France, is denied the title of Gothic. Of the whole body of English architecture produced between 1066 and 1528 it is said, "The English claim to any share in the original development of Gothic, or to the consideration of the pointed architecture of the Island as properly Gothic at all, must be abandoned" (Moore, op. cit., Preface to first ed., 8), and the same is said of the contemporary architecture of Germany, Italy, and Spain. Logically applied this rule would exclude also all the timber-roofed churches and the civil and military structures erected in France contemporaneously with the cathedrals and (though this point is not pressed) even the west fronts of such admittedly Gothic edifices as the cathedrals of Paris, Amiens, and Reims. As one commentator on Gothic architecture has said, "A definition so restricted carries with it its own condemnations" (Francis Bond, "Gothic Architecture in England", I, 10).
A still greater argument against the acceptance of this structural definition lies in the fact that while, as Professor Moore declares, "the Gothic monument, thought wonderful as a structural organism, is even more wonderful as a work of art" (op. cit., V, 190), this great artistic element, which for more than three centuries was predominant throughout the greater part of Western Europe, existed quite independently of the supreme structural system, and varies only in minor details of racial bias and of presentation, whether it is found in France or Normandy, Spain or Italy, Germany, Flanders, or Great Britain -- this, which is in itself the manifestation of the underlying impulses and the actual accomplishments of the era it connotes, is treated as an accessory to a structural evolution, and is left without a name except the perfunctory title of "Pointed", which is even less descriptive than the word Gothic itself.
The structural definition has failed of general acceptance, for the temper of the time is increasingly impatient of materialistic definitions, and there is a demand for broader interpretations that shall take cognizance of underlying impulses rather than of material manifestations. The fact is recognized that around and beyond the structural aspects of Gothic architecture lie other qualities of equal importance and greater comprehensiveness, and, if the word is still to be used in the general sense in which it always has been employed, viz., as denoting the definite architectural expression of certain peoples acting under definite impulses and within definite limitations of time, a completely evolved structural principle cannot be used as the sole test of orthodoxy, if it excludes the great body of work executed within that period, and which in all other respects has complete uniformity and a consistent significance.
It may be said of Gothic architecture that it is an impulse and a tendency rather than a perfectly rounded accomplishment; aesthetically, it never achieved perfection in any given monument, or group of monuments, nor were its possibilities ever fully worked out except in the category of structural science. Here alone, finality was achieved by the cathedral-builders of the Ile-de-France, but this fact cannot give to their work exclusive claim to the name of Gothic. The art of any given time is the expression of certain racial qualifications modified by inheritance, tradition, and environment, and working themselves out under the control of religious and secular impulses. When these elements are sound and vital, combined in the right proportions, and operating for a sufficient length of time, the result is a definite style in some one or more of the arts. Such a style is Gothic architecture, and it is to this style, regarded in its most inclusive aspect, that the term Gothic is applied by general consent, and in this sense the word is used here.
Gothic architecture and Gothic art are the æsthetic expression of that epoch of European history when paganism had been extinguished, the traditions of classical civilization destroyed, the hordes of barbarian invaders beaten back, or Christianized and assimilated; and when the Catholic Church had established itself not only as the sole spiritual power, supreme and almost unquestioned in authority, but also as the arbiter of the destinies of sovereigns and of peoples. During the first five centuries of the Christian Era the Church had been fighting for life, first against a dying imperialism, then against barbarian invasions. The removal of the temporal authority to Constantinople had continued the traditions of civilization where Greek, Roman, and Asiatic elements were fused in a curious alembic one result of which was an architectural style that later, and modified by many peoples, was to serve as the foundation-stone of the Catholic architecture of the West. Here, in the meantime, the condition had become one of complete chaos, but the end of the Dark Ages was at hand, and during the entire period of the sixth century events were occurring which could only have issue in the redemption of the West. The part played in the development of this new civilization by the Order of St. Benedict and by Pope St. Gregory the Great cannot be over estimated: through the former the Catholic Faith became a more living and personal attribute of the people, and began as well to force its way across the frontiers of barbarism, while by its means the long-lost ideals of law and order were in a measure re-established. As for St. Gregory the Great, he may almost be considered the foundation-stone of the new epoch. The redemption of Europe was completed during the four centuries following his death, and largely at the hands of the monks of Cluny and Pope St. Gregory VII (1073-1085), who freed the Church from secular dominion. With the twelfth century were to come the Cistercian reformation, the revivifying and purification of the episcopate and the secular clergy by the canons regular, the development of the great schools founded in the preceding century, the communes, the military orders, and the Crusades; while the thirteenth century, with the aid of Pope Innocent III, Philip Augustus, St. Louis, and the Franciscans and Dominicans, was to raise to the highest point of achievement the spiritual and material potentialities developed in the immediate past.
This is the epoch of Gothic architecture. As we analyse the agencies that together were to make possible a civilization that could blossom only in some pre-eminent art, we find that they fall into certain definite categories. Ethnically the northern blood of the Lombards, Franks, and Norsemen was to furnish the physical vitality of the new epoch. Political the Holy Roman Empire, the Capetian sovereigns of the Franks, and the Dukes of Normandy were to restore that sense of nationality without which creative civilization is impossible, while the papacy, working through the irresistible influence of the monastic orders gave the underlying impulse. Normandy in the eleventh century was simply Cluny in action, and during this period the structural elements in Gothic architecture were brought into being. The twelfth century was that of the Cistercians, Carthusians, and Augustinians, the former infusing into all Europe a religious enthusiasm that clamoured for artistic expression, while by their antagonism to the over-rich art of the elder Benedictines, they turned attention from decoration to plan and form, and construction. The Cluniac and the Cistercian reforms through their own members and the other orders which they brought into being were the mobile and efficient arm of a reforming papacy, and from the day on which St. Benedict promulgated his rule, they became a visible manifestation of law and order. With the thirteenth century, the episcopate and the secular clergy joined in the labour of adequately expressing a united and unquestioned religious faith, and we may say, therefore, that the civilization of the Middle Ages was what the Catholic Faith organized and invincible had made it. We may, therefore, with good reason, substitute for the undescriptive title "Gothic" the name "The Catholic Style" as being exact and reasonably inclusive.
The beginnings of the art that signalized the triumph of Catholic Christianity are to be found in Normandy. Certain elements may be traced back to the Carolingian builders, the Lombards in Italy and the Copts and Syrians of the fourth century, and so to the Greeks of Byzantium. They are but elements however, germs that did not develop until infused with the red blood of the Norsemen and quickened by the spirit of the Cluniac reform. The style developed in Normandy during the eleventh century contained the major part of these elemental norms, which were to be still further fused and co-ordinated by the Franks, raised to final perfection, and transfigured by a spirit which was that of the entire medieval world. Marvellous as was this achievement, that of the Normans was even more remarkable, for in the style they handed on to the Franks was inherent every essential potentiality. At this moment Normandy was the focus of northern vitality and almost, for the moment, the religious centre of Europe. The founding of monasteries was very like a mania and the result a remarkable revival of learning; the Abbeys of Bec, Fécamps, and Jumièges became famous throughout all Europe, drawing to themselves students from every part of the continent; even Cluny herself had in this to take second place. It was a very vigorous and a very widespread civilization, and architectural expression became imperative. Convinced that
she was playing a part and a leading part in the civilization of Europe . . . Normandy perceived and imitated the architectural progress of nations even far removed from her own borders. At this time there was no other country in Europe that for architectural attainment could compare with Lombardy. Therefore it was to Lombardy that the Normans turned for inspiration for their own buildings. They adopted what was vital in the Lombard style, combined this with what they had already learned from their French neighbours, and added besides a large element of their own national character (Arthur Kingsley Porter, "Mediaeval Architecture", VI, 243, 244).

美术专业可以找什么工作

1、中国画专业/就业去向：

本专业学生毕业后可以到文化艺术创作单位、设计部门、出版、高等院校及科研机构等从事创作、研究和教学工作。也可以进一步攻读相关专业的硕士学位。

2、油画/就业去向：

美术创作部门从事油画、壁画、宣传画创作工作，在各级美术院校从事教学工作，在各级艺术馆、展览馆、文化馆(站)从事美术创作和辅导工作，在出版社、报刊杂志社从事美术编辑工作，也可以在有关部门、厂矿企业从事有关宣传工作。

3、版画/就业去向：

进入各种文化艺术领域宣传教育、设计研究出版管理单位从事美术教学创作研究出版管理等方面工作及策划制作的高级专门人才也可以继续攻读硕士学位。

4、壁画/就业去向：

在城建、园林、艺术创作部门从事壁画的设计、创作工作，在各级美术院校从事本专业的教学工作，艺术馆、展览馆、文化馆(站)的美术创作、宣传和辅导工作，也可在其他部门、单位从事有关宣传工作。

5、雕塑/就业去向：

雕塑专业毕业生适合在建筑公司、装饰公司、设计公司、雕塑设计院及其他企、事业单位从事雕塑设计、装饰品设计及相关的教育、管理等工作。

6、美术学/就业去向：