登陆注册
46928700000081

第81章 ARCHITECTURE建筑(4)

You know how people,when they go abroad,bring home souvenirs.Well,nations have done the same thing.They have carried away many of the obelisks in Egypt and taken them to their own countries.Sometimes these souvenirs have been given,sometimes they have been bought,sometimes they have been stolen.We have one in Central Park,New York,and there is another in London on the bank of the river Thames.These two obelisks are called “Cleopatra’s Needles,”though they were made long before the Queen of Egypt named Cleopatra lived and they look more like giant pencils than needles.One is in Paris in the center of a beautiful square.There are many in Rome.

【中文阅读】

我们大家肯定都在某个时候盖过房子吧。有的用卡片叠房子,一吹就倒了。有的用书堆房子,或用积木搭房子,还有的可能曾在自家的后院里支过简陋的小木屋。

每一座房子必定都有屋顶和墙壁。如果你把两块积木或卡片斜靠在一起,就会使墙壁形成屋顶,屋顶构成墙壁。这可是最简易的方式——它的侧面既是屋顶也是墙壁,就像帐篷或棚屋一样。金字塔的侧面既是墙壁也是屋顶,具有帐篷的某种形状。但金字塔除了内部的几个小屋外,它的建构是坚固的。

我说过,世界上最古老的建筑是坟墓。而第二古老的建筑却是神庙——人们为他们的神所建造的房屋。下面的插图我们认为是一座神庙的遗址。也许它从来就没有屋顶,但几根石头横梁仍遗留在原地。它被称作史前巨石柱。它不在埃及,而在英国。看了图后你会发现,傲立的巨石依然表明神庙的建造方式——与金字塔有所不同。它却是把一块石头横放在两块竖立的石头之上。这是第二种建筑方式。

史前巨石柱建筑遗址看起来很像是小孩子用积木搭建的房屋——两块积木笔直地立着,上面横放着另一块。但这些不是积木,而是坚硬的岩石,大岩石有人的好几倍大呢!史前巨石柱或许是在一块圈出来做圣地的空地上建成的。古人来到此地祭拜太阳神。那可是早在基督和基督教诞生之前的事。我们把建造史前巨石柱的人称作德鲁伊特。

在埃及有一座规模最大,年代最久的神庙,那就是卡尔纳克神庙。这座神庙有一部分是由拉美西斯大王所建。这位法老曾下令杀死在埃及境内所有的以色列小孩。这座神庙现在已成废墟,同时也是世界上最美观的废墟之一。也许你并不认为一片废墟能有什么美观。通常,支离破碎的房屋同一个缺胳膊少腿的人一样,是不美的。你凭什么说卡尔纳克神庙美观呢?我认识一个人,他专门在自家后院搭建废墟。这当然太荒谬了。

卡尔纳克神庙曾经支撑屋顶的主圆柱差不多有七十英尺高(相当于普通人身高的十二倍),十二英尺宽(相当于普通人横躺时高度的两倍)。这些柱子的造型或像一朵莲花,或像一簇莲花。莲花就是生长在尼罗河里的睡莲。

埃及还有其他神庙。尽管这些神庙的规模较小,但它们的建法却大致相同。首先是通往神庙的斯芬克斯大道,然后是两座方尖碑。方尖碑是一块高耸笔直的大石头,顶端很尖,据说它代表一束日光。

走过方尖碑,便是神庙的入口。入口的两侧是由两座巨型的塔建成,这种塔被称作桥塔。桥塔的墙壁向塔内倾斜。越往高处,倾斜得越厉害,就像金字塔的造型。据说,古代的占星家——即根据星象的变化预测未来的人——常常爬上塔顶,“研读星象”。桥塔正面的岩石上还刻有许多人面像。

跨进入口便是一个由高墙围住的庭院。往前是一个立柱大厅,叫做多柱厅。再往前就是神庙最神圣的地方,乃神像的供奉处。一般人都知道,出国旅游的人都要带纪念品回国。同样道理,国家之间出访也会这样做。各个国家都从埃及把方尖碑运出来,搬进自己的国家。有些是人家当作纪念品赠送的,有些是花钱买的,也有是从埃及偷出来的。美国纽约的中央公园里有一座,英国伦敦的泰晤士河畔也有一座。这两座方尖碑被称作“克娄巴特拉针”。尽管它们早在埃及女王克娄巴特拉诞生之前就已经造成,但它们看起来更像是巨型铅笔而不像针。巴黎某个美丽的广场中心有一座,而罗马却有许多座。

MUD PIE PALACES AND TEMPLES

土饼宫殿和神庙

IN THE Bible,Chaldeans means the wise men and priests of what you and I call the Two River Country.They were men of Chaldea,which was one of the countries in the Two River Country along with Assyria and Babylonia.Assyria was a little farther north than Babylonia and Chaldea,but all three countries were very much alike and sometimes all three were under one king.

The Two River Country was watered by a network of canals between the Two Rivers and so was very fertile.The finest crops in all the world grew there and many large cities were built on the plains.Nowadays these plains are dry and desert-like,for the canals have not been taken care of and without water the crops fail to grow.On the plains one can now see big mounds or low hills where once the palaces and cities stood.These are all that is left of the handsome buildings of this ancient land,and they crumbled into dust because they were made of mud,as I told you once before.Imagine a king’s palace made of mud—mud baked in the sun like a mud pie!But you remember,do you not,that these Two River people covered their mud walls with glazed tiles and slabs of stone?The tiles were bright colored like bathroom tiles and the slabs of stone were carved in low relief so that even a mud palace became a handsome building.

But with only mud bricks the Two River builders were handicapped.They could not make mud-brick houses more than one story high.The houses would have tumbled down had they been higher.The walls were not strong enough to hold a second story.As a one-story house would not look very palace-like,when these people built a palace they first made a hill with a flat top or platform of dried mud and placed the palace on that.The palace then seemed much higher.

The sides of the platform were very steep—almost,if not quite,straight up and down.So to reach the top of the platform a slanting roadway called a ramp was built against its side.

As mud walls were so crumbly,the builders had to make their palace walls very,very thick.Some were as much as twenty feet thick.The sun was very hot in that part of the world and these thick walls helped to keep out the heat.Further to keep out the heat,the Two River people made their palaces without windows,so the rooms were lighted only by lamps.

We usually think of palace rooms as large and spacious,but the rooms in the Two River mud palaces were very small.They had to be because of the lack of stone and ofwooden beams long enough to stretch across a wide space.In a palace,however,the builders made up for the smallness of the rooms by having a great number.

The temples which the priests built were made of mud bricks,too,but the one single platform for a foundation was not enough,so they built several,one on top of another.This gave the effect of a terraced pyramid,as each platform was set back from the one below it.In New York and some other cities to-day,architects are again planning tall buildings in this ancient way—the stories stepped back,as we call it.

You remember the Bible story of the flood—how the Babylonians built a tower called the Tower of Babel so that in case of another flood the people could climb to the top and escape drowning?Well,the Tower of Babel was not built straight up and down.It was a stepped pyramid such as I have described.It was like a set of blocks of different sizes piled one on top of another,each one a little smaller than the one below.Each was reached from the other by a ramp.On the topmost and smallest platform was placed the temple or shrine for the idol.

同类推荐
  • 刘淳自选集

    刘淳自选集

    《刘淳自选集》是《中国当代艺术批评文库》中的一册,这套文库以《自选集》的形式收录了中国艺术批评领域大部分50后、60后批评家的作品,这些作品均是每位作者1990年代以来学术成果的菁华。这些文字在见证和记录中国当代艺术的成长史、梳理其发展脉络及未来趋势的同时,更直接指向的则是全面展现中国当代艺术批评的整体实绩。《刘淳自选集》分三个部分:艺术与时代、艺术与历史、艺术与批判。作者刘淳用饱有激情和穿透力的语言回顾了1990年代以来中国当代艺术的历史记忆与现实处境,并切中肯綮地指出艺术批评在当下面临的严峻挑战。《刘淳自选集》中收录的这些文章传达着刘淳作为一名批评家对中国当代艺术批评的历史和未来的深切关注,也有对诸多艺术现象的深入思考和研究。
  • 书房文玩把玩艺术

    书房文玩把玩艺术

    书房文玩,是书房用具的一个统称,也就是行内常说的“文房”。提起文房,大多数人第一个想起的通常都是所谓“文房四宝”(笔、墨、纸、砚)。其实,书房文玩的范围已经远远超越了这个范畴,其种类之繁多、材质之多样、造型之别致、情趣之迥异,如果真要一一加以列举,可谓是蔚为壮观。在本书中,读者不仅能够了解到书房文玩收藏的相关知识,而且能够体味到这些具体器物背后所蕴藏着的中国传统文化精髓。
  • 紫砂器投资收藏手册

    紫砂器投资收藏手册

    什么是真正的紫砂器?怎样鉴别不同时代的紫砂器?哪些紫砂器具有收藏价值?如何发掘具有投资潜力的紫砂作品?针对目前困扰着众多紫砂器爱好者的这些问题,本书作者结合自身三十佘年的紫砂器收藏经验,并以作品实例分析的方法作了详尽的阐述;书中的“收藏提示”更是紫砂器领域的收藏秘笈,精彩的作品点评则可引领读者明晰紫砂艺术的真谛。书中还辑录了各时代的名家名作,特别是介绍了一些极具潜质的当代中青年紫砂艺术家及其佳作,便于广大紫砂器爱好者发现新的投资收藏热点。
  • 国际艺术品贸易

    国际艺术品贸易

    经济全球化程度的日益深化加速了艺术品的跨国流通,艺术品贸易已经成为世界经济舞台上一个蓬勃发展的新兴领域,形成了一个全球性的巨大的艺术品市场。肇始于20世纪70年代欧美等国掀起的艺术品投资潮,促进了对艺术品贸易中法律问题的研究。本书采用历史分析的方法、比较法学的研究方法及实证分析的方法,绕以美国为代表的普通法系国家和以法国为代表的大陆法系国家的立法和司法实践对艺术品贸易中的法律问题,诸如进出口的法律规制、所有权问题、艺术品评估鉴定中的法律问题及国际艺术品贸易中的法律冲突与协调问题进行了较深入的研究,基本形成了一个国际艺术品贸易法律制度的研究框架。
  • 故事:材质、结构、风格和银幕剧作的原理

    故事:材质、结构、风格和银幕剧作的原理

    罗伯特·麦基被公认为世界银幕剧作教学第一大师。《故事:材质结构风格和银幕剧作的原理》是麦基第一次以书的形式揭示其屡获大奖的银幕剧作方法。本书不同于其他流行的讲述银幕剧作手法的著作,它所论及的是形式而不是公式。麦基以一百多部影片作为示例,向读者传授了一种银幕剧作的原理,它超越僵死的教条,发掘出名品佳作中那些使其卓越超群却又常常被人忽略的组成部分。
热门推荐
  • 异界御龙者传说

    异界御龙者传说

    他的出生是一个意外:一个血统无比高贵的男人在一个不恰当的时机,向不恰当的人身上播撒了那么一点点在别人眼中万分金贵的精子——他的老师是一个变态:他对长生不死和创造生命情有独衷,佣兵公会五百年来高居榜首的SSS级任务猎杀对象——他的家族是一个奇迹:拥有化身神圣凤凰的技能,千年的历史,令人垂涎的地位和权力——他的部下是一个传奇:那是过去不曾有过,以后也不会再出现的强悍而奇异的生物——他的伴侣是一个神话:一个只有在诸神时代的预言中才有的生物,一个貌似强大的存在——他的人生是一个传说:关于一个异界御龙者的传说……
  • 星辰玄尊

    星辰玄尊

    天生残脉,不甘命运;神秘星辰认主,太虚之体临降于身;凌风修武道,踏虚空;逆天改命,斩强敌;几多放纵,几许情殇,一世尽张狂;英雄仗剑行天下,豪情踏血染诸天。
  • 卷土重来之阴阳

    卷土重来之阴阳

    阴阳家何时消失、为何失而复回。灵异事件的开始,背后隐藏了怎样的秘密,迷雾下的森林是谁的手掌控一切、清纯的女孩受到挤压恐怖后的变化!谁才能笑到最后!
  • 我的老爸是首富

    我的老爸是首富

    追了九年的女神,为了钱心甘情愿当众给富二代轻薄。方宇本以为自己的人生跌落谷底,失踪多年的老爸却突然出现,告诉自己其实是首富的儿子……
  • 一场欢喜一场梦

    一场欢喜一场梦

    未遇见他之前,一切都是在重复昨天的生活罢了!遇见了他,仿复生命中的一束阳光,照亮了自己。
  • 华严经题法界观门颂注

    华严经题法界观门颂注

    本书为公版书,为不受著作权法限制的作家、艺术家及其它人士发布的作品,供广大读者阅读交流。
  • 发个红包去古代

    发个红包去古代

    历史系大三学生王磊,在夜里给昵称叫“古代”的微信好友发了个一分钱的红包,等到这个微信红包被拆开后,他立马就两眼一闭晕厥了过去。等到他再一次醒来的时候,却发现自己竟穿越到了一个不知今夕是何年的古代,开启了他成为一个古代人妙趣横生的穿越之旅!
  • 诸天之我是禁忌

    诸天之我是禁忌

    剑魔:你见证过数千个太阳的光芒吗?科斯特:毁灭所知的世界吧!………当英雄们同少年降临这个世界的时候会给这个世界带来怎样的惊喜呢?禁忌中的禁忌是良师?是大魔?还是智者?
  • 劫劫长存

    劫劫长存

    山海有道,师其者为传说。人文有道,师其者为神话。诸世皆起为微末,行于无穷,体于自然,成于无极,终于太上。故往今世书写,其名曰——『』。
  • 今天宿主也很古灵精怪

    今天宿主也很古灵精怪

    上面的小公主下来体验人生,刚刚从系统学校毕业的新手系统小糯米自告奋勇地带这个小祖宗。刚到第一个世界,小糯米就惊喜地发现:主系统,我家崽崽谈恋爱了!向来以严肃风靡整个学校的主系统脸不红心不跳:对不起,这是个祖宗,我管不了。