摘要：Sculpture, an artistic form in which hard or plastic materials are worked into three-dimensional art objects. The designs may be e
高效记单词：《新概念英语1词汇专练》
英汉双语阅读104：海底扩张是如何重塑世界海洋版图的？
一、生词准备
1. sculpture [ˈskʌlptʃə(r)] n. 雕塑；雕刻作品；雕刻术
2. plastic [ˈplæstɪk] adj. 可塑的；塑料的 n. 塑料；塑料制品
3. embody [ɪmˈbɒdi] v. 体现；使具体化
4. relief [rɪˈliːf] n. 浮雕；缓解；救济
5. tableaux [ˈtæbləʊz] n. 舞台造型；生动画面（tableau的复数形式）
6. envelop [ɪnˈveləp] v. 包围；覆盖
7. media [ˈmiːdiə] n. 媒介；材料（medium的复数形式，在文中指雕塑材料）；媒体
8. wrought [rɔːt] v. 锻造（wreak的过去式和过去分词形式）adj. 锻造的；精心制作的
9. circumscribe [ˈsɜːkəmskraɪb] v. 限制；在…… 周围画线
10. fluid [ˈfluːɪd] adj. 流动的；不稳定的；流畅的 n. 液体；流体
11. representation [ˌreprɪzenˈteɪʃn] n. 表现；描绘；代表
12. inanimate [ɪnˈænɪmət] adj. 无生命的；无生气的
13. utensil [juːˈtensl] n. 器具；用具
14. nonrepresentational [ˌnɒnreprɪzenˈteɪʃənl] adj. 非具象的；抽象的
15. voids [vɔɪdz] n. 空隙；空间；空虚
16. hollows [ˈhɒləʊz] n. 洞；山谷；窟窿
17. spatial [ˈspeɪʃl] adj. 空间的；与空间有关的
18. kinetic [kɪˈnetɪk] adj. 运动的；动力学的
19. immobility [ˌɪməˈbɪləti] n. 静止；固定；不动
20. immutability [ˌɪmjuːtəˈbɪləti] n. 不变性；永恒性
21. confine [kənˈfaɪn] v. 限制；禁闭
22. carve [ˈkɑːve] v. 雕刻
23. modeling [ˈmɒdlɪŋ] n. 塑造；建模；模特职业
24. ivory [ˈaɪvəri] n. 象牙；象牙色 adj. 象牙制的；象牙色的
25. abiding [əˈbaɪdɪŋ] adj. 持久的；始终不渝的 v. 忍受；遵守（abide的现在分词形式）
26. intimately [ˈɪntɪmətli] adv. 亲密地；紧密地；私下地
27. structural [ˈstrʌktʃərəl] adj. 结构的；建筑的
28. expressive [ɪkˈspresɪv] adj. 有表现力的；意味深长的
29. property [ˈprɒpəti] n. 特性；性能；财产
30. cultivated [ˈkʌltɪveɪtɪd] adj. 有教养的；栽培的
二、短文内容
Sculpture, an artistic form in which hard or plastic materials are worked into three-dimensional art objects. The designs may be embodied in freestanding objects, in reliefs on surfaces, or in environments ranging from tableaux to contexts that envelop the spectator. An enormous variety of media may be used, including clay, wax, stone, metal, fabric, glass, wood, plaster, rubber, and random “found” objects. Materials may be carved, modeled, molded, cast, wrought, welded, sewn, assembled, or otherwise shaped and combined.
Sculpture is not a fixed term that applies to a permanently circumscribed category of objects or sets of activities. It is, rather, the name of an art that grows and changes and is continually extending the range of its activities and evolving new kinds of objects. The scope of the term was much wider in the second half of the 20th century than it had been only two or three decades before, and in the fluid state of the visual arts in the 21st century nobody can predict what its future extensions are likely to be.
Certain features which in previous centuries were considered essential to the art of sculpture are not present in a great deal of modern sculpture and can no longer form part of its definition. One of the most important of these is representation. Before the 20th century, sculpture was considered a representational art, one that imitated forms in life, most often human figures but also inanimate objects, such as game, utensils, and books. Since the turn of the 20th century, however, sculpture has also included nonrepresentational forms. It has long been accepted that the forms of such functional three-dimensional objects as furniture, pots, and buildings may be expressive and beautiful without being in any way representational; but it was only in the 20th century that nonfunctional, nonrepresentational, three-dimensional works of art began to be produced.
Before the 20th century, sculpture was considered primarily an art of solid form, or mass. It is true that the negative elements of sculpture—the voids and hollows within and between its solid forms—have always been to some extent an integral part of its design, but their role was a secondary one. In a great deal of modern sculpture, however, the focus of attention has shifted, and the spatial aspects have become dominant. Spatial sculpture is now a generally accepted branch of the art of sculpture.
It was also taken for granted in the sculpture of the past that its components were of a constant shape and size and, with the exception of items such as Augustus Saint-Gaudens’s Diana (a monumental weather vane), did not move. With the recent development of kinetic sculpture, neither the immobility nor immutability of its form can any longer be considered essential to the art of sculpture.
Finally, sculpture since the 20th century has not been confined to the two traditional forming processes of carving and modeling or to such traditional natural materials as stone, metal, wood, ivory, bone, and clay. Because present-day sculptors use any materials and methods of manufacture that will serve their purposes, the art of sculpture can no longer be identified with any special materials or techniques.
Through all these changes, there is probably only one thing that has remained constant in the art of sculpture, and it is this that emerges as the central and abiding concern of sculptors: the art of sculpture is the branch of the visual arts that is especially concerned with the creation of form in three dimensions.
All human beings, intimately involved from birth with the world of three-dimensional form, learn something of its structural and expressive properties and develop emotional responses to them. This combination of understanding and sensitive response, often called a sense of form, can be cultivated and refined. It is to this sense of form that the art of sculpture primarily appeals.
三、短文注释
1. sculpture materials：雕塑材料。用于创作雕塑作品的各种物质，像黏土、蜡、石头、金属、织物、玻璃、木材、石膏、橡胶等，还有偶然找到的物品。
2. freestanding objects：独立式物体。不依赖其他支撑，能单独站立展示的雕塑作品，在空间中独立存在，有自己完整的形态。
3. reliefs on surfaces：表面浮雕。在平面上雕刻出凸起形象的雕塑形式，形象有一定厚度，依附于背景表面，可分为高浮雕和浅浮雕。
4. environments in sculpture：雕塑环境。雕塑所处的空间或情境，从简单的场景布置到能将观众包围其中的大型空间，会影响观众对雕塑的感受。
5. non-representational forms：非具象形式。不模仿现实生活中具体事物形态的雕塑形式，更注重表达艺术家的情感、观念和形式美感。
6. representational art：具象艺术。在20世纪前，雕塑被视为具象艺术，主要模仿生活中的各种形态，如人物、无生命物体等。
7. solid form in sculpture：雕塑中的实体形态。过去雕塑主要以实体形态为主，强调物体的质量感和体积感，如用石头雕刻出的人物身体部分。
8. negative elements in sculpture：雕塑中的负形元素。雕塑实体形态内部和之间的空隙、空洞等，虽以前作用次要，但在现代雕塑中有时会成为重要设计元素。
9. spatial aspects in sculpture：雕塑中的空间方面。现代雕塑关注的重点之一，包括雕塑自身占据的空间、与周围空间的关系以及对观众空间感受的影响。
10. spatial sculpture：空间雕塑。现代雕塑的一个分支，主要突出空间在雕塑创作和欣赏中的重要性，强调空间与实体的相互作用。
11. kinetic sculpture：动态雕塑。运用机械装置或自然力使雕塑能够运动的一种雕塑形式，打破了传统雕塑静止不动的特点。
12. traditional forming processes：传统塑造工艺。主要指雕刻和塑形，雕刻是通过去除材料来塑造形状，塑形则是通过添加或改变材料来塑造形状。
13. traditional natural materials：传统天然材料。过去雕塑常用的天然材料，如石头、金属、木材、象牙、骨头、黏土等，它们各有独特质感和特性。
14. modern sculpture materials：现代雕塑材料。现代雕塑家为达到创作目的，使用的任何材料，不再局限于传统材料，像各种新型合成材料等。
15. modern sculpture methods：现代雕塑方法。除传统方法外，现代雕塑家采用的焊接、缝制、组装等多种制作方法，以实现创新创作。
16. the scope of sculpture：雕塑的范畴。雕塑所涵盖的领域和范围，随着时间推移不断扩大，包括作品形式、材料、创作手法等方面的扩展。
17. the evolution of sculpture：雕塑的演变。雕塑在不同历史时期，在定义、表现形式、材料运用、创作理念等方面发生的变化和发展。
18. sense of form：形式感。人们对物体的结构和表现特性的理解以及由此产生的情感反应，经过培养可得到提升，是雕塑艺术吸引观众的重要因素。
19. three-dimensional art objects：三维艺术作品。具有长度、宽度和高度的立体艺术作品，雕塑是典型的三维艺术，能从不同角度观赏。
20. expressive forms in sculpture：雕塑中的表现形式。雕塑表达情感、思想和美感的方式，包括具象表现和抽象表现等多种形式。
21. inanimate objects in sculpture：雕塑中的无生命物体。雕塑作品中模仿的非生命的物品，如游戏道具、器具、书籍等，是具象雕塑的表现对象之一。
22. monumental weather vane：大型风向标。体积较大的风向标，像奥古斯塔斯・圣高登斯创作的《戴安娜》就是一个例子，兼具实用功能和艺术价值。
23. the role of voids in traditional sculpture：传统雕塑中空隙的作用。在传统雕塑中，空隙虽不是主要部分，但也在一定程度上影响雕塑的整体设计和视觉效果。
24. the focus shift in modern sculpture：现代雕塑的关注点转变。从过去注重实体形态和具象表现，转变为更关注空间、非具象形式和材料创新等方面。
25. the development of kinetic sculpture：动态雕塑的发展。随着科技和艺术观念的发展，动态雕塑逐渐兴起并成为现代雕塑的一种独特形式。
26. the identification of sculpture：雕塑的界定。确定一件作品是否属于雕塑的标准，由于现代雕塑的发展，传统的界定标准已发生变化。
27. the creation of form in three dimensions：三维形式的创造。雕塑艺术的核心任务，通过对材料的加工和塑造，创造出具有独特形式美感的三维作品。
28. the emotional response to sculpture：对雕塑的情感反应。观众在欣赏雕塑作品时产生的情感体验，与观众自身的审美、经历等因素有关。
29. the cultivation of sense of form：形式感的培养。通过学习、欣赏艺术作品等方式，提高对物体形式的理解和感受能力，从而更好地欣赏雕塑艺术。
30. the influence of modern art on sculpture：现代艺术对雕塑的影响。现代艺术的各种思潮和流派促使雕塑在材料、形式、观念等方面不断创新和发展。
【Source】www.britannica.com
【Translated by】Spark Liao (廖怀宝)
【Illustration】From Bing
来源：沪上英语教与学
