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建筑彩繪vi設(shè)計（建筑彩繪）

發(fā)布時間：2023-04-25 09:54:25 稿源：創(chuàng)意嶺閱讀： 108

大家好！今天讓創(chuàng)意嶺的小編來大家介紹下關(guān)于建筑彩繪vi設(shè)計的問題，以下是小編對此問題的歸納整理，讓我們一起來看看吧。

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本文目錄:

一篇關(guān)于哥特建筑的中英文對照資料（5000字左右，幾篇組成也行），還有追分
美術(shù)專業(yè)可以找什么工作

建筑彩繪vi設(shè)計（建筑彩繪）

一篇關(guān)于哥特建筑的中英文對照資料（5000字左右，幾篇組成也行），還有追分

【點評】公元1194年，沙特爾大教堂的建筑大師提出了新的建筑思想，對十三世紀所有的偉大建筑起到了啟發(fā)作用。因為沒有圖庫，它的立視圖分為三層（應(yīng)該明示三層間的關(guān)系），并且屋頂分為了四個部分，減少了相互間的交互支撐。從建筑的外部來看，通過放棄在十字形耳堂上建造五座塔的原設(shè)計方案，使教堂的建筑發(fā)生了一個新的變化。
【點評】位于肯特郡的迪爾城堡是一座著名的沿海防御堡壘建筑群，由亨利八世（Henry VIII）建于公元1539年。該建筑群專為炮兵設(shè)計，中央是一個圓柱形的大本營，外部是一圈半圓形的炮塔。整個建筑物外部是一條壕溝，與堡壘融為一體。
【點評】位于威尼斯的總督宮的正面建于公元1309至1424年，由Giovanni和Bartolomeo Buon設(shè)計。總督宮始建于公元9世紀，歷經(jīng)數(shù)次重建，于文藝復興時期完工。它組成威尼斯偉大的城市規(guī)劃方案的一部分，城市規(guī)劃經(jīng)歷了連續(xù)幾個世紀才最后完成。建筑物的正面總長近152米（500英尺），在較低的兩層有開闊的拱廊，第三層在16世紀的一場大火后進行了重建，擴建超過了拱廊的高度。建筑物的上層貼有白色或者玫瑰色的大理石、同一華麗的窗戶以及東方脊飾的花邊似的城齒墻。
【點評】位于伯克利的基督教科學派第一教堂就好像同許多梅貝克（Maybeck）的作品一樣已經(jīng)被大火燒毀了，他從未獲得過美國建筑師協(xié)會的金獎。沒有其他的建筑能把他富有想象力的建筑天賦表現(xiàn)得如此完美！他對國內(nèi)建筑設(shè)計的貢獻是顯著的，并且他在建筑教育領(lǐng)域取得的成就也是引人注目的。但是就是空間、結(jié)構(gòu)、顏色和光線立刻獲得了世俗的專業(yè)評論員的贊美。教堂于1910年設(shè)計，當時梅貝克48歲，它是梅貝克最有成效時期設(shè)計思想的生動體現(xiàn)。
只有天才和堅定不移的建筑大師才能把通常工廠中使用的材料與實用的建筑處理得如此恰當，與整個建筑和諧地統(tǒng)一起來。
建筑風格：法國哥特式描述：鍍金、鑲寶石的內(nèi)部裝飾，加油拱頂減少窗花格。該建筑為路易斯國王而建造
【點評】國王學院禮拜堂的空曠并不足為奇，從它開放、矩形的內(nèi)部空間就能夠看出。至今，這座狹窄、宏偉和長長的禮拜堂在建筑史上是偉大的建筑之一。該建筑能輻射出光線，其四面墻壁的每一面上約有2/3的區(qū)域安裝有彩色玻璃，幾乎填滿了扶壁間的所有空間。玻璃雖然沒有中世紀的華美但是明亮，且有透亮或者不透明的窗格襯托。除了西部的窗戶于1879年設(shè)計之外，玻璃的年代追溯到1517至1547年，且出自德裔佛蘭德藝術(shù)家之手。
【點評】羅馬式的中殿源自公元1122至1135年，哥特式的高壇始于公元1450至1521年。
【點評】巴黎圣母院在法國哥特式建筑的發(fā)展史上具有開拓性的意義。它高達110英尺，是第一座真正紀念碑規(guī)模的大教堂。緊湊的十字形平面、六肋拱穹、高聳的扶壁以及超大型的窗戶成為后來法國大教堂的原型。
【點評】新圣母瑪利亞教堂設(shè)計于十五世紀五十年代，它的正面使得這座中世紀教堂的外部更加完美。因為它的尺寸互成八度音階的1:2的比例，人們都把它描述成為一座偉大的文藝復興時期建筑的典型。在中世紀意大利式建筑外部的大理石面板能產(chǎn)生出猶如馬賽克一樣的離散色斑效果，而在這里產(chǎn)生了一種比較有韻律的、幾何統(tǒng)一的感覺。
【點評】索爾茲伯里大教堂完全根據(jù)一個基本的設(shè)計進行建造，它是英國哥特式教堂很少有的典范。教堂的內(nèi)層明顯地劃分為及格水平帶，廣泛使用波白克大理石創(chuàng)造鮮明的色彩搭配。
【點評】教堂由英王愛德華一世于公元1045年左右開始修建，他擴大了諾曼底人的影響力，鞏固了大英帝國的地位。今天，教堂仍然作為崇拜的活動場所。
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).

美術(shù)專業(yè)可以找什么工作

1、中國畫專業(yè)/就業(yè)去向：

本專業(yè)學生畢業(yè)后可以到文化藝術(shù)創(chuàng)作單位、設(shè)計部門、出版、高等院校及科研機構(gòu)等從事創(chuàng)作、研究和教學工作。也可以進一步攻讀相關(guān)專業(yè)的碩士學位。

2、油畫/就業(yè)去向：

美術(shù)創(chuàng)作部門從事油畫、壁畫、宣傳畫創(chuàng)作工作，在各級美術(shù)院校從事教學工作，在各級藝術(shù)館、展覽館、文化館(站)從事美術(shù)創(chuàng)作和輔導工作，在出版社、報刊雜志社從事美術(shù)編輯工作，也可以在有關(guān)部門、廠礦企業(yè)從事有關(guān)宣傳工作。

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進入各種文化藝術(shù)領(lǐng)域宣傳教育、設(shè)計研究出版管理單位從事美術(shù)教學創(chuàng)作研究出版管理等方面工作及策劃制作的高級專門人才也可以繼續(xù)攻讀碩士學位。

4、壁畫/就業(yè)去向：

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6、美術(shù)學/就業(yè)去向：

畢業(yè)后主要從事設(shè)計工作或者任教，考研的也不少。學國畫和油畫的學生可以向?qū)嵱妹佬g(shù)方面發(fā)展，從事平面設(shè)計等方面的工作，因此也有比較廣闊的就業(yè)前景。

7、美術(shù)教育(師范)/就業(yè)去向：

畢業(yè)生可從事普通中學、中等專業(yè)學校以及高校的美術(shù)教學工作和工礦、企業(yè)、專業(yè)團體美術(shù)組織的創(chuàng)作和設(shè)計工作。

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9、環(huán)境藝術(shù)設(shè)計/就業(yè)去向：

畢業(yè)生適宜在民用建筑設(shè)計部門、建筑科學研究部門、家具研究或設(shè)計部門從事設(shè)計和研究工作，在家具工廠、工藝美術(shù)設(shè)計公司、展覽設(shè)計公司、室內(nèi)設(shè)計、裝飾、裝修公司從事設(shè)計和研究工作。

在民用船舶、飛機裝飾研究、設(shè)計部門、環(huán)境、園林研究、設(shè)計部門從事設(shè)計和研究工作，在各級美術(shù)院校從事本專業(yè)的教學和研究工作。

10、裝潢藝術(shù)設(shè)計/就業(yè)去向：

室內(nèi)設(shè)計等行業(yè)。

11、平面設(shè)計/就業(yè)去向：

工業(yè)設(shè)計類(產(chǎn)品設(shè)計、室內(nèi)外環(huán)境與設(shè)施設(shè)計、產(chǎn)品包裝、廣告設(shè)計、平面設(shè)計、企業(yè)形象策劃設(shè)計、逆向設(shè)計、展示設(shè)計等)、產(chǎn)品研發(fā)、大型生產(chǎn)企業(yè)，以及獨立開設(shè)設(shè)計事務(wù)所從事相關(guān)設(shè)計、研究和管理工作。

參考資料來源：百度百科-美術(shù)專業(yè)

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