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In his view of Dudley, in England's industrial heartland,
為畫他眼中的達德利 這塊英格蘭的工業(yè)腹地
he juxtaposed the old town on the hill,
他將舊城鎮(zhèn)排列在山丘旁
its ruined castle and church steeple,
那殘破的城堡和教堂尖塔
symbols of tradition and faith...
象征著傳統(tǒng)與信仰
with the blazing furnaces and busy canals of the modern age.
旁邊是現(xiàn)代燃燒的爐子與繁忙的運河
The great thinker and art critic John Ruskin
偉大的思想家和藝術(shù)評論家約翰.羅斯金
saw in the picture an indictment
在這幅畫中看到了一種控訴
of how the old way of life
控訴著過去的生活方式
was being destroyed by the factory and the machine.
是如何被工廠和機器摧毀的
Because as manufacturing cities mushroomed in size,
因為隨著制造業(yè)城市的迅速擴張
they became a social disaster
它們成為了一種社會災(zāi)難
overcrowded and rife with poverty and disease.
充斥著貧窮和疾病
This was the human cost of mechanisation.
這就是機械化讓人類付出的代價
In America,
在美國
the frontiers of progress pushed inexorably westwards,
發(fā)展邊界不斷向西擴張
into territory as yet unspoiled by industry.
一直到還未被工業(yè)污染的地域
The United States was a young country,
美國是一個年輕的國家
forged, like France,
和法國一樣
out of revolutionary and Enlightenment idealism.
形成于革命家和啟蒙運動理想主義
To its pioneers, the entire American wilderness,
對于其先驅(qū)者來說 整片美洲荒野
from East to West, seemed like virgin territory.
從東到西 就像是貞女地
Artists translated these vast landscapes onto canvas
藝術(shù)家將這些風景展現(xiàn)在畫布上
and filled them with divine light.
畫中滿是神光
They conveyed the idea that God himself blessed not only the land
他們傳遞的觀念是 上帝不僅保佑這片土地
but also the new nation being forged from it.
也保佑著這片土地上新生的國家
The great pioneer of American landscape art
美國風景畫藝術(shù)的偉大先驅(qū)
was the British-born Thomas Cole.
是在英國出生的托馬斯.科爾
Thomas Cole regarded the American landscape
托馬斯.科爾將美國風景視為
as being what he himself called "the undefiled work of gods".
他所說的"神的純粹之作"
In this young country
這個年輕的國家
that just didn't have what Europeans recognised as a history,
沒有歐洲人認可的歷史
mountains and canyons and waterfalls were to replace
山川 峽谷和瀑布代替了
the classical ruins so beloved of European landscape artists.
歐洲風景藝術(shù)家熱愛的經(jīng)典遺跡
In America, natural history was to stand in for history itself.
在美國 自然歷史代替了歷史本身
