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A New Light

机译:新光

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摘要

Late on an overcast morning, the artist Wo Ye stands on rickety bamboo scaffolding 60 feet above the apse floor in Shanghai's St. Ignatius Cathedral. She eyes an empty stone gothic window frame; below her, workers carry wedge-shaped, 2-foot-long segments of stained glass. The glass displays imagery and color unusual in a Catholic cathedral: bamboo stalks surrounded by a rainbow of vibrant hues. When inserted into the century-old frame, these fragile components will represent a distinctly Chinese-and contemporary-interpretation of the Trinity. But for now, Wo Ye, dressed in skinny red velvet slacks and a worn gray sweatshirt with rebel stenciled in English across the back, is not thinking religious thoughts. "They better be careful or I'll..." She pauses and then begins to laugh. In 2000, Jin Luxian, the bishop of Shanghai, asked Wo Ye to restore the approximately 3,200 square feet of stained glass in China's largest Christian church, a building that had been destroyed at the beginning of the Cultural Revolution.
机译:在一个阴沉的早晨的傍晚,艺术家Wo Ye站在上海圣伊格纳修斯大教堂后殿地板上方60英尺的摇摇欲坠的竹棚架上。她看着空荡荡的石头哥特式窗框。在她的下方,工人们携带着楔形的2英尺长的彩色玻璃。玻璃在天主教大教堂中显示出不寻常的图像和颜色:竹茎被鲜艳的色彩彩虹所包围。当插入百年历史的框架中时,这些脆弱的成分将代表对中国和当代对三位一体的独特诠释。但是就目前而言,身着紧身红色天鹅绒长裤和破旧灰色运动衫的Wo Ye背着英语,上面刻着英语的反叛色彩,他并没有考虑宗教思想。 “他们最好小心点,否则我会...”她停顿了一下,然后开始大笑。 2000年,上海主教金卢贤(Jin Luxian)要求沃耶(Wo Ye)修复中国最大的基督教教堂(这栋教堂在文化大革命开始时被毁)中约3200平方英尺的彩色玻璃。

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  • 来源
    《Print》 |2009年第1期|p.8688-91|共5页
  • 作者

    Adam Minter;

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  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 印刷工业;
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