剑桥雅思10Test2阅读Passage3原文翻译 Museums of fine arts and their public 博物馆中艺术品的展示方式
剑桥雅思10阅读第二套题目第三篇文章的主题为博物馆中艺术品的展示方式。文章一共十一段，介绍了博物馆目前对原始版本的宣传，游客的体验方式，艺术作品与其他艺术形式的不同等内容。下面是具体每一段的翻译。
点击查看这篇雅思阅读中需要大家掌握的重点词汇以及对应的答案解析：
雅思真题阅读词汇 剑桥雅思10 test 2 passage 3 博物馆中艺术品的展示方式
剑桥雅思10Test2阅读Passage3答案解析 Museums of fine arts and their public 博物馆中艺术品的展示方式
剑桥雅思10 Test2 Passage3阅读原文翻译
第1段
One of the most famous works of art in the world is Leonardo da Vinci’s Mona Lisa. Nearly everyone who goes to see the original will already be familiar with it from reproductions, but they accept that fine art is more rewardingly viewed in its original form.
莱昂纳多·达·芬奇的《蒙娜丽莎》是世界上最著名的艺术品之一。几乎每个去看原始作品的人都已经从复制品中熟悉了它，但是他们认为观察艺术品的最初形式更为值得。
第2段
However, if Mona Lisa was a famous novel, few people would bother to go to a museum to read the writer’s actual manuscript rather than a printed reproduction. This might be explained by the fact that the novel has evolved precisely because of technological developments that made it possible to print out huge numbers of texts, whereas oil paintings have always been produced as unique objects. In addition, it could be argued that the practice of interpreting or ‘reading’ each medium follows different conventions. With novels, the reader attends mainly to the meaning of words rather than the way they are printed on the page, whereas the ‘reader’ of a painting must attend just as closely to the material form of marks and shapes in the picture as to any ideas they may signify.
但是，如果蒙娜丽莎是一本著名的小说，很少有人会去博物馆文章来自老烤鸭雅思阅读作家的实际手稿而不是印刷品。这一现象可以由如下事实得到解释，正是由于技术发展使得印制大量的文本成为可能，小说才得以诞生，而油画一直都是被作为独一无二的物品被生产出来的。此外，也可以解释说，解读或者阅读每一种媒介的行为遵循着不同的传统。对于小说而言，读者主要关注单词的含义，而不是页面上的印刷方式，而画作的“阅读者”必须尽可能接近图片中的标记和形状的材料形式，以及它们可能暗示的任何想法。
第3段
Yet it has always been possible to make very accurate facsimiles of pretty well any fine art work. The seven surviving versions of Mona Lisa bear witness to the fact that in the 16th century, artists seemed perfectly content to assign the reproduction of their creations to their workshop apprentices as regular “bread and butter” work. And today the task of reproducing pictures is incomparably more simple and reliable, with reprographic techniques that allow the production of high-quality prints made exactly to the original scale, with faithful colour values, and even with duplication of the surface relief of the painting.
然而，任何精美的艺术品都可以做出十分准确的复制品。蒙娜·丽莎现存的七个版本证明了一个事实，即在16世纪，艺术家似乎很愿意将其作品的复制工作分配给他们工作室的学徒，作为他们常规的谋生手段。如今，复制图画的任务已经无比简单和可靠。影印技术可以制作出与原画比例完全一致的高品质复制品，色值可靠，甚至能再现图画表面的凹凸纹理。
第4段
But despite an implicit recognition that the spread of good reproductions can be culturally valuable, museums continue to promote the special status of original work.
但是尽管人们隐约意识到优秀复制品的传播具有文化价值，博物馆仍在继续提升原始作品的特殊体位。
第5段
Unfortunately, this seems to place severe limitations on the kind of experience offered to visitors.
不幸的是，这似乎会对游客的体验带来严重的限制。
第6段
One limitation is related to the way the museum presents its exhibits. As repositories of unique historical objects, art museums are often called ‘treasure houses’. We are reminded of this even before we view a collection by the presence of security guards, attendants, ropes and display cases to keep us away from the exhibits. In many cases, the architectural style of the building further reinforces that notion. In addition, a major collection like that of London’s National Gallery is housed in numerous rooms, each with dozens of works, any one of which is likely to be worth more than all the average visitor possesses. In a society that judges the personal status of the individual so much by their material worth, it is therefore difficult not to be impressed by one’s own relative ‘worthlessness’ in such an environment.
一种限制与博物馆展示其展品的方式有关。作为独特历史文物的仓库，美术馆通常被称为“宝库”。甚至在我们观看藏品之前，都会有保安、工作人员、绳索和展示柜在场，以确保我们远离展品。在许多情况下，建筑物的建筑风格进一步强化了这一概念。此外，像伦敦国家美术馆这样的地方，主要藏品被放在许多房间里，每个房间都有几十件作品，其中任何一件都可能比普通游客拥有的所有艺术品都值钱。在一个很大程度上根据个人的物质财富来判断其地位的社会中，这样的环境很难不让人产生自己一文不值的印象。
第7段
Furthermore, consideration of the ‘Value’ of the original work in its treasure house setting impresses upon the viewer that, since these works were originally produced, they have been assigned a huge monetary value by some person or institution more powerful than themselves. Evidently, nothing the viewer thinks about the work is going to alter that value, and so today’s viewer is deterred from trying to extend that spontaneous, immediate, self-reliant kind of reading which would originally have met the work.
此外，对原始作品在其宝库中“价值”的考虑更使参观者印象深刻。自从这些作品被生产出来以后，它们就被比参观者自己更为强大的人或机构赋予了巨大的货币价值。显然，观众对作品的想法并不会改变这一价值，因此今天的参观者不会像最初看到这些作品的人那样，试图进行那种无意识的、即时的、自主的解读。
第8段
The visitor may then be struck by the strangeness of seeing such diverse paintings, drawings and sculptures brought together in an environment for which they were not originally created. This ‘displacement effect’ is further heightened by the sheer volume of exhibits. In the case of a major collection, there are probably more works on display than we could realistically view in weeks or even months.
随后，参观者在最初并非为其创作的环境中看到如此多姿多彩的绘画、素描和雕塑可能会产生一种陌生感。庞大的展品数量进一步加深了这种“位移效果” 。对于大型展馆而言，展出的作品可能比我们在几周甚至几个月内实际看到的更多。
第9段
This is particularly distressing because time seems to be a vital factor in the appreciation of all art forms. A fundamental difference between paintings and other art forms is that there is no prescribed time over which a painting is viewed. By contrast, the audience encounters an opera or a play over a specific time, which is the duration of the performance. Similarly, novels and poems are read in a prescribed temporal sequence, whereas a picture has no clear place at which to start viewings or at which to finish. Thus art works themselves encourage us to view them superficially, without appreciating the richness of detail and labour that is involved.
这一点尤其令人不安，因为时间似乎是欣赏所有艺术形式的重要因素。绘画与其他艺术形式之间根本区别在于，欣赏一幅画作并没有固定的时间。相比之下，观众在特定的时间（即表演的持续时间）内观看歌剧或戏剧。同样，小说和诗歌也需要按照规定的时间顺序阅读。而画作则没有清晰的开始欣赏或结束欣赏的位置。因此，艺术作品本身促使我们肤浅地看待它们，而无法欣赏其细节的丰富性和包含的劳动。
第10段
Consequently, the dominant critical approach becomes that of the art historian, a specialised academic approach devoted to ‘discovering the meaning’ of art within the cultural context of its time. This is in perfect harmony with the museum’s function, since the approach is dedicated to seeking out and conserving ‘authentic’, ‘original’ readings of the exhibits. Again, this seems to put paid to that spontaneous, participatory criticism which can be found in abundance in criticism of classic works of literature, but is absent from most art history.
因此，占主导地位的批判方法变成了艺术史学家的专属。这是一种专门的学术方法，致力于在其时代的文化背景下“发现艺术的意义”。这与博物馆的功能十分协调，因为这种方法专注于寻找和保存展品“真实”、“原始”的解读。同样，这似乎弥补了那种自发的、参与性的批评。这种批评大量出现在对经典文学作品的评论中，但是在多数艺术史中却是缺失的。
第11段
The displays of art museums serve as a warning of what critical practices can emerge when spontaneous criticism is suppressed. The museum public, like any other audience, experience art more rewardingly when given the confidence to express their views. If appropriate works of fine art could be rendered permanently accessible to the public by means of high-fidelity reproductions, as literature and music already are, the public may feel somewhat less in awe of them. Unfortunately, that may be too much to ask from those who seek to maintain and control the art establishment.
美术馆的陈列可以警醒人们，当压制自发评论时，会出现什么样的评判行为。博物馆公众与其他观众一样，只要被给予表达自己看法的自信，就可以更加有益地享受艺术。如果通过高保真的复制品，使大众一直可以接触到优秀的艺术作品，就像文学和音乐已经做到的那样，那么人们对它们就会少一些敬畏。对于那些希望维持和控制艺术领域的人来说，这一要求可能太过分了。
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