英文定义NeoclassicismIn literary criticism, this term refers to the revival of the attitudes and styles of expression of classical literature. It is generally used to describe a period in European history beginning in the late seventeenth century and lasting until about 1800. In its purest form, Neoclassicism marked a return to order, proportion, restraint, logic, accuracy, and decorum.
古典欧式风格：主要分新古典主义和简欧风格。新古典主义的设计风格其实是经过改良的古典主义风格。欧洲文化丰富的艺术底蕴，开放、创新的设计思想及其尊贵的姿容，一直以来颇受众人喜爱与追求。新古典风格从简单到繁杂、从整体到局部，精雕细琢，镶花刻金都给人一丝不苟的印象。一方面保留了材质、色彩的大致风格，仍然可以很强烈地感受传统的历史痕迹与浑厚的文化底蕴，同时又摒弃了过于复杂的肌理和装饰，简化了线条。简欧风格(英文：Jane European style) 古典欧式风格兼备豪华、优雅、和谐、舒适、浪漫的特点，受到了越来越多人的喜爱。但是纯正的古典欧式风格适用于大空间，在中等或较小的空间里就容易给人造成一种压抑的感觉。这样便有了简欧风格（也称为现代欧式）。 简欧大气、更贴近于自然，也符合国人审美，因此近年在国内发展较快，但仍未普及。从字面意思分析，简欧也就是简化了的欧式装修风格，但原先欧式风格的高雅仍然被保留了下来。
work 作品work of art 艺术作品masterpiece 杰作plastic arts 造型艺术graphic arts 形象艺术Of or belonging to the style of architecture developed from the fifth century a.d. in the Byzantine Empire, characterized by a central dome resting on a cube formed by four round arches and their pendentives and by the extensive use of surface decoration, especially veined marble panels, low relief carving, and colored glass mosaics. 具有拜占庭风格的：公元 5世纪在拜占庭帝国发展起来的建筑风格的，这种建筑风格的主要特征是在由四个圆拱及其三角穹隆形成的立方体结构上有一中心圆顶，且在建筑物表面上大量装饰，特别是在大理石方格上镂出纹理、塑出低度浮雕以及用彩色玻璃镶嵌 Of the painting and decorative style developed in the Byzantine Empire, characterized by formality of design, frontal stylized presentation of figures, rich use of color, especially gold, and generally religious subject matter.属于拜占庭风格的：属于拜占庭帝国发展起来的绘画和装饰风格的，主要特征有：在设计上注重形式，其形状多为正面的，大量使用颜料，尤其是金黄色，通常以宗教为主题Of the Eastern Orthodox Church or the rites performed in it.东正教的：东正教的或其内部宗教仪式的Of a Uniat church that maintains the worship of the Eastern Orthodox Church or the rites performed in it.希腊东正教的：保持了东正教堂或其内部宗教仪式风格的希腊东正教的The fine or applied visual arts and associated techniques involving the application of lines and strokes to a two-dimensional surface.美术；印刷术：精美的或实用的视觉艺术以及与其相联系的包括使用线条和条纹来形成二维表面的技术The fine or applied visual arts and associated techniques in which images are produced from blocks, plates, or type, as in engraving and lithography.版画：精美的或应用的视觉艺术及与其相联系的技术，其中图象由印版、铅版或印模制得，如在雕刻和石版印刷术中那样Fine Arts 美术art gallery 画廊,美术馆salon 沙龙exhibition 展览collection 收藏author 作者style 风格inspiration 灵感,启发muse 灵感purism 修辞癖conceptism 格言派,警名派Byzantine 拜占庭式Romanesaue 罗马式Gothic 哥特式Baroque 巴洛克式also Baroque Of, relating to, or characteristic of a style in art and architecture developed in Europe from about 1550 to 1700, emphasizing dramatic, often strained effect and typified by bold, curving forms, elaborate ornamentation, and overall balance of disparate parts.也作 Baroque 巴洛克风格的：约1550到1700年间盛行于欧洲的一种艺术和建筑风格，属于、关于或有这种风格的特点的。这种风格强调拉紧的效果，其特征是有大胆的曲线结构、复杂的装饰和无联系部分间的整体平衡Also Baroque Music Of, relating to, or characteristic of a style of composition that flourished in Europe from about 1600 to 1750, marked by chromaticism, strict forms, and elaborate ornamentation.也作 Baroque 【音乐】 巴洛克音乐风格的：属于、关于或有这种作曲风格之特点的，从1600至1750年此风格盛行于欧洲，其特征为半音阶的使用、严格的形式和复杂的装饰Rococo 洛可可式Also Rococo A style of art, especially architecture and decorative art, that originated in France in the early 18th century and is marked by elaborate ornamentation, as with a profusion of scrolls, foliage, and animal forms.也作 Rococo 洛可可式：一种18世纪初起源于法国的有精心刻意用大量的涡卷形字体、树叶及动物形体点缀装饰的艺术风格，尤指建筑和装饰艺术A very ornate style of speech or writing.一种词藻华丽的演讲或写作风格Also Rococo Music A style of composition arising in 18th-century Europe immediately following the baroque that is characterized by a certain lightness or daintiness of form, largely the result of a high degree of ornamentation.也作 Rococo 【音乐】 洛可可风格：一种紧跟巴罗克风格之后起源于18世纪欧洲的作曲风格，因过度装饰而造成表现形式轻松或过分讲究形式adj.（形容词）Also Rococo Of or relating to the rococo.也作 Rococo 属于或有关洛可可风格的classicism 古典主义,古典风格neoclassicism 新古典主义A revival of classical aesthetics and forms, especially:新古典主义：古典美学和格式的复兴，尤其是：A revival in literature in the late 17th and 18th centuries, characterized by a regard for the classical ideals of reason, form, and restraint.新古典主义：17、18世纪晚期的文学复兴，以尊重古代典型的推理形式和严谨文体为特征A revival in the 18th and 19th centuries in architecture and art, especially in the decorative arts, characterized by order, symmetry, and simplicity of style.新古典主义：18、19世纪建筑和艺术复兴，尤其在装饰艺术方面，以风格的式样、匀称和质朴为特征A movement in music in the late 19th and early 20th centuries that sought to avoid subjective emotionalism and to return to the style of the pre-Romantic composers.新古典主义：19世纪末、20世纪初的音乐运动，企图避免主观感情主义而返回到前浪漫派作曲家的风格romanticism 浪漫主义Often Romanticism An artistic and intellectual movement originating in Europe in the late 18th century and characterized by a heightened interest in nature, emphasis on the individual’s expression of emotion and imagination, departure from the attitudes and forms of classicism, and rebellion against established social rules and conventions.常作 Romanticism 浪漫主义运动：起源于18世纪末期欧洲的一种对大自然有强烈的兴趣且注重个人情感和想象力的表达的艺术和知识上的运动，它与古典主义的观点和形式相悖并反对公认的社会制度和习俗Romantic quality or spirit in thought, expression, or action.浪漫：思想、表达或行为上的浪漫主义性质或精神realism 现实主义An inclination toward literal truth and pragmatism.现实态度：注重确确实实的事实和实用的倾向The representation in art or literature of objects, actions, or social conditions as they actually are, without idealization or presentation in abstract form.真实性，现实主义：在艺术或文学中将事物，行为或社会状况按其起初情况进行的表现，而不用模糊的形式来表现或理想化Philosophy 【哲学】 The scholastic doctrine, opposed to nominalism, that universals exist independently of their being thought.唯实论：与唯名论相对的一种哲学信条，认为宇宙是以其被认为的看法而独立地存在的The modern philosophical doctrine, opposed to idealism, that physical objects exist independently of their being perceived.实在主义：与理想主义相对的一种现代哲学信条，认为外部事物独立于它们的表象而存在的symbolism 象征主义impressionism 印象主义Art Nouveau 新艺术主义expressionism 表现主义Fauvism 野兽派abstract art 抽象派, 抽象主义Cubism 立体派, 立体主义Dadaism 达达主义surrealism 超现实主义naturalism 自然主义existentialism 存在主义futurism 未来主义
NEOCLASSICISMNeoclassicism was a widespread and influential movement in painting andthe other visual arts that began in the 1760s, reached its height in the1780s and ’90s, and lasted until the 1840s and ’50s. In painting itgenerally took the form of an emphasis on austere linear design in thedepiction of classical themes and subject matter, using archaeologicallycorrect settings and costumes.Neoclassicism arose partly as a reaction against the sensuous andfrivolously decorative Rococo style that had dominated European artfrom the 1720s on. But an even more profound stimulus was the new andmore scientific interest in classical antiquity that arose in the 18th century.Neoclassicism was given great impetus by new archaeologicaldiscoveries, particularly the exploration and excavation of the buriedRoman cities of Herculaneum and Pompeii (the excavations of whichbegan in 1738 and 1748, respectively). And from the second decade ofthe 18th century on, a number of influential publications by Bernard deMontfaucon, Giovanni Battista Piranesi, the Comte de Caylus, andRobert Wood provided engraved views of Roman monuments and otherantiquities and further quickened interest in the classical past. The newunderstanding distilled from these discoveries and publications in turnenabled European scholars for the first time to discern separate anddistinct chronological periods in Greco-Roman art, and this new sense ofa plurality of ancient styles replaced the older, unqualified veneration ofRoman art and encouraged a dawning interest in purely Greek antiquities.The German scholar Johann Joachim Winckelmann’s writings andsophisticated theorizings were especially influential in this regard.Winckelmann saw in Greek sculpture “a noble simplicity and quietgrandeur“ and called for artists to imitate Greek art. He claimed that indoing so such artists would obtain idealized depictions of natural formsthat had been stripped of all transitory and individualistic aspects, andtheir images would thus attain a universal and archetypal significance.Neoclassicism as manifested in painting was initially not stylisticallydistinct from the French Rococo and other styles that had preceded it.This was partly because, whereas it was possible for architecture andsculpture to be modeled on prototypes in these media that had actuallysurvived from classical antiquity, those few classical paintings that hadsurvived were minor or merely ornamental works--until, that is, thediscoveries made at Herculaneum and Pompeii. The earliest Neoclassicalpainters were Joseph-Marie Vien, Anton Raphael Mengs, PompeoBatoni, Angelica Kauffmann, and Gavin Hamilton; these artists wereactive during the 1750s, ’60s, and ’70s. Each of these painters, thoughthey may have used poses and figural arrangements from ancientsculptures and vase paintings, was strongly influenced by precedingstylistic trends. An important early Neoclassical work such as Mengs’s“Parnassus“ (1761; Villa Albani, Rome) owes much of its inspiration to17th-century classicism and to Raphael for both the poses of its figuresand its general composition. Many of the early paintings of theNeoclassical artist Benjamin West derive their compositions from worksby Nicolas Poussin, and Kauffmann’s sentimental subjects dressed inantique garb are basically Rococo in their softened, decorative prettiness.Mengs’s close association with Winckelmann led to his being influencedby the ideal beauty that the latter so ardently expounded, but the churchand palace ceilings decorated by Mengs owe more to existing ItalianBaroque traditions than to anything Greek or Roman.“Oath of the Horatii,“ oilpainting byJacques-Louis David,1784; in the Louvre, ParisGiraudon/Art Resource, NY“The Death of Marat,“oil painting byJacques-Louis David,1793; in the MuséesRoyaux des. . .Giraudon/Art Resource, NYA more rigorously Neoclassical painting style arose in France in the1780s under the leadership of Jacques-Louis David. He and hiscontemporary Jean-François-Pierre Peyron were interested in narrativepainting rather than the ideal grace that fascinated Mengs. Just before andduring the French Revolution, these and other painters adopted stirringmoral subject matter from Roman history and celebrated the values ofsimplicity, austerity, heroism, and stoic virtue that were traditionallyassociated with the Roman Republic, thus drawing parallels between thattime and the contemporary struggle for liberty in France. David’s historypaintings of the “Oath of the Horatii“ (1784; Louvre, Paris [seephotograph]) and “Lictors Bringing to Brutus the Bodies of His Sons“(1789; Louvre) display a gravity and decorum deriving from classicaltragedy, a certain rhetorical quality of gesture, and patterns of draperyinfluenced by ancient sculpture. To some extent these elements wereanticipated by British and American artists such as Hamilton and West,but in David’s works the dramatic confrontations of the figures arestarker and in clearer profile on the same plane, the setting is moremonumental, and the diagonal compositional movements, large groupingsof figures, and turbulent draperies of the Baroque have been almostentirely repudiated (see photograph). This style was ruthlessly austereand uncompromising, and it is not surprising that it came to be associatedwith the French Revolution (in which David actively participated).Neoclassicism as generally manifested in European painting by the 1790semphasized the qualities of outline and linear design over those of colour,atmosphere, and effects of light. Widely disseminated engravings ofclassical sculptures and Greek vase paintings helped determine this bias,which is clearly seen in the outline illustrations made by the Britishsculptor John Flaxman in the 1790s for editions of the works of Homer,Aeschylus, and Dante. These illustrations are notable for their drastic andpowerful simplification of the human body, their denial of pictorial space,and their minimal stage setting. This austere linearity when depicting thehuman form was adopted by many other British figural artists, includingthe Swiss-born Henry Fuseli and William Blake, among others.Neoclassical painters attached great importance to depicting thecostumes, settings, and details of their classical subject matter with asmuch historical accuracy as possible. This worked well enough whenillustrating an incident found in the pages of Homer, but it raised thequestion of whether a modern hero or famous person should beportrayed in classical or contemporary dress. This issue was neversatisfactorily resolved, except perhaps in David’s brilliantly evocativeportraits of sitters wearing the then-fashionable antique garb, as in his“Portrait of Madame Récamier“ (1800; Louvre).Classical history and mythology provided a large part of the subjectmatter of Neoclassical works. The poetry of Homer, Virgil, and Ovid,the plays of Aeschylus, Sophocles, and Euripides, and history recordedby Pliny, Plutarch, Tacitus, and Livy provided the bulk of classicalsources, but the most important single source was Homer. To this generalliterary emphasis was added a growing interest in medieval sources, suchas the pseudo-Celtic poetry of Ossian, as well as incidents from medievalhistory, the works of Dante, and an admiration for medieval art itself inthe persons of Giotto, Fra Angelico, and others. Indeed, theNeoclassicists differed strikingly from their academic predecessors intheir admiration of Gothic and Quattrocento art in general, and theycontributed notably to the positive reevaluation of such art. (see alsoIndex: classical literature)Finally, it should be noted that Neoclassicism coexisted throughout muchof its later development with the seemingly obverse and oppositetendency of Romanticism. But far from being distinct and separate, thesetwo styles intermingled with each other in complex ways; many ostensiblyNeoclassical paintings show Romantic tendencies, and vice versa. Thiscontradictory situation is strikingly evident in the works of the last greatNeoclassical painter, Jean-Auguste-Dominique Ingres, who paintedsensuous Romantic female nudes while also turning out precisely linearand rather lifeless historical paintings in the approved Neoclassical mode希望能帮到你
新古典主义推崇理性，强调明晰、对称、节制、优雅，追求艺术形式的完美与和谐。亚历山大·蒲柏（alexander pope, 1688-1744）是新古典主义诗歌的代表，他模仿罗马诗人，诗风精巧隽俏，内容以说教与讽刺为主，形式多用英雄双韵体，但缺乏深厚感情。英国新古典主义时期的代表作家:约翰.班扬 John Bunyan, 代表作《天路历程》（The Pilgrim’s Progress）亚历山大.蒲伯 Alexander Pope 新古典主义诗歌的代表，他模仿罗马诗人，诗风精巧隽俏，内容以说教与讽刺为主，形式多用英雄双韵体，但缺乏深厚感情。他出版了散文《论批评》（An Essay on Criticism），从此奠定了他在诗坛的地位。次年，他又出版了《夺发记》（The Rape of the Lock），一部极妙的讽刺史诗。丹尼尔.笛福 Daniel Defoe 代表作《鲁宾逊漂流记》（Robinson Crusoe）乔纳森.斯威夫特 Jonathan Swift 代表作《格列佛游记》（Gulliver’s Travels）亨利.菲尔丁 Henry Fielding 代表作 《弃儿汤姆·琼斯的历史》（The History of Tom Jones, A Foundling ）塞缪尔.约翰逊Samuel Johnson 编撰英文词典的第一个英国人，作品为《英文大词典》(A Dictionary of the English Language)，这部巨著是塞缪尔.约翰逊花了七年时间独自完成的。理查德.比.谢立丹Richard Brinsley Sheridan 代表作《情敌》（The Rivals ）和《造谣学校》（The School for Scandal)被认为是上承莎士比亚，下接萧伯纳的纽带，是真正的英国古典派喜剧。托马斯.格雷Thomas Gray 代表作《墓园挽歌》（Elegy Written in a Country Churchyard ）英国的浪漫主义文学产生于18世纪末，19世纪上半叶为繁荣时期。漫主义文学的先驱是18世纪中后期的诗人罗伯特彭斯(Robert Burns)和威廉布莱克(William Blake)。彭斯从苏格兰民歌中吸取养料，其《苏格兰方言诗集》（《Poems，chiefly in Scottish dialcet》）擅长抒情和讽刺，语言通俗；布莱克的《天真之歌》（《Songs of Innocence》）、《经验之歌》(《Songs of Experience》)则憧憬理想的社会秩序，清新奔放，富有独创性。然而，浪漫主义思潮中就形成两种对立的流派，即积极浪漫主义(Active Romanticism)和消极浪漫主义(Passive Romanticism)。积极浪漫主义是进步的潮流，敢于正视现实，批判社会的黑暗，它引导人们向前看，消极浪漫主义属反动的逆流，采取消极逃避的态度，反对现状，留恋过去，它引导人们往后看。英国浪漫主义第一批真正的大师则是被称为“湖畔派”(Lake Poet)的三位诗人，他们也是消极浪漫主义的代表。诗人威廉华兹华斯(William Worsworth)（1770－1850）与萨缪尔柯勒律治(Samuel Taylor Coleridge)（1772－1834）和罗伯特骚塞（1774－1843)。华兹华斯是湖畔派诗人中成就最高者，他与“湖畔派”另一诗人柯勒律治共同出版《抒情歌谣集》，成为英国浪漫主义文学的奠基之作。新崛起的诗人把英国的浪漫主义文学推向高潮，代表诗人是拜伦(Byron)、雪莱(Shelley)和济慈(kates)。他们是积极浪漫主义者，和湖畔派诗人的不同之处在于其作品更具战斗意识和政治倾向。雪莱写有《钦契一家》、《 西风颂 》、《云雀颂》和《自由颂》等大量的诗篇和诗剧，以及著名的论文《诗辩》等。诗剧《解放了的普罗米修斯》（《Prometheus Unbounded》）是雪莱的代表作。
Neoclassicism is the name given to quite distinct movements in the decorative and visual arts,literature,theatre,music,and architecture that draw upon Western classical art and culture (usually that of Ancient Greece or Ancient Rome).These movements were dominant during the mid 18th to the end of the 19th century 新古典主义是一种新的复古运动.兴起于18世纪的罗马,并迅速在欧美地区扩展的艺术运动,影响了装饰艺术、建筑、绘画、文学、戏剧和音乐等（主要是古希腊和古罗马文化）.这些运动在十八世纪中期到十九世纪结束占据了统治地位.
