配合章節：﹝第 4 講﹞ 從觀賞者的立場看藝術作品中的色彩張貼時間：2003/11/15 02:29:33出處：http://www.usefilm.com/photo_articles/37/Saturation:_Film_or_Digital.html

Everybody wants shots that have rich, saturated colors. You've probably shot a scene with beautiful colors, then experienced the disappointment of seeing your pallid, flat, and colorless prints you get back from the lab. You might use digital techniques to enhance saturation that is not present in the digital scan, or you might just blame the lab and keep on shooting those same, blah photos. What you really need to do to correct the saturation problem is to understand that saturation doesn't come from the depth of color in the scene, it has to do with exposure. Controlling saturation is an exercise in controlling brightness and contrast. Color film, especially reversal film, responds to exposure changes by changing it's saturation. Underexpose and you get colors so rich they become too dark; overexpose and the colors become so light they bleach out. The tricks to saturation (and this applies to digital shooters, too) are as follows:

每個人當然都想拍出色彩豐富、飽滿的照片。也許你拍過一處色彩繽紛的風景，而拿到卻是一張黯淡、無光澤的照片，或許你會想透過數位影像處理，讓照片中消失的彩度〔saturation〕再度呈現，或者就只是在一旁抱怨沖洗店，然後一直不斷地拍出一樣黯淡、無光澤的照片。然而，你真正需要的是瞭解彩度的問題並不是來自風景本身的色彩深度〔depth of color〕，而是來自於照相時的曝光程度。控制彩度是控制亮度與對比的一種方法。目前的彩色軟片，尤其是負片，將曝光程度的變化反映在彩度上。曝光不足會使顏色看起來豐富卻顯得黯淡；過渡曝光則會使顏色太過明亮，而顯得一片白。控制彩度的秘訣（這些也適用於使用數位相機的攝影家們）如下所示：ND Grads All parts of your image should have approximately the same exposure, so that any one part of the image is neither too light nor too dark. This is why Galen Rowell was using neutral density (ND) graduated filters in the shot displayed below, to bring the brightness of the sky down to match the rest of the slide. A neutral-density graduated filter is a filter that is half gray and half clear. It is used to darken only the

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Saturation: Film or Digital

sky in a shot, and leave the rest of the scene untouched. That way Rowell could then bring out the colors of both the foliage and the sky together. Without the ND grad the sky is burned out with no color left, and the foliage is too dark to show any color at all. The ND grad is a rectangular filter, and is used in a special holder that allows for both be rotated and to slide up and down so that the transition (a sharp edge for a hard grad and a gentle lightening for a soft grad) to coincide with the horizon.

漸層 ND 濾鏡〔ND Grads〕 一張影像上面的任何部分都該有接近的曝光程度，因此不會有部分的影像發生太亮或太暗的情形。這就是為何知名戶外攝影家蓋林‧羅爾維〔Galen Rowell〕譯註在拍攝下圖時使用漸層中性密度〔neutral density, ND〕濾鏡，讓較為明亮的天空色彩暗一點使其與其他景色相配合。漸層ND濾鏡是種一半是透明，另一半是灰色的濾鏡。這種濾鏡是用來讓天空的顏色變暗，而其他部分的景致亮度不變。如此一來，羅爾維便能將天空與地面的葉子顏色融為一體。若缺少這層濾鏡，葉子將變成毫無色澤，顯得黯淡。漸層ND濾鏡是一種裝在特殊濾鏡座〔Filter Holder〕上的長方形濾鏡，該濾鏡座可讓濾鏡轉動和上下移動，好讓濾鏡上的刻度線（硬式濾鏡上顏色的邊緣，或是軟式濾鏡上顏色漸漸變亮的地方）與地平線一致。

Shots of Mt. Nebo in central Utah

On the left, a wide-angle shot. On the right, a normal lens shot, but using a 3-stop ND

grad. Notice how the foreground rocks become visible, and the reflections are enhanced.

猶他州中部的尼波山一景左圖為廣角鏡頭所拍，而右圖則是用一般鏡頭配合三檔〔3-stop〕漸層ND濾鏡。注意觀察可發現較近的石頭清楚多了，而水中的倒影亦顯得更為清晰。

譯註 他的作品常刊登於國家地理雜誌，並曾為封面人物，平時除攝影外，亦從事寫作，然不幸於 2002 年八月間於美國加州一場空難意外中喪生，享年六十一歲，有關他的介紹與作品詳見 http://mountainlight.com/。

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Polarizer You control mirror-like specular reflections through the use of polarizing filters. Having highlight in your scene, especially a thousand little highlights all over the leaves, will bleach out the colors (a good portion of the light that comes from reflections is white instead of colored). A polarizing filter will block the reflections off plants and water so all the light that hits the film will be colored, improving the saturation. You can also use polarizing filters to bring the brightness of the sky down to match the land at certain times of day (usually early morning and late afternoon, when the sun illuminates the sky head on but illuminates the land at an oblique angle). At noon, or at right angles to the sun the polarizer will introduce more problems than it solves, unless you are going for that high-contrast art look.

偏光鏡〔Polarizer〕 你可以利用偏光鏡來控制景色中的反光。如果照片中有閃電般的亮光照在地面葉子上，那麼葉子的顏色會變得很明亮而顯得沒有顏色（只需要有相當比例的反光，呈現的是白色而非五彩繽紛）。偏光鏡可以將地面或水面的反光消除，使其不會進入底片感光，而讓進入底片的光線是充滿色彩，如此可以改善照片的彩度。你也可以利用偏光鏡在一天中某些特定的時候（當陽光照亮了天頂，而以傾斜的角度照著大地，比如早晨與接近傍晚時分），讓天空中明亮的部分與地面一致。在正午時分，除非你想要拍出具高對比度的照片，否則偏光鏡只會為你帶來更多的問題。

Examples of overuse of the polarizer:

過度使用偏光鏡的照片：A Small peak in the Tetons

An example of darkening the

sky using the polarizer to

overemphasize contrast.

大提頓的一處山峰。利用偏光鏡減低天空的亮度而強調對比的例子。

The polarizer is darkening the

sky in these wide-angle shots

more in the direction

perpendicular to the sun.

偏光鏡在這些廣角鏡頭所拍攝的照片中，讓天空變的比陽光直接照射來的暗。

Underexposure Overall exposure can make a difference. Any color film saturates

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if slightly underexposed, so if you really want the colors to be rich, underexpose by a third or maybe half a stop. Negative film also responds conversely to overexposure, but the end result usually isn't as dramatic as with reversal film. Instead, overexposure can be applied in printing the negative to get the enhanced saturation at the expense of overall brightness in the print. Speaking of printing your film, often you must try to strike a balance between the brightness of the print and the richness of the colors. Negative papers by Kodak and Fuji have been tending toward higher contrast and higher saturation, and if you have a color darkroom handy, you can select papers for printing that can either enhance saturation or desaturate the image, giving you the opportunity to fine-tune the saturation.

曝光不足〔Underexposure〕 整體來說，曝光程度會讓照片有所差別。任何的彩色軟片若在有點曝光不足的情形下，色彩會顯得更加飽滿，所以如果想讓照片的顏色看起來更豐富，你可以將相機的光圈減少三分之一格〔stop〕或二分之一格。負片則可以利用過度曝光的方式達到類似的效果，不過結果通常不會像正片的效果一樣好。此外，也可以在輸出負片時，使其過度曝光，來增加彩度，不過此舉卻會讓輸出的照片顯得較為明亮。談到輸出照片，你必須試著在亮度與彩度之間取得一個平衡。柯達與富士所提供的底片紙具有較高的對比與較高的彩度，若有暗房可使用，你可以自己選擇各種可以增加或降低彩度的底片紙來調整出令你滿意的照片。

Skyline Arch and Juniper

-1/3 stop exposure, polarizer

拱門國家公園一景光圈減少三分之一格，外加偏光鏡

Barn on Mormon Row, Teton N.P.

-1/2 stop exposure, polarizer

大提頓國家公園一處摩門教徒的穀倉光圈減少二分之一格，外加偏光鏡

Films Chose a film known for saturating. Fujichrome Velvia, Kodak 100VS , Fuji Superia Reala, and others, are well known for the high saturation they deliver. Fuji's Astia, for example, is known as a non-saturating reversal film, so avoid it (and it's consumer sibling, Sensia) if you need color. All photos included in this article were shot on Velvia. 底片的選擇 有些底片是因其彩度而有名，像富士 Velvia、柯達 100VS、富士

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Superia Reala 等都是相當知名具有高彩度的底片。以富士 Astia 為例，是知名的不具高彩度的正片，所以如果你需要彩度，那拍照時避免使用這類底片（Astia 的姊妹產品 Sensia 也要避免使用）。本文中所有的照片都是用 Velvia 所拍攝。Overcast Light/Warming Filter The type of light illuminating a subject has a great affect on the saturation. Scenes lit by bright sunlight will look good to our eyes because they are so well lit, but your exposure will adjust the brightness to suit the film. It turns out that the best saturation of foliage is had by shooting on overcast days. The uniform lighting creates the best situation for maximizing saturation. The downside of shooting in overcast conditions has to do with the color of the light. Overcast light had a decided blue tint, and this must be corrected by using a warming filter (designated as 81A through 81E). The 81C filter is probably the best. It is an amber colored filter that compliments the blue of skylight, and will remove the blue of an overcast shot. Once the blue is removed, all colors in the scene become quite vivid. The 81A filter is a light amber, providing little correction, and the 81E is a very deep amber, which usually over-corrects overcast lighting.

天候多雲／暖調濾鏡〔Warming Filter〕 照在物體上的光線種類對彩度會有很大的影響。陽光照射下的景致，對眼睛來說，因照光良好，看起來比較賞心悅目然而拍照時，曝光程度常為了符合底片的需求而調整亮度。因此能拍出最佳彩度的葉子是在陰天，均勻分佈的光線是讓你得到最大彩度的最佳環境。然而在陰天拍照的美中不足的一點是你必須注意到光線色調的問題。陰天的光線會顯得偏藍而須由一個暖調濾鏡來解決（編號為 81A 到 81E）。其中 81C 的濾鏡應該算是最好的，濾鏡是琥珀色，也就是藍光的補色，他會將陰天拍攝照片中的藍色去除。去除藍色後，景色中的顏色又會變得栩栩如生。81A 濾鏡是淡琥珀色，提供較少矯正的程度，而 81E 濾鏡則是非常深的琥珀色，通常都會過度矯正。

A Red Maple amid

Aspen

This shot

demonstrates the

sort of saturation Velvia produces when using a

polarizer in sunlight.

山楊樹叢中一片紅色的楓葉這是在陽光下利用偏光鏡所拍，展示 Velvia

底片的彩度

A Red Maple amid

Aspen 2

The same tree, this

time shot on a

cloudy day, no polarizer. Color filtering was

done digitally on the scan.

山楊樹叢中一片紅色的楓葉２同樣的樹叢，不過是在多雲的天氣下所拍，沒有偏光鏡。在掃瞄的過程中，採用色調濾鏡

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配合章節：﹝第 7 講﹞從觀賞者的立場 看藝術作品中的視覺秩序張貼時間：2003/11/30 01:47:11出處：http://daphne.palomar.edu/design/bsymm.html

BALANCE平衡感Balance is a skill that everyone uses almost all of their waking hours. It is balance that allows you to stand up and walk around. You balance your checkbook and hopefully find a balance between your academic and social life.Balance in design is similar to these kinds of balance. You have already had to balance between unity and variety, and in the last project balance figure and ground. Your physical sense of balance will play a part in your ability to balance the visual information in a composition.

平衡感是一項只要當你醒著，幾乎都會用到的技能。平衡感讓你能站立並且走路你會希望在你的帳本中發現在學術與社交生活的收支中取得一個平衡。在設計中所謂的平衡感，就如同上述的平衡感一樣。你已經知道如何平衡統一性〔unity〕與多樣性〔variety〕，且在上次的專題中瞭解如何平衡物體與地面。而身體上對平衡的感受會對平衡構圖中視覺資訊的能力造成影響。Visual interest is what you balance in design. Different colors, shapes sizes, etc. create different degrees of interest. It is the distribution of this interest that you need to control. We will study the abstract (non-figurative) aspects of balance to make it easier to understand how balance works. Subject matter changes the situation because different objects can call more (or less) attention to themselves because of their content and relationships to other objects in the image.

視覺焦點〔visual interest〕是設計所要平衡的因素。不同顏色、形狀大小等，都會製造不同程度的焦點，所要控制的則是焦點的分佈。我們將學習有關平衡的抽象（非形體的）概念，如此可較為容易的瞭解平衡是如何運作。不同主題因內容與影像中其他物體的關係，會造成不同的影響，使主題引起更多（或更少）注意。

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BALANCE – SYMMETRY

Balance can also be described as achieving equilibrium. The problem with this definition is that artists rarely want things to be equal. It usually means that no part of the composition calls too much attention to itself at the expense of the rest of the image. This increases unity, but decreases variety, and hence interest.

平衡感也可以說成達到均衡〔equilibrium〕。不過，這樣子的定義所產生的問題是藝術家很少會希望東西都是均等的。這通常是指整幅構圖中沒有任何一的部分會吸引太多的記憶。如此一來，會增加統一性，然而卻降低了多樣性與焦點。Balance is usually a desirable characteristic of a composition. There are times, however, when it is desirable to deliberately throw the balance off in order to call more attention to some aspect of an image. For this lesson we will attempt to achieve balance as a way of learning how to control attention in a piece of art.

一般來講，構圖中的平衡感是大家所嚮往的。然而，有些時候，當想要讓某部分的影像吸引更多的注意時，則會小心謹慎地犧牲一些平衡感。在本次課程中，我們將試著學習藉由達到平衡來控制一件藝術品的注視焦點。There are two systems for achieving balance: symmetry and asymmetry.

達成平衡有兩種方式：對稱性與非對稱性。

SYMMETRY對稱性Symmetry means a mirror image -- one side is the mirror image of the other. Symmetry can occur in any orientation as long as the image is the same on either side of the central axis.

所謂的對稱性是指是鏡像，即一邊是另外一邊的在鏡子中的倒影。只要影像對於中央軸的兩邊是一樣的，對稱可發生在任何方向。This type of image has great appeal -- it makes for "good" shape relationship. Many people automatically gravitate to symmetry. We are symmetrical after all -- two eyes, two ears, etc.. Look around at consumer products and graphics (printed materials) to see how many use symmetry. You will find that it is the dominant organizational concept.

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這種類型的對稱具有高度的吸引力—它呈現出良好的形狀關係。許多人自動地會讓構圖呈現對稱性。畢竟，我們也是具也對稱的形體—兩雙眼睛、兩隻耳朵等等仔細觀察四周的消費產品與圖像（列印出來的材料），你會發現許許多多都利用了對稱性。你會發現對稱性是讓事物組織起來的主要概念。

SYMMETRICAL BALANCE對稱式的平衡A vertical axis is required to achieve balance with symmetry. Part of the reason is that we have struggled throughout our lives to perfect our balance in order to stand, walk, ride a bike, etc.. To do this we must have exactly the same weight on both sides of our bodies. Our axis of symmetry is vertical and this makes a good model for symmetry in visual information.

為了達成對稱式的平衡，一個垂直軸是必要的。部分的原因是我們每天為了站立走路、騎腳踏車而努力地達到完美的平衡。而為了達到這些目的，我們身體的兩側必須具有相同的重量。而對稱軸則是垂直的，且如此製造了一個視覺資訊中良好的對稱模式。Symmetrical balance is also called formal balance because a form (formula) is used -- a mirror image about a vertical axis. The results look formal, organized and orderly.

對稱式的平衡也被稱為正式的平衡〔formal balance〕，因其利用了一個形式（公式）—對於垂直軸的鏡像。There is a strong emphasis on the center axis in symmetry since all of the information is reflected from there. This should be taken into consideration when designing with symmetry. It is easy to over emphasize the center.

中央軸在對稱中相當重要的，因為所有的資訊都是在該軸呈現反射。在設計對稱的時候，這應該要被列入考慮。通常很容易地就會過份強調這個中心。Symmetrical balance guarantees left to right balance, which is the most important aspect of balance. But there is more to balance than that. Top to bottom balance is also important. Most images seem more stable if the bottom seems slightly heavier. If the top seems too heavy the composition can look precarious.

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對稱式的平衡保證左到右的平衡，這也是平衡中最重要的一環。不過除此之外，還有其他種的平衡。上到下的平衡也是很重要的。大多數的影像如果下面稍稍一點，會看起來更加穩定。相對的，若上面看起來太重，則整幅構圖則會顯得不穩Balance between the center and the outsides of the image must also be considered. Fortunately our own sense of balance is usually good enough to feel when the balance in a composition is wrong. Pay attention to your own sense of balance and you will do well. Your sense of balance, like anything else, can be improved with practice and experience.

你也必須考慮到平衡中心與外圍的影像。很幸運地，我們的平衡感受通常都好倒能夠感覺出來構圖中平衡的錯誤。放些心思在你的平衡感受上，那麼你表現的不錯。如同其他事情一樣，你的平衡感也可藉由練習與經驗來改善。

TYPES OF SYMMETRY對稱的種類Symmetry means that the sides are exact mirror images of each other. This limits symmetry's application to abstract images since objects in the real world are not truly symmetrical. Try folding a leaf down the center and notice that the opposite sides do not exactly correspond with one another. Fine artists rarely use pure symmetry for this reason. It is more applicable to commercial designs.

對稱指的是某一部份是另外一部份精確的鏡像。這限制了對稱性在抽象影像的應用，因為真實世界中的物體並非完全地對稱。試著將一片葉子沿著中央折起來，你會發現另一半並非完全的對應到這一半。這也就是為何好的藝術家很少利用完全對稱在他們的作品上。對於商業的設計更是如此。

NEAR SYMMETRY近似對稱Near symmetry is based on symmetry but the two halves are not exactly the same. Slight variations will probably not change the balance but there is more potential for variety and hence more interest. When the sides become too different, symmetry ceases to exist and balance must depend on other concepts (asymmetry).

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近似對稱〔near symmetry〕是基於對稱，但兩半卻不完全相同。一些微小的變化可能不會改變平衡，但卻增加了多樣性，因而更引人注目。當兩半變的太不相同之時，對稱感就消失了，而平衡則需依靠其他的概念（非對稱性）。Near symmetry is more versatile than pure symmetry. It is used in many graphic images since type throws off the symmetry but the balance is still achieved. It is also occasionally used for formal fine art images, especially early Christian religious paintings.

近似對稱相較於完全對稱來說具有更多的用途。它通常被用在許多寫實畫中，因其本身的型態會拋棄完全對稱，而仍然可以達到平衡感。它也偶而會備用在一些正式的藝術品中，尤其是在早期基督教的宗教繪畫中。

INVERTED SYMMETRY顛倒對稱Inverted symmetry uses symmetry with one half inverted like a playing cards. This is an interesting variation on symmetry but can make for an awkward balance.

顛倒對稱〔inverted symmetry〕利用其中一半顛倒來達到對稱的目的，就如同撲克牌一般。這是種有趣的變化，不過卻會帶來令人不舒服的對稱。

BIAXIAL SYMMETRY雙軸對稱A symmetrical composition can have more than one axis of symmetry. Biaxial symmetry uses two axes of symmetry -- vertical and horizontal. These guarantee balance: top and bottom as well as left and right. The top and bottom can be the same as the left and right, or they can be different. The most regular and repetitive image occurs when they are the same.More than two axes are possible. Snow flakes and kaleidoscopes have three axes of symmetry.

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一個對稱式的構圖可以有超過一個的對稱軸。雙軸對稱〔biaxial symmetry〕利用兩個對稱軸—垂直軸與水平軸。如此可以保證平衡感：上下可以跟左右相同，或者可以不同。當上下左右相同時，就是最具規律性與重複性的影像。也有可能對稱軸會超過兩個。雪花和萬花筒就是具有三個對稱軸。Radial symmetry is a related concept and can use any number of axes since the image seems to radiate out from the center, like a star.

放射對稱〔radial symmetry〕是一種類似的概念，因其圖像如星星般從中心呈現放射狀，故可以有任意數量的對稱軸。

UNITY AND VARIETY統一性與多樣性Symmetrical images have a strong sense of unity because at least half of the image is repeated. At the same time they lack variety because only half is unique. A biaxial image is only unique in one fourth of its format since that fourth is repeated in all the corners.

對稱的影像因其至少有一半的影像是重複的，故其具有高度的統一性。同時，因為只有一半的影像是獨特的，故其缺乏多樣性。一個雙軸對稱的影像只有四分之一的部分是獨特的，其他部分都是重複的。When the top/bottom and left/right are the same, only one eighth is unique. As the repetition increases, so does the unity. In other words symmetrical images are usually well balanced and formal with good unity, but can lack excitement since they are so repetitive.

當上下和左右都相同時，只有八分之一是獨特的。隨著重複的部分增加，統一性也隨之提高。換句話說，對稱的影像往往具有高度平衡，且伴隨著良好的統一性The strong sense of order and repetition make symmetrical images more acceptable to many people. That is why they are used so often in the applied arts. It is for the same reason that symmetry is rarely used in the fine artist. It is not that order is not wanted, but rather that variety is wanted to generate interest and to give the artist more freedom.

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強烈的次序感〔order〕與重複性使得對稱影像能讓人們更能接受。這就是為何這種技巧常被用在作品裡。這也是為什麼一個好藝術家很少使用對稱性。並非好藝術家不想要有次序感，而是更想要多樣性，如此可產生更令人感興趣的作品，並給予藝術家更大的創作自由。

ASYMMETRY非對稱性Asymmetry, also known as informal balance, means without symmetry. You will study asymmetry next.

非對稱性，也被稱作非正式的平衡〔informal balance〕，意思是指沒有對稱性。你將會在下次的課程中學習這個課題。

SYMMETRICAL COMPOSITION對稱式構圖Make a symmetrically balanced collage using only circles, triangles and/or rectangles. The shapes can overlap or be trimmed to make new shapes. Up to four colors may be used. The composition must have a vertical axis of symmetry. Biaxial symmetry may be used. There should be no reference to subject matter. Make the project as large as possible from a 9 inch by 12 inch piece of colored paper. One of the four colors can be used as a border.

利用圓、三角形，或長方形製作一幅對稱式平衡的拼貼畫。這些形狀可以重疊或稍作修剪後變成新的形狀。最多可以使用四種顏色，構圖必須具有垂直軸對稱，不過你也可以用雙軸對稱。可以用任何主題。這次的設計作業盡可能地在長九英吋，寬十二英吋的色紙上面越大越好。利用四種顏色之中的一種當作邊框。Start with thumbnail sketches. Remember that there will be repetition so only half, or a fourth, of the image needs to be drawn. It is easier to see the composition, however, if the whole design is drawn. Plan on designing the major shapes and to experiment with the details once the collage is under way. Make some of the shapes quite large to increase variety.

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從小的草圖開始，因為重複的緣故，只有一半，或者四分之一的部分的影像需要畫，記得這點。不過，把整幅構圖畫出來卻會比較容易看到整體。將心思放在主要的形狀上，然後實驗看看將形狀重疊後的結果。為了增加多樣性，將部分的形狀弄得大一些。Decide what colors you will use. Try stacking several sets of colored paper, varying the order and the amount of each that shows until you find a color scheme that will work. Try to make all of the colors equally visible, but vary the amount of each to get more variety.

為了決定你要使用哪些顏色，試著將不同顏色的色紙以不同次序疊在一起，然後調整色紙的數量，直到找到一個滿意的排法。盡量讓各種顏色都能均勻的呈現不過，各種顏色的數量不同卻可以增加多樣性。Try to make all of the colors operate as figure in the design. Also try to make all the colors act as ground so that there is not one background. Use what you learned in the last project to control the figure/ground relationship.

試著將各種顏色呈現地如同這次課程中的圖形一樣。試著利用上次設計作業中所學到的技巧來控制前景與背景的關係來，來讓所有的顏色都像是前景，如此才不會有任何一個顏色看起來像是背景。

Filling in the thumbnail sketches can make it easier to see color and value relationships. Use different values, or lines and dots, to indicate the different colors. Using colored pencils or felt pens will let you see more clearly what your design will look like. Be careful of white shapes that fade out into the background.

先將小的草圖著色，如此你可以較容易地發現色彩與明亮度的關係。利用不同的明度、線條和點來呈現不同顏色。利用彩色鉛筆或蘸水筆可以讓你更清楚瞭解你所設計的東西的長相。注意白色的形狀會淡化進入背景中。

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COLLAGE ROUGH拼貼法A full sized rough is not usually necessary, or desirable in this type of project. Move all of the parts of the composition around like you did for the ambiguous figure/ground project, trying different combinations, proportions and relationships before you are satisfied. Try taking pieces off. If they are not missed, leave them off. Also try adding more pieces if part of the image lacks interest. Working this way is called using a collage rough. A collage is not done until the last piece is glued in place.

通常來說，一個完全比例大小的拼貼是不需要的，也不需要在此次作業中呈現。就如同你在之前模糊主體與背景作業中一般。將所有構圖的部分在圖上移動，試試看 各種不同的組合、比例與關係，直到你滿意為止。也試著將某一塊拿掉看看如果前後感覺沒差很多的話，就把那塊拿掉。也試著在缺少焦點的地方增加多一點色塊 看看。這樣子的作法，稱之為拼貼法〔collage rough〕。當最後一塊被黏上去之前，整個拼貼就不算完成。Unity and balance are more or less assured. It is interest that you need to work toward getting. Use your sense of balance to determine if the image is correctly balanced. It should not look top or bottom heavy or be too crowded in the center or along the edges.

或多或少，都可以保證統一性與平衡。不過有趣的是，你還是需要點努力來達成利用你的平衡感來決定影像是否正確地達到平衡。如果是的話，上下不應該有任何一部份看起來太過沈重，中央與邊框也不該看起來太過擁擠。When you are satisfied with the composition, measure, mark and carefully glue the image together. Since there may be many layers of paper involved, either glue pieces from the top of the stack down or from the bottom up.

當你滿意這個構圖之後，小心地測量各圖塊大小，並且加上標記，最後謹慎的將圖像黏合起來。你可以從上到下或者下到上的將各層黏起來。

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配合章節：﹝第 10 講﹞從藝術家角度 看藝術作品中使用的技術張貼時間：2003/12/27 11:01:10出處：http://sacredengraving.zoovy.com/category/008theartofengraving/

"You shall also make a plate of pure gold and shall engrave on it, like the engravings of a seal, 'Holiness to the Lord'"

-- Exodus 28:36

你要用精金作一面牌、在上面按刻圖書之法、刻著、歸耶和華為聖。

-- 出埃及記 28:36

Engravings possess an authority and finality not found in other mediums of communication. Unlike paper and other disposable mediums, engravings are durable and permanent.

雕刻品在傳播的媒介中具有其他媒介所沒有的權威性與決定性。不同於紙張與其他可隨意處理的媒介，雕刻則是歷久不滅的。Engraving is mentioned in Scripture, especially in association with the tabernacle and the temple, as a way of marking things for holy service. Those who did this work were filled by God with the skill necessary to perform it (Ex. 35:35).

雕刻在聖經中曾被提到，尤其是在庇護所或者教堂中一種被用來記載儀式所用。耶和華使他們的心、滿有智慧、能作各樣的工、無論是雕刻的工、巧匠的工、用藍色紫色朱紅色線、和細麻繡花的工、並機匠的工、他們都能作、也能想出奇巧的工（出埃及記 35:35）

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What Makes Engraving Different?

But, among the engravings described in the Bible, none can compare to the Ten Commandments. Not made by human hands, "the tablets were God's work, and the writing was God's writing engraved on the tablets" (Ex. 32:16). These tablets were stored in the Ark of the Covenant where the cloud of God's presence was manifested.

不過，在聖經中提到的雕刻中，沒有一個能跟十戒相提並論。這不是由人所創造的，「是　神的工作、字是　神寫的、刻在版上」（出埃及記 32:16）。刻有十戒的兩片石版則是被收藏在約櫃中，來顯示神的存在。Conscious of this legacy, we, at Sacred Engraving, seek to honor the dignity of God's holy word in all of our products. While most engravings are no longer done by hand, engraving is still a time consuming process which must be performed flawlessly the first time.

在這兒，我們意識到這項遺產，找尋各種由神所以遺留的偉大隻字片語。雖然大多數的雕刻已經不是由手工所刻製，它仍需要製作時的完美無瑕，因此仍是件需要耗時費力的工程。An Introduction to Modern Engraving現代雕刻介紹How is Engraving Done?雕刻是如何製作？Modern engraving uses three basic methods to create signs and plaques. All three involve the removal of material from the surface of a material blank.

現代雕刻利用三種基本的方式來創造符號與飾板，而這三種方式都是用來移除材質表面上的空白。The pantograph is a manually operated machine that removes material using a rotating tool or diamond scribe. The tool is connected by levers to a stylus which is moved manually by the operator. The operator uses the stylus to trace a template of each letter. Because the tool follows the motion of the stylus, each letter must be precisely positioned to reflect the actual layout of the work. Compared to computer controlled engravers, pantographs are relatively inexpensive (less than $5,000) and are still used widely to engrave small plates.

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縮放雕刻機是種人工操作透過轉輪或者鑽石切割器將材質移除的工具。這種機器是由一個控制桿連接一個可由操作員替換的尖筆。操作員透過尖筆來刻劃出樣版上的字母。因這個機器是跟隨尖筆所移動，所以每個字母都必須精準地放置以反應出真實作品的情形。相較於電腦控制的雕刻機，人工控制的雕刻機則相對地較為便宜（低於五千美元），且目前仍被廣泛地使用在小版子上。Most engraving today is done with CNC (Computer Numeric Control) engravers and routers. Like the pantograph the CNC engraver uses a rotating tool or diamond scribe to remove material. The engraving is designed on computer software. The design is then converted to numeric commands for each axis of motion. These commands are sent to the machine which is moved by stepper motors or servo motors. CNC engravers typically cost between $5,000 and $25,000. Sacred Engraving uses a medium format, FlexiCAM CNC rotary engraver/router (shown below) to produce our products. We design our engravings on CADlink Profile Lab.

在今天，大多數的雕刻則是由電腦控制〔Computer Numeric Control〕雕刻機跟路徑器所製作。跟縮放雕刻機一樣，電腦控制雕刻機利用轉輪或鑽石切割器來去除材質。刻劃的樣版是在電腦上設計，然後轉換成相對應的座標移動的數值指令。這些指令會被送到配有馬達的雕刻機上。電腦控制雕刻機通常需要五千到兩萬五千美元。我們所採用的是一種中等大小，FlexiCAM 出廠的電腦控制雕刻機跟路徑器來製造我們的產品，而設計都是利用 CADlink Profile L ab。A laser engraver is a type of CNC engraver which uses a focused laser beam to remove material instead of a rotating tool. Lasers offer some major advantages over conventional rotary engraving not the least of which are higher speeds, greater precision, and much cleaner cuts in some materials. However, lasers are very costly ($20,000 to $50,000) and generally require special types of engraving material. Because of this, the selection of material colors and textures is relatively limited and more costly. Also, because laser engraving does not penetrate as deep as rotary engraving in many materials, it does not have the look and feel of a traditional engraving. Nevertheless, lasers represent the trend of the future. As laser technology continues to advance, many of these limitations will be overcome.

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雷射雕刻機是電腦控制雕刻機的一種，它利用雷射光束來去除材質，而非一般所使用的轉輪。相較於傳統的轉輪來講，雷射具有更高速、高精準度，且能在某些材質上刻畫出更清楚的痕跡。不過，雷射雕刻機則非常的昂貴（兩萬到五萬美元不等）而且需要特殊的雕刻材質。因此，在雕刻材料的顏色與質地的選擇相對地受到限制而且價格也較為昂貴。同時，因為雷射雕刻在許多材質上無法像鑽頭刻的一樣深入，且看起來的感覺也不像一般傳統的雕刻。不過，雷射卻是未來的趨勢。隨著技術的進步，這些限制也會被慢慢地克服。How does Rotary Engraving Differ from Other Related Processes?鑽頭雕刻和其他相關的方法有何不同？In addition to engraving, printing (ink jet, laser, offset, etc.), screen printing, stamping, embossing, sublimation, casting, chemical etching, and sand blasting are also used to produce signs and plaques. However, these processes generally produce an image in its entirety or by high speed scanning . For example, sandblasting, which is used to manufacture memorial stones, applies a mask to the entire image in order to implement the removal of material. Ink jet printing, laser printing, and even laser engraving create an image by rapidly moving back and forth across the material. In casting, molten or liquid material is poured into a mold to form the image. Owing to their speed, many of these processes lend themselves more readily to mass production.

除了雕刻以外，印刷（噴墨、雷射等）、絲網印刷、刻印、凸壓、熱昇華、鑄造、化學蝕刻與打砂也都備用在製造符號與飾板上。然而，這些都是透過高速掃瞄或者一次將全部影像印製上去的手法。舉例來說，打砂是用在製造紀念碑時所用，它利用整個影像的遮罩來去除不要的部分。噴墨、雷射印刷，甚至雷射刻板都是快速地在材質上前後移動來製造出一個影像。在鎔鑄或者液態的材質上做雕刻，則是將這些材質注入一個事先造好的模型來創造作品。由於速度的關係，許多方式適合用在大量生產上。Rotary engraving and diamond scribing differ markedly from these technologies. Images and text are created by tracing the contour of each line and character as if it were done by hand. By comparison, it is a very slow process, but the results are worth the wait. At Sacred Engraving, all of our products are engraved in this way.

利用轉輪雕刻和鑽石切割器和上述的技術則顯得完全不同。影像跟文字則是由每個線條與字母的輪廓所產生，就如同用手刻一樣。相較之下，這是個相當緩慢的方式，但是結果卻值得等待。在我們這裡，所有的產品都適用這種方式生產的。

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What Materials are used in Engraving and how are they Engraved?哪些材質被用來雕刻，且它們是怎麼被雕刻的？Engravers use a variety of mediums to produce plaques and signs. While some engraving is done in more exotic materials like Dupont Corian (a synthetic resin stone), most engravers use brass, aluminum, and layered plastics. 雕刻家利用多樣化的材質來製飾版與符號。雖然有些雕刻品是在一些比較特殊的材質上，例如杜邦公司生產的可麗耐〔Corian〕 （一種合成樹脂石頭），大多數的雕刻家則是使用黃銅、鋁以及多層塑膠板。Metals金屬Solid brass and aluminum plates come in a variety of colored lacquers. Typically, these plates are very thin (about .025") enabling the engraver to cut and size them for mounting on a plaque board or placing in a frame. Engraving in brass is usually done by removing the lacquered coating with a rotating tool or laser in order to expose the shiny metal surface underneath. This process is called burnishing. Unlike deep engraving, a costly process which removes a considerable amount of metal, burnishing barely penetrates the surface of the material. Deep engraving (or milling) of metal is used primarily to make industrial molds and name plates. A less expensive process which produces a similar appearance is metal casting. Here, heated material is poured into a form. Brass and bronze plaques with raised or sunken letters are typically done with this process or with chemical etching.

實心的黃銅跟鋁片具有多樣化不同色彩的表面亮光漆。通常來說，這些版面都相當的薄（大約是 0.025 吋），因此讓雕刻家能將它切割成適當的大小，以利放在飾板或者框架中。黃銅雕刻通常是藉由去除表面的亮光漆，讓金屬表面的光澤顯現出來。這樣的程序稱做磨光。不同於高花費的深度雕刻會去除大量可觀的金屬，磨光只會去除金屬表面的一部份。深度雕刻（或稱碾磨）原先是用在製作工業鑄模上。一個較不昂貴且可以達到類似效果的方式則是燙印。在此，熱鎔的金屬被塑造成型。帶有浮雕或凹陷字母的黃銅與青銅飾板常被用在這樣子的製程中或者也會採用化學蝕刻。For aluminum, a non-rotating diamond point or laser is usually used to remove the lacquer coating. A diamond point produced very thin, shiny lines. Most trophy engraving uses this process.

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在鋁片雕刻，通常利用不旋轉的鑽石尖頭或者雷射來宜除表面的亮漆。鑽石尖頭可以製作出非常細且發亮的線條。大多數的雕刻紀念品都採用這種製作方式。A less expensive look-alike to solid brass is brass plated steel. As with lacquered brass, burnishing is used to expose the metal surface. In keeping with our quality standards, Sacred Engraving uses only solid brass in our products

一種看起來外觀很像實心黃銅但較為便宜的方式是利用鍍金的黃銅。伴隨著上有亮光漆的黃銅，透過磨光的手法讓金屬表面顯現出來。為了讓的品質標準一致，我們在產品中只採用實心黃銅。Wood & Plastic木質與塑膠Wood and plastic are the other leading materials used by engravers. Though wood engravings are probably not as common as plastic or resin engravings, wood is gaining in popularity owing to an increase in laser engraving. Laser engraved characters appear slightly darker than the surrounding wood, providing good contrast and a natural appearance. Wood is also a good material for rotary engraving, though it typically involves more processing time. Once the image or text is cut, the engraved recesses often need to be stained or filled with paint. This can add considerable cost to the product.

木質與塑膠也是很被雕刻家使用的材料。木質雕刻也許不像塑膠或樹脂雕刻一樣地常見，它卻由於雷射的使用而慢慢地普及起來。雷射雕刻使得木質表面比周圍顯得稍稍深一些，恰巧提供一個好的對比度與自然的外表。在轉輪雕刻〔 rotary engraving〕中，雖然木質需要較長的時間，卻也是個相當好的材料。一旦圖樣或文字刻上之後，雕刻的部分通常需要上色，這部分會增加可觀的成本支出。Like brass and aluminum, engraving plastic is produced in thin sheets (typically 1/16" and 1/32" thick) which can be cut and trimmed to size, then mounted on a plaque board or placed in a decorative frame. The material is layered in a two color sandwich usually composed of Acrylic or ABS. A rotary tool or laser is used to remove the colored surface material to a depth of .003"-.015". This exposes the core which contains the second color. The combination of the two colors is one of the key factors in determining whether an engraving will be considered pedestrian or a work of art. Other key factors include the design and layout, and the appearance of the plaque or

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frame which holds the engraving.如同黃銅與鋁一樣，塑膠雕刻也是在薄片（通常是十六分之一或三十二分之一吋）上進行，這些薄片可以容易地雕刻且切割成需要的大小，然後放置在飾板或者框架中。塑膠板通常是將兩片不同顏色的板子利用丙烯酸或 ABS 樹脂黏合成的三夾板。通常利用轉輪或者雷射來去除 0.003 到 0.015 吋不等的表面材質。如此可以讓第二種顏色顯現出來。將兩種顏色組合在一起是決定此雕刻是通俗之作或藝術品的關鍵要素之一。其他的要素包括設計與佈局，也包括飾板與在外的框架。Of all the materials available to an engraver, these co-extruded and micro-surfaced resins offer the greatest selection of colors, textures, and finishes. We have all seen cheap looking plastic nameplates and generally think of plastic as being inexpensive when compared to metal and wood. But, high tech, co-extruded and micro-surfaced resins have changed all that. Unlike lacquered metal, this new generation of engraving material is scratch resistant, it does not oxidize, some of it is durable enough to mount outdoors, and it boasts an incredibly rich variety of finishes. The simulated stone and metal surfaces are so real in appearance, that it is impossible to distinguish them from their original without close examination. A number of our products use these micro-surfaced resins to achieve the look of real granite, marble, and radiant metals (such as gold and silver). Some time ago, a woman who was looking at our Foundation Series plaques wanted to know if lifting granite slabs all day was physically demanding!

對於所以可以雕刻的材質中，這些經過擠壓，具有細緻表面的樹脂在色彩與材質方面提供最大的選擇。我們都看過便宜的塑膠名牌，而且一般也都認為塑膠相較於金屬與木質來講，是種便宜的產品。但是，具有高科技、擠壓成型且具有細緻表面的樹脂改變了這個觀點。不同於上漆的金屬，這種新的材料，具有抗摩擦且不會氧化的特性，可以長時間地放在戶外，且在成品上具有高度的多樣性。假冒的石頭與金屬表面看起來是那麼的真實，除非仔細地觀察，否則是很難去分辨。我們一些產品中，利用這種樹脂來達到看似花崗岩、大理石與發亮的金屬（像是金或銀）的表面。一些日子以前，一位來參觀我們基礎系列〔Foundation Series〕飾板的女士問到整天舉著花崗岩石板是不是太吃力了！Quality comes at a price, of course. Far from being inexpensive, many of these materials actually cost more than solid brass. Yet, when compared to polished stone, real gold, and real silver, they are a tremendous value.

當然，品質反映在價格上。許多由這些材料所創作的雕刻品，都比實心黃銅來的昂貴。然而，比起精美的石頭、黃金與銀時，這些就不算什麼了。

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How is Engraving Priced?雕刻品如何計價？Like other forms of art, there is no standard formula for pricing engraving. Though the materials can be expensive, most of the cost incurred is usually determined by labor and overhead which varies considerably from shop to shop. Our little shop, for example, is located in an older industrial building rather than a high traffic area. We do not have a storefront or showroom (though our products adorn the walls). Instead, we maintain a "catalog showroom" on the internet where the "rent" is more reasonable. In short, we do everything possible to keep our products affordable.

如同其他形式的藝術品一樣，沒有標準的公式可以來衡量雕刻品的價錢。雖然材料可能相當昂貴，然而大多數的成本則是來自於勞工成本，而且各家商店的考量也不盡相同。舉例來說，我們的店位於一個舊的工業區建築中，而非在交通繁忙的市區。我們沒有漂亮的店面，也沒有一個展示間（雖然產品都是當作牆上的裝飾）。然而，我們則是在網際網路上有一個「商品展示區」，而在網路上「租金」合理多了。簡而言之，我們盡力讓商品的價格可以負擔的起。Complexity rather than size has the greatest impact on price. A small, complex piece that requires considerable engraving time and tooling changes will usually cost more than a large piece with a simple design. Typically, a plaque with more characters will be more costly to produce. For instance, if you check our Foundation Series you see that a 10.5" x 13" engraving of the Apostles' Creed is actually more expensive than a 12" x 15" engraving of the Ten Commandments.

作品的複雜度比大小更會影響到作品的價格。一件小而需要複雜刻工與時間的產品會讓其售價比一件大而設計簡單的作品來的高出許多。通常來說，帶有較多文字裝飾的飾板會讓商品更為值錢。比方說，基礎系列的十吋半乘十三吋的「使徒信條」比十二吋成十五吋的「十戒」價格來的高。The other major factor is design time. At most shops, design time is billed at $40-$75/hour. Our goal at Sacred Engraving is to provide a standard product line which allows for some customization, thereby eliminating most of the design costs associated with custom engraving. Typically, our engravings are priced about 1/2 to

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1/4 of what it would normally cost to custom engrave them. 另外一個影響價格的因素是設計所花費的時間。多數的商店算法大都是每小時四十到七十五美元不等。我們的目標則是提供一個標準，同時提供適當的客制化。如此一來，可以消除大多數客制化所需要的設計成本。通常來說，我們的雕刻品通常標價通常在一般客制化雕刻的所需一半或者四分之一。We like to talk about what we do! If you have any questions about Sacred Engraving or the art of engraving, we would be glad to talk to you.

我們很樂意談談我們做些什麼，不論有關雕刻藝術或任何的問題，我們都很樂意與您談談。

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配合章節：﹝第 12 講﹞從藝術家角度 看藝術作品中形狀的運用張貼時間：2004/01/03 01:30:50出處：http://www.beloit.edu/~museum/logan/southwest/introduction/styles.htm

We are now entering the dangerous area of "styles". As an art historian, I am drawn toward such visual distinctions, despite the fact, (or perhaps because of it!), that archaeologists have largely avoided them. In the literature I have encountered occasional references to styles, usually either oblique - "it has Sosi-like decoration" - or overt, such as Cunkle's seemingly self-invented styles. One of the real dangers is that a single painting style - defined here as a consistent system of decoration - may be found across several pottery types, and within a single type several styles might be found. This suggests a serious weakness in the current system of classification.

我們現在準備討論「風格」的危險部分。身為一個藝術歷史學家，不論考古學家大部分地避免討論這些的事實為何（或許正因如此），我依然這類的視覺區別〔visual distinctions〕所吸引。在文學作品中，我很少發現涉及風格的部分，大多都是有偏頗，像是「這像是蘇西風格的裝飾」，或者過於明顯，看起來像是自行發明的風格。而真正危險的地方，在於一種單獨的繪畫風格（定義為具有一致性的裝飾法）可能會呈現在不同種類的陶瓷作品上，而即使在同一種類的作品中，也可能會發現有不同種類的風格樣式。這也暗示著目前分類系統的一個缺陷。A classic example is Cibola White Ware, in particular, the Gallup, Escavada, Puerco and Reserve types. All four types have the same physical characteristics - only the painted decoration varies. In the most recent Ceramic Series publication, Prehistoric Ceramics of the Puerco Valley, the following remarks appear regarding these types: "Small sherds of Reserve Black-on-white that lack an opposing solid element would be classified as Gallup...Small sherds of Reserve Black-on-white that lack an opposing hatched element would be classified as Escavada Black-on-white. Small sherds of Puerco and Gallup designs with solid elements could also be placed in Escavada Black-on-white...The 1958 Cibola White Ware Conference recommended using Puerco Black-on-White as a late Pueblo II type encompassing Puerco, Gallup

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PAINTING STYLES

and Escavada styles, defined as varieties. Although logical and efficient for organizing chronological data, this system has not caught on, and most researchers continue to equate each design style with a separate type." To an art historian, this is the equivalent of attributing the many different styles that Picasso worked in to different artists.

一個典型的例子是西波拉〔Cibola〕白陶器，尤其是蓋洛普〔Gallup〕、愛斯卡維達〔Escavada〕、普艾布羅〔Puerco〕與保留〔Reverse〕類別。這四種都具有相同的物理特徵，差別只在於繪畫裝飾的不同。在最新出版的的製陶系列中，下面這段關於在普艾布羅小鎮發現的史前陶器的評論，認為這些陶器有三個種類：「一些保留白底黑紋〔black-on-white〕而缺少短虛線的陶器碎片則被分類成愛斯卡維達白底黑紋。一些碎片屬於普艾布羅與蓋洛普且帶有實心元素的則也有可能被歸類於愛斯卡維達白底黑紋。1958 年的西波拉白陶器會議中建議將普艾布羅、蓋洛普與愛斯卡維達都當成普艾布羅白底黑紋之後的變形。雖然如此可以有效且合理地分別時間先後性的資料，但這個系統卻無法分別這些東西，而大多數的研究人員則持續地將不同的設計風格分類為一個不同的類別。」對於一個藝術歷史學家，這就像是將畢卡索不同風格的畫作標示為不同的藝術家所作的一樣。As problematic is the Reserve type. At the Starkweather Ruin, numerous vessels were unearthed in an unbelievably diverse number of styles, and all were classified as "Reserve" because they all appeared to be locally made. Should these be considered different types, or the same type but different styles? I have leaned toward the latter.

這問題出在於「保留」這種類型。令人不敢相信地，在斯塔克偉澤遺跡中有為數不少埋在地底的瓶子，都具有不同的風格，但是全部都因為在同樣的地點發現、製造，因此都被歸類於「保留」這種類型。這些應該被歸類成不同類型還是同類型但不同風格？我個人則是傾向於後者。So, in short, I have defined a ware as a types that share common paint, paste, temper and firing technique; a type as pottery that shares surface treatment and chronological position; and style as the system of painted decoration. A type can still have a number of styles associated with it, and a style might be found across several types. Thus, I will refer to such names as "Reserve Black-on- White, Red Mesa Style", and "Red Mesa Black-on-White", the only difference being chronological.

總之，我們已經將陶器定義成具有共同塗料、貼圖、燒窯技術的許多類別；一種類別的陶器具有共同的表面處理與發現年代，而風格則是一種系統性的繪畫裝飾。一種類別上面仍然可以有不同的風格，而且一種風格可以在不同種類的陶器

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中發現。因此我會將名字取為像是「保留白底黑紋的紅梅爾莎風格」和「紅梅爾莎白底黑紋風格」，而這差別只在於時間先後。Hopelessly confused? Well, a clear understanding of the painting styles will certainly help. And once you know the styles, you'll be able to see how they fit into the scheme of things as we move into the various types.

感到困惑嗎？清楚正確地瞭解繪畫風格會有相當的幫助。一旦你瞭解這些風格之後，你就能夠看出它們是如何融入各種設計之中。

Anasazi and Mogollon Styles那薩西〔Anasazi〕與摩哥洛〔Mogollon〕風格Basketmaker StyleBasketmaker IIISimple designs often resemble patterns created in baskets. Elements include ticked lines, dot-filled bands, ticked solid triangles and sawtooth lines, all haphazardly arranged in the vessel.

竹籃製作者風格－竹籃製作者 III在籃子中通常利用相類似的圖來作簡單的設計。其中元素包括點狀線〔ticked lines〕、用點填滿的帶狀、點狀實心三角形與鋸尺狀的線，這些被隨意地安排在陶瓶中。

White Mound Style Early Pueblo I Elements are the same as in the Basketmaker Style, but are more carefully executed and arranged into more regularized compositions.

白土〔White Mound〕風格－早期普艾布羅 I構成的元素與竹籃製作者風格一樣，但是更小心仔細地安排成更有規律的構圖。

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Kana-a Style Late Pueblo I Banded designs of parallel lines and concentric rectilinear forms, executed in very short, choppy strokes.

卡那〔Kana-a〕風格－晚期普艾布羅 I由許多的平行線構成類似同心圓的設計，被安排成許多短且突起的短虛線。

Kiatuthlanna Style Late Pueblo I A radial style which is more rim-based, with pendant triangular elements lined with multiple parallel lines stairstepping their way around the vessel.

凱特拉納〔Kiatuthlanna〕風格－晚期普艾布羅 I這種風格則是具有放射狀而且更為有邊緣，而這些邊緣是由相互垂直的三角形排列成階梯狀換繞著整個瓶子。

Red Mesa Style Early Pueblo II A combination of banded parallel lines and interlocking dot-lined scroll triangles.

紅梅爾莎〔Red Mesa〕風格－早期普艾布羅 II這則是由帶狀的平行線與由點線所相扣環繞的三角形所構成。

Puerco Style Late Pueblo II Designs are either arranged in multiple bands, or panelized within a single band. Panels are separated by multiple parallel lines. Hatching is not used and designs are composed of bold, zigzag elements.

普艾布羅風格－晚期普艾布羅 II這類設計通常是安排成多條帶狀，亦或是由單一帶所構成。嵌板由許多的平行線所分隔開來，在這裡不會使用細細的線，而是由粗的、鋸齒狀的元素所構成。

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Wingate Style Late Pueblo II The first combination of interlocking solid and hatched elements. Motifs are rectilinear or angular, and hatched elements are larger than solids. Designs tend to be confined to bands.

溫蓋特〔Wingate〕風格－晚期普艾布羅 II這是第一個將實心與短虛線相扣結合而成的風格。這種陶器主題是長方形或者是有尖角的形狀，且短虛線佔的比例比實心的大出許多。設計則傾向於限制在帶狀之中。

Holbrook Style Early Pueblo III Composed of interlocking solid-line key elements. Dotted triangles and barbed lines are common. Designs are arranged in bands framed top and bottom.

郝爾布魯克〔Holbrook〕風格－早期普艾布羅 III由相扣而成的實心線當作基本元素所組成。點狀的三角形與鋸齒狀的線也是常見的。整個設計安排成上下兩個帶狀的框架。

Sosi Style Early Pueblo III A bold-line revision of the Holbrook Style, lacking dotted elements and focusing on paired barbed lines and bold-line triangular key elements.

蘇西〔Sosi〕風格－早期普艾布羅 III將郝爾布魯克風格改由粗的線條所構成，不過缺少點狀的元素，且焦點則落在由成對鋸齒線與粗線構成的三角形所構成的基本元素上。

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Chaco Style Early Pueblo III Hatched bands that are not paired with solid elements are diagnostic of this style. Hatching is oblique and usually narrower than the framing lines. Hatching grows finer and more closely spaced over time.

恰可〔Chaco〕風格－早期普艾布羅 III短虛線所組成的帶狀元素與實心的沒有成對出現，是這種風格的特徵。短虛線通常是斜斜的且比結構線來的更窄。短虛線隨著時間增加，顯得更好且更為清楚。

Reserve Style Early Pueblo III Balanced solid and obliquely hatched elements, usually interlocking. Hatched areas slightly larger than solids. Designs are more radial than the Wingate Style, and not limited to bands.

保留風格－早期普艾布羅 III粗線與短虛線相扣而形成種平衡。短虛線的部分稍稍地比粗的部分大些。設計比溫蓋特風格來個更為呈放射狀，而且也不限於帶狀。

Snowflake Style Early Pueblo III Interlocking solids, with lines intersecting at right angles characteristic of this style. Elements tend to be arranged as tiles, often alternating in diagonal patterns as if woven.

雪花〔Snowflake〕風格－早期普艾布羅 III這種類型的特徵是由實心與直角處帶有線交錯的圖樣相扣而成。元素傾向排列成瓦片，就如同編織一樣，常會以交替的圖樣構成。

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Tularosa Style Late Pueblo III The hallmark element of this style is the stairstep- and-scroll motif. Hatched elements are larger than solids, and longitudinal hatching is prevalent.

圖拉羅莎〔Tularosa〕－晚期普艾布羅 III這種風格的印記則是階梯狀環繞而成的主題。短虛線比實心的部分來的大，且長的短虛線是很常見的。

Kayenta Style Late Pueblo III Negative-painting prevails, where bands of paint are used to create the ground, with the slip color showing through to create the designs.

蓋恩塔〔Kayenta〕風格－晚期普艾布羅 III利用負相的彩繪法，且帶狀的塗料用來創造大地的感覺，和輕滑過去的色彩來創造出這種設計。

Pinedale Style Pueblo IV Pendant triangles and Y-band layouts are characteristic. Triangular areas often have parallel lines framing a band of corbeled lines.

松樹谷〔Pinedale〕風格－普艾布羅 IV特徵是由下垂的三角形與 Y 字型帶狀的佈局所構成。三角形的區域通常是由形成帶狀的平行線所支撐。

Four Mile Style Pueblo IV The first deliberately asymmetrical style. A single element tends to fill the whole bowl, and is often a combination of stairstep and scroll motifs.

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四里風格〔Four Mile〕－普艾布羅 IV第一個精細非對稱的風格。單一的元素傾向填滿整個碗面，而常常與樓梯環繞狀的主題相結合。

Mimbres Styles 明布雷斯〔Mimbres〕風格Mangas Style Pueblo I As will be typical with Mimbres pottery, solid and hatched elements are irregularly matched. Line weight is heavy and designs are bold.

曼格斯〔Mangas〕風格－普艾布羅 I實心與短虛線被不規則的配對在一起，這通常是曼格斯陶器的典型種類。線較為粗重，且設計也是粗的。Mimbres Geometric Style Pueblo I Carefully executed, fine-line designs of mis- matched solid and hatched elements. The haphazard character of the designs contrasts strongly with the careful execution of individual elements.

曼格斯幾何風格－普艾布羅 I透過巧妙地安排精巧的線與不相搭配的實心與短虛線，構成了這種風格。這種隨意的設計特徵與小心安排每個元素的設計形成強烈的對比。Mimbres Figural Style Pueblo I Highly stylized animal and human figures centrally placed. Bands of multiple fine lines usually border the rim.

曼格斯形象風格－普艾布羅 I在中心會放上具有高度風格的動物與人體形象，而邊緣通常是由多條精緻線條構成的帶狀所環繞而成。

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配合章節：﹝第 14 講﹞從藝術家角度 看藝術作品中時間和運動的運用張貼時間：2004/01/06 00:30:10出處：http://www.nerone.cc/nerone/lectures/sandrea.htm

Exterior of the Church教堂的外觀A new church for the Jesuit seminary on the Quirinal was begun in 1658 with funds provided by Cardinal Camillo Pamphilj. The project was conceived and designed by Gian Lorenzo Bernini (1598-1680) who, together with his pupil De Rossi (1637-1695), supervised the construction of the church. It took twenty years to build (1658-1678). Almost immediately there were problems. The small site chosen for the new church restricted the design. Bernini resolved the problem, as his rival Borromini had done further along the rnad at San Carlo alle Quattro Fontane, by designing an oval church. Unlike San Carlino, however, the main entrance and high altar would be placed on the short axis of the ellipse. The oval provides the key to the whole design. A semicircular porch, supported by Ionic columns, projects from the high, narrow facade, topped by a pediment and supported by two pairs of monumental Corinthian pilasters. The porch is dominated by the Pamphilj coat-of-arms sculpted in travertine by two members of Bernini's workshop, Lorenzo Dini and Domenico Basadone, "according to the taste and the satisfaction of the Chevalier Bernini". The latter, under the direction of his master, designed the chapels, the floor of the church and sacristy. Neither Bernini nor the Rossi wanted payment in money for their work: they desired gifts in kind and to receive the bread of the Jesuit novitiate, annexed to the church.

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Sant'Andrea al Quirinale - A Jewel of Baroque Art

1658 年的時候，在季納里〔Quirinal〕山丘上由樞機主教卡蜜拉‧潘福爾所出資建造了這座新教堂。構想與設計來於貝尼尼〔Gian Lorenzo Bernini〕（1598 - 1680）與他的徒弟羅素〔De Rossi〕（1658 - 1678），而整座教堂的建造都是在他的監督下完成。過程中遇到的問題不少，首先選擇建造的那塊小地方限制了整個設計。貝尼尼利用設計橢圓型教堂來解決這個問題，而他的競爭對手布羅米尼〔Borromini〕則更進一步利用在四泉聖嘉祿堂〔San Carlo alle Quattro Fontane〕的設計上。不同於四泉聖嘉祿堂，聖安得魯教堂的大門與聖壇是被放在橢圓型的短軸上。整座教堂設計最關鍵的地方就在於橢圓型。由愛歐尼亞式石柱支撐的半圓形大門，從教堂正面高處投射下來，而上面緊鄰著的是由科林斯式半露方柱所構成的屋頂。大門則是由潘福爾盾形紋章〔coat-of-arms〕為造型的雕刻所支配，而此雕刻是由貝尼尼工作坊裡兩位成員提尼〔Lorenzo Dini〕與巴薩多尼〔Domenico Basadone〕依照貝尼尼的風格所製作而成。後面這位在他師父的指導下設計了小禮拜堂、教堂的地板與收藏室。不論是貝尼尼或羅素都不想要獲得報酬，他們渴望的由修道士所給予他們的麵包。

Interior of the church教堂的內部The oval interior, with an entrance and high altar on the minor axis, means that once inside the church the visitor is almost immediately confronted by the high altar, flanked by two pairs of fluted Corinthian columns in red marble. Behind lurks a masterpiece by Guglielmo Cortese (or Guillaume Courtois, known as "Borgognone delle Battaglie" representing the Martyrdom of the Apostle Andrew to whom the church is dedicated (1668). The painted ensemble appears floating above the altar supported by rays of artificial golden light down which slide a troop of angels, as if delivering the picture from some celestial workshop. Above the recess of the high altar we meet the Apostle again. As if the saint has left the altar to travel towards the dome and his own apotheosis he is found kneeling on a cloud, which snuggles into the curving, broken pediment. With upstretched hands he looks towards the light which floods in through the lantern high up in the airy dome. The statue is not by Bernini but carved after his designs by his pupil Antonio Raggi (1624-1686). The dome is given the impression of extra height by the richly gilt coffering which diminishes in size

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towards the lantern. Around the interior above the windows groups of exuberant putti play in the swags of fruit and flowers which swing between the ribs supporting the dome. Within the lantern itself, illuminated with yellow stained-glass so that the church always seems bright, even on the dullest day, flies the dove of the Holy Spirit. This is also conveniently the badge of the Pamphilj family, whose coat-of-arms is repeated inside the church over the main door. Nearly all the marble work is by Baratta, with the exception of the floor decorated with the coats-of-arms of the Pallavicino, Spinola and Melzi families. This was designed by De Rossi.

橢圓型的教堂，大門與聖壇都在短軸上，因此一旦訪客踏入大門後，立刻就會被緊接著的聖壇而感到壓迫，而左右則被一對由紅色大理石構成的歌林斯式石柱包圍。而後面則是由柯地斯〔Guglielmo Cortese〕以殉道的聖安得魯為題的名作（1668），這座教堂也就是奉獻給聖安得魯。整體的繪畫看起來像是懸浮在聖壇的上方，藉由人造的耀眼金色光芒，就像是從天上傳遞來的一幅畫一樣。在聖壇的上方，我們又可以再次見到聖安得魯，好像是他離開聖壇，在圓頂上，像是跪在雲端上，而這一切都緊緊地貼上三角形屋頂的雕刻之中。他的雙手朝著那從圓頂高處的提燈露出光線向上舉起。這座雕像雖然是由貝尼尼所設計，但是卻是由他的徒弟洛基〔Antonio Raggi〕（1624 – 1686）雕刻製作。圓頂上鍍了一層薄薄的金，而讓人覺得特別地高挑。在窗戶之上，環繞著一群在垂吊著果實與花叢間玩耍的邱比特們。至於提燈本身，透過黃色的彩繪玻璃散發出的光芒，即使是在最無趣的日子，教堂看起來還是如此地明亮。潘福爾家族的盾形紋章被裝飾在大門的四周。這些偉大的工作大多都是由巴拉西亞〔Baratta〕所完成，而地板由雅典那、斯皮諾拉〔Spinola〕與梅爾茲〔Melzi〕三的家族的盾形紋章裝飾而成，則是由羅素所設計。

The Side Chapels(anticlockwise from the entrance)

小禮拜堂（位於入口逆時鐘方向）

Saint Francis XavierThe altarpiece and side paintings show the Jesuit saint preaching; administering baptism; and his death in 1552. These are the work of Gaulli, better known as "il Baciccia" (1706).

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聖徒法西斯〔Saint Francis Xavier〕聖壇與兩旁的繪畫顯示出耶穌聖徒在傳道、受洗與他在 1552 年去世的情形。這些作品都是由高里〔Gaulli〕，而他以「巴其查」〔il Baciccia〕這個名字較為有名。 The "Pieta" The altarpiece depicting the Deposition from the Cross and the side paintings (Christ at the Column; and Saint Veronica are the work of Giacinto Brandi (1682).

聖母懷抱殉難耶穌圖這個聖壇的裝飾描述著從十字架上卸下聖體與兩旁的繪畫（石柱上的耶穌、聖梅洛尼加），而這些都是由畫家布蘭迪於 1682 年所創作。 The Cross To the side is the marble monument and tomb of Carlo Emanuele IV, King of Sardinia and Piedmont. He abdicated from the throne in 1802 and in 1815 entered the Jesuit novitiate, annexed to the church. He died here in 1819.

十字架在側面的是一座紀念薩丁尼亞王國的伊曼紐四世的大理石碑與陵寢。他於 1802 年退位，於 1815 年成為此地的修道士，於四年後去世。 Saint: Stanislas KostkaThe altarpiece is by Carlo Maratta (1687) and the side paintings are by Mazzanti. These show episodes from the life of the Polish saint. His body is preserved in the lapis lazuli urn under the altar (1706).

聖徒達義〔Saint Stanislas Kostka〕這個聖壇裝飾品是由馬拉塔〔Carlo Maratta〕於 1687 年所完成，而旁邊的繪畫則是由馬札提〔Mazzanti〕所作。這些描繪著這位波瀾聖徒的一生，而他的遺體則被保存於聖壇下的天青石缸中。 Saint Ignatius Loyola The altarpiece shows three Jesuit saints: Ignatius, Francis Borgia and Luigi Gonzaga. The side paintings depicting the Adoration of the Shepherds and of the Magi are by Ludovico Antonio di Lugano.

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聖依納爵〔Saint Ignatius Loyola〕這個描述了三位聖徒：依納爵、方濟〔Francis Borgia〕與聖類斯〔Luigi Gonzaga〕。兩旁的繪畫則敘述著牧羊人的崇拜與東方三博士〔Magi〕，這些畫作是由盧加諾〔Lugano〕的路德維哥〔Ludovico Antonio〕所創作。

The Sacristy (entered to the right of the main altar)

收藏室（位於聖壇的右側）One of the most interesting parts of the church, so ask to see it if it is locked. The elaborate and ornate ceiling was painted by Giovanni De La Borde (1670). It shows Saint Andrew in Glory, surrounded by angels and accompanied by Jesuit saints. A sketch for the paintings and the overall design was examined and approved by Bernini. Along the walls are great cupboards carved in walnut, surmounted by littles balustrades. On the back wall a painting of the Assumption of the Virgin Mary, attributed to the Jesuit painter Fra'Andrea Pozzo (1642-1709), can be admired.

這座教堂最有趣的一個地方就是收藏室，若您來參觀的話，記得問問看有沒有開放。房間內華麗且製作精巧的天花板是由博得〔Giovanni De La Borde〕於 1670 年所作，描述著聖安得魯的光榮，環繞著天使且伴隨著耶穌的聖徒們。這幅畫作的草圖與整份設計都是由貝尼尼審查與認可過的。沿著牆壁則是由胡桃樹雕刻而成的櫥櫃，伴隨著許多小的扶手。而後面的牆上則是描繪著聖母瑪麗昇天〔Assumption of the Virgin Mary〕的故事，這是由天主教士乃波佐〔Fra'Andrea Pozzo〕（1642 - 1709）所創作。

The Chapel of Saint Stanislas聖斯塔尼斯拉斯小禮拜堂Upstairs on the first floor of the pretty church of Sant'Andrea al Quirinale, designed and built by the great Gian Lorenzo Bernini between 1658-78, are a complex of three

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rooms dedicated to the young Polish saint Stanislas Kostka (1550-1568), whose feast days falls 11 April. These rooms, where a little museum dedicated to the memory of the Saint has been assembled, can be found via a staircase to the right of the high altar (ask the sacristan to open them if they are locked, he is usually very obliging provided that the church is not being prepared for a wedding). Although the present suite of rooms was constructed later, it was in this place where the Saint lived for some months as a Jesuit novice and where he died on 15 August 1568.

來到聖安得魯教堂的二樓一樣是由貝尼尼於 1658 到 1678 年間設計與建造，共分成三個房間，奉獻給節日在四月十一日的年輕波蘭聖徒斯塔尼斯拉斯〔Saint Stanislas Kostka〕（1550 - 1568）。這些用來紀念聖徒的房間位於聖壇右方樓梯間的地方（如果被鎖住的話，請管理員打開，通常沒有在準備婚禮的時候，他會很樂意的幫你打開的）。雖然這些房間的擺設與裝飾是後來才建造的，這地方的確是當年聖徒居住過數個月之地，也是他於 1568 年 8 月 15 日去世之所在。On the walls of the first room there are 12 large sketches by the Jesuit artist Fra'Andrea Pozzo. These show episodes from the Saint's brief life, from his birth at Rostkow near Warsaw to his arrival in Rome in 1567.

Both the floor, covered with majolica tiles, and the roof of the second room date from the period of the Saint's brief sojourn in Rome. Note the photocopy of a letter sent from Saint Peter Canisius to Saint Francis Borgia on 25 September 1567. This letter is known as the letter "of the three Saints", as in it Canisius refers to three young novices whom he is sending from Vienna to Rome. One of these was Saint Stanislas Kostka, about whom he wrote, he is "an excellent young man, of whom we have the greatest hopes, but we have not yet received him as a novice because his family was completely against it". A marble plaque (with a poem in Polish commemorating the death of the Saint by Camilo Norwid) recalls the visit of Cardinal Wyszynski and the Polish bishops during the Second Vatican Council in 1960.

第二個房間的鋪滿琺瑯磚地板與天花板都是從聖徒在羅馬短暫居住時所遺留至今。房間裡有一封由聖嘉尼削〔Saint Peter Canisius〕於 1567 年 11 月 25 日送給聖方濟的信件。這封信被稱作「給三位聖徒」，信中聖嘉尼削提到這三位聖徒來被從維也納派到羅馬來，而其中一位是聖徒達義。達義在信中被描述為一個傑出的青年，充滿著偉大的希望，不過因為他家裡相當反對，故不認定他是位入道者。一塊大理石板記載著 1960 年第二次梵諦岡議會間，樞機主教維辛斯基與波蘭主教的來訪，石板上亦有一首由詩人卡蜜拉‧諾爾維特，紀念聖徒逝世的波蘭詩）。

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The third room, in which the saint died, probably of malaria on the eve of the feast of the Assumption in 1568, has been converted into a chapel. In the centre is an unusual statue in polychrome marbles, sculpted by Legros (1666-1719) showing the death of the Saint. The Saint's head, hands and feet, as well as the cushion beneath his head, have been carved in white Corinthian marble. The Saint's vestments are of black granite, while the mattress on which he lays is yellow alabaster. At the head of the bed is a painting by Tommaso Minardi (1787-1871) showing Our Lady surrounded by angels and the virgin martyr Saints Cecilia, Agnes and Dorothy welcoming the Saint into Heaven. This together with the sculptural group forms a single monumental unit. The altar on the right, dedicaded to Saint Stanislas, is decorated with gifts from various novices in honour of the Saint, who is the patron saint and protector of novices. On the left there is a fine copy of thd Virgin and Child, known as the "Salus Populi Romani" from the Basilica of Santa Maria Maggiore. This is one of three copies commissioned by Francis Borgia (1572), and one to which, legend has it, that Saint Stanislas was particularly attached.

第三個房間為聖徒因為瘧疾於 1568 年諸聖節〔the feast of the Assumption〕前夕長眠於此。在房間的中間，有座由魯格羅（1666 - 1719）雕刻，不尋常的多彩大理石雕像，刻畫著聖徒的逝世。聖徒的頭、手腳以及頭下的墊子都是由白歌林斯式大理石所刻。聖徒的禁衣則是黑花崗岩，而他所躺著的床墊則是黃雪花石膏製成床頭的繪畫則是由多瑪斯‧米納迪〔Tommaso Minardi〕（1787 - 1871）所作，敘繪著一群天使環繞著的聖母瑪麗亞與聖女西茜莉雅〔Saints Cecilia〕、艾妮絲〔Agnes〕、桃樂西〔Dorothy〕歡迎聖徒來到天堂的情形。這與雕像成為一個具有紀念價值的東西。位於聖壇的右側，裝飾著由許多入道者捐贈的物品，用來紀念聖徒斯塔尼斯拉斯，而聖徒也正是這些入道者的守護神。而在左側則是一幅聖母與聖子的複製畫，也被稱為「羅馬人民的救星」〔Salus Populi Romani〕，這是由大聖母教堂〔Basilica of Santa Maria Maggior〕來的。這是由聖徒方濟於 1572 年所作的三份複製品中其中一份，傳說聖斯塔尼斯拉斯曾流連於此。（由於後面一段與上面大多數重複，故刪除之）

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