雕塑家的语言
课文学习台
The Sculptor Speaks
区分观点、依据、例子与限制，用自己的话准确重建论述。
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第1段
Appreciation of sculpture depends upon the ability to respond to form in three dimensions. That is perhaps why sculpture has been described as the most difficult of all arts; certainly it is more difficult than the arts which involve appreciation of flat forms, shape in only two dimensions. Many more people are "form-blind" than colour-blind. The child learning to see, first distinguishes only two-dimensional shape; it cannot judge distances, depths. Later, for its personal safety and practical needs, it has to develop partly by means of touch the ability to judge roughly three-dimensional distances. But having satisfied the requirements of practical necessity, most people go no further. Though they may attain considerable accuracy in the perception of flat form, they do not make the further intellectual and emotional effort needed to comprehend form in its full spatial existence.
欣赏雕塑取决于对三维立体形状的反应能力。雕塑被说成是所有艺术中最难的艺术，可能就是这个原因。欣赏三维的雕塑品当然会比欣赏二维平面的艺术品要难。 “形盲”的人数比色盲的人数要多得多。正在学看东西的儿童起初只会分辨二维形体，还不会判断距离和深浅。慢慢地，由于自身安全和实际需要，儿童必须发展（部分通过触觉）粗略判断三维空间距离的能力。但是，大部分人在满足了实际需要后，这种能力便停滞不前了。他们虽对平面形状的感知达到了相当精确的程度，但他们没有在智力和情感上做进一步的努力，以在整个空间中理解形状。
第2段
This is what the sculptor must do.He must strive continually to think of, and use, form in its full spatial completeness. He gets the solid shape, as it were, inside his head—he thinks of it, whatever its size, as if he were holding it completely enclosed in the hollow of his hand. He mentally visualizes a complex form from all round itself; he knows while he looks at one side what the other side is like; he identifies himself with its centre of gravity, its mass, its weight; he realizes its volume, as the space that the shape displaces in the air.
而雕塑家就必须做到上面这一点。他必须在最为完整的空间中勤于想象，并利用好形状。可以这样说，当他想象一个三维形体时，不管其大小如何，他脑子里得到的是一个立体的概念，就好像完全握在自己手心里一样。 他能在脑海中，从一个复杂形状的各个角度将其可视化；他看形体的一边时，能知道另一边的样子；他弄清楚形体的重心、块面大小和质量；他理解形体的体积占了空气中多少空间。
第3段
And the sensitive observer of sculpture must also learn to feel shape simply as shape, not as description or reminiscence. He must, for example, perceive an egg as a simple single solid shape, quite apart from its significance as food, or from the literary idea that it will become a bird. And so with solids such as a shell, a nut, a plum, a pear, a tadpole, a mushroom, a mountain peak, a kidney, a carrot, a tree-trunk, a bird, a bud, a lark, a ladybird, a bulrush, a bone. From these he can go on to appreciate more complex forms or combinations of several forms.
因此，敏锐的雕塑观赏者也必须学会感觉形体本身，而不是理解成描述和印象。以鸟蛋为例，观赏者必须将其理解成一个单一的三维形体，而完全不同于其食用意义，或者它会变成鸟这样的文学意义。对于其他立体，如贝壳、坚果、李子、梨子、蝌蚪、蘑菇、山顶、肾脏、胡萝卜、树干、鸟儿、花蕾、云雀、瓢虫、芦苇以及骨头也应如是。 有了这个基础，观赏者便可进一步鉴赏更为复杂的形状或若干形状的组合。
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译文与解析据吴应时整理资料及本站首轮审校稿；词伙与练习提示为本站学习设计。原PDF第126—130页，2022年2月第2版。