新标准大学英语三

How we listen

1 We all listen to music according to our separate capacities. But, for the sake of analysis, the whole listening process may become clearer if we break it up into its component parts, so to speak. In a certain sense we all listen to music on three separate planes. For lack of a better terminology, one might name these: (1) the sensuous plane, (2) the expressive plane, (3) the sheerly musical plane. The only advantage to be gained from mechanically splitting up the listening process into these hypothetical planes is the clearer view to be had of the way in which we listen.

2 The simplest way of listening to music is to listen for the sheer pleasure of the musical sound itself. That is the sensuous plane. It is the plane on which we hear music without thinking, without considering it in any way. One turns on the radio while doing something else and absent-mindedly bathes in the sound. A kind of brainless but attractive state of mind is engendered by the mere sound appeal of the music.

3 The surprising thing is that many people who consider themselves qualified music lovers abuse that plane in listening. They go to concerts in order to lose themselves. They use music as a consolation or an escape. They enter an ideal world where one doesn't have to think of the realities of everyday life. Of course they aren't thinking about the music either. Music allows them to leave it, and they go off to a place to dream, dreaming because of and apropos of the music yet never quite listening to it.

4 Yes, the sound appeal of music is a potent and primitive force, but you must not allow it to usurp a disproportionate share of your interest. The sensuous plane is an important one in music, a very important one, but it does not constitute the whole story.

5 The second plane on which music exists is what I have called the expressive one. Here, immediately, we tread on controversial ground. Composers have a way of shying away from any discussion of music's expressive side. Did not Stravinsky himself proclaim that his music was an "object", a "thing", with a life of its own, and with no other meaning than its own purely musical existence? This intransigent attitude of Stravinsky's may be due to the fact that so many people have tried to read different meanings into so many pieces. Heaven knows it is difficult enough to say precisely what it is that a piece of music means, to say it definitely, to say it finally so that everyone is satisfied with your explanation. But that should not lead one to the other extreme of denying to music the right to be "expressive".

6 Listen, if you can, to the 48 fugue themes of Bach's Well-Tempered Clavichord. Listen to each theme, one after another. You will soon realize that each theme mirrors a different world of feeling. You will also soon realize that the more beautiful a theme seems to you the harder it is to find any word that will describe it to your complete satisfaction. Yes, you will certainly know whether it is a gay theme or a sad one. You will be able, in other words, in your own mind, to draw a frame of emotional feeling around your theme. Now study the sad one a little closer. Try to pin down the exact quality of its sadness. Is it pessimistically sad or resignedly sad; is it fatefully sad or smilingly sad?

7 Let us suppose that you are fortunate and can describe to your own satisfaction in so many words the exact meaning of your chosen theme. There is still no guarantee that anyone else will be satisfied. Nor need they be. The important thing is that each one feels for himself the specific expressive quality of a theme or, similarly, an entire piece of music. And if it is a great work of art, don't expect it to mean exactly the same thing to you each time you return to it.

8 The third plane on which music exists is the sheerly musical plane. Besides the pleasurable sound of music and the expressive feeling that it gives off, music does exist in terms of the notes themselves and of their manipulation. Most listeners are not sufficiently conscious of this third plane.

9 It is very important for all of us to become more alive to music on its sheerly musical plane. After all, an actual musical material is being used. The intelligent listener must be prepared to increase his awareness of the musical material and what happens to it. He must hear the melodies, the rhythms, the harmonies, the tone colors in a more conscious fashion. But above all he must, in order to follow the line of the composer's thought, know something of the principles of musical form. Listening to all of these elements is listening on the sheerly musical plane.

10 Let me repeat that I have split up mechanically the three separate planes on which we listen merely for the sake of greater clarity. Actually, we never listen on one or the other of these planes. What we do is to correlate them – listening in all three ways at the same time. It takes no mental effort, for we do it instinctively.

11 Perhaps an analogy with what happens to us when we visit the theater will make this instinctive correlation clearer. In the theater, you are aware of the actors and actresses, costumes and sets, sounds and movements. All these give one the sense that the theater is a pleasant place to be in. They constitute the sensuous plane in our theatrical reactions.

12 The expressive plane in the theater would be derived from the feeling that you get from what is happening on the stage. You are moved to pity, excitement, or gaiety. It is this general feeling, generated aside from the particular words being spoken, a certain emotional something which exists on the stage, that is analogous to the expressive quality in music.

13 The plot and plot development is equivalent to our sheerly musical plane. The playwright creates and develops a character in just the same way that a composer creates and develops a theme. According to the degree of your awareness of the way in which the artist in either field handles his material will you become a more intelligent listener.

14 It is easy enough to see that the theatergoer never is conscious of any of these elements separately. He is aware of them all at the same time. The same is true of music listening. We simultaneously and without thinking listen on all three planes.

我们是怎样听音乐的

1 我们都按照各自不同的能力来听音乐。 但为了便于分析，如果把听的整个过程分成几个组成部分，那么这个过程会更清晰一些。 从某种意义上来说，我们听音乐有三个不同的层次。 由于缺乏更好的术语，我们姑且把它们命名为：（1）感官层次；（2）表现层次；（3）纯音乐层次。 把听的过程机械地分割为以上三个假想的层次，唯一的好处是让我们更清楚地了解自己是怎样听音乐的。

2 听音乐最简单的方式是去获取乐声带来的纯粹的愉悦感，这是音乐的感官层次。 在这个层次上，我们只是听音乐，不做任何思考。 我们打开收音机，一边做着其他的事情，一边心不在焉地沉浸在音乐中。 乐声本身的魅力带我们进入一种无需思考的美妙心境。

3 令人意外的是，许多自认为合格的音乐爱好者在听音乐时过多地使用了这一层次。 他们去听音乐会是为了忘却自我。 他们把音乐当成一种慰藉，一种逃避，由此他们进入了一个可以忘却日常生活的理想世界。 当然，他们也没有思考音乐。 音乐允许他们离开现实，到另一个地方去做梦，因为音乐而做梦，做有关音乐的梦，却从没有真正欣赏过音乐。

4 的确，音乐的声音魅力是一种强劲的原发力量，但不能听任它主次不分地篡夺了听者的那份兴趣。 感官层次是音乐的一个重要层次，非常重要，但并不是音乐的全部。

5 音乐存在的第二个层次就是我所说的表现层次。 一提到这个问题，我们马上就进入到一个颇具争议的领域。 作曲家总是设法避开有关音乐表现方面的讨论。 斯特拉温斯基不是曾经声称他的音乐是一个“物体”，是一件有自我生命的“东西”，除了纯音乐性的存在之外没有任何别的含意吗？ 斯特拉温斯基这种不妥协的态度可能源于这样的一个事实：有那么多的人尝试着从众多的音乐作品中读出完全不同的含意。 确实，要准确地说出一部音乐作品的含意已经很难了，要肯定并确定地说出来，还要使每个人对你的解释都感到满意，是难上加难。 但我们不该因此走到另一个极端，去剥夺音乐“表现”的权利。

6 可能的话，你不妨听听巴赫的《平均律钢琴曲集》中的 48个赋格主题。 依次地、一个个地听听其中的每一个主题，你很快就会意识到每个主题都反映了一个不同的情感世界，你很快也会意识到你越觉得某个主题美妙，就越难找到令你完全满意的字眼来描述它。 是的，你当然知道那个主题是欢快的还是悲伤的。 换句话说，你能够在脑海中勾勒出那个主题的情感框架。 那么就更仔细地听一下这个悲伤的主题吧，要明确悲伤的性质。 是悲观厌世的悲伤，还是无可奈何的悲伤？是时运不济的悲伤，还是强颜欢笑的悲伤？

7 假设你很幸运，能用许多词句充分表达你对选中主题的确切理解。 但这仍然无法保证其他人对你的理解都感到满意，他们也完全没有必要感到满意。 重要的是，每个人能亲自感受某个主题的表现力，或以同样的方式去感受一部完整的音乐作品独特的表现力。 如果是一部伟大的音乐作品，就别指望每次去听它都能给你带来相同的感受。

8 音乐存在的第三个层次是纯音乐层次。 除了令人愉悦的乐声及其所表现的情感之外，音乐也因其音符本身以及对音符的处理而存在。 多数听众都没有充分认识到音乐的这第三个层次。

9 对我们所有人来说，更加充分地认识这个纯音乐层次非常重要。 毕竟乐曲使用的是实实在在的音乐材料。 聪明的听众一定要做好准备，随时提升自己对音乐材料以及这些材料的使用的理解。 他必须要更加有意识地倾听音乐的旋律、节奏、和弦及音色。 但最重要的是，为了能够跟上作曲家的思路，他还必须了解一些音乐形式方面的知识。 去听所有这些成分就是在纯音乐层次上欣赏音乐。

10 让我重复一遍，我仅仅是为了讲解得更清楚才把听音乐的三个层次机械地分割开来的。 事实上，我们从来都不会只在其中的一个层次上听音乐。 我们其实是把它们联系起来，同时在三个层次上听音乐。 这并不需要付出多少脑力，因为我们是凭本能这么做的。

11 也许，与看戏时我们所做的作类比，能使这种本能的联系更加明白易懂。 在剧院里，你能注意到男女演员、服装和布景、声音和动作。 这些东西组合在一起，会让我们觉得剧院是一个令人愉悦的地方，它们构成了我们欣赏戏剧的感官层次。

12 戏剧的表现层次来自于你看舞台表演时获得的感受。 它激起你的怜悯、兴奋或是愉悦。 正是这种笼统的感觉，除了听台词所感受到的，主要是存在于舞台上的某种情感的东西，与音乐的表现性相类似。

13 剧情以及剧情的发展相当于我们所说的纯音乐层次。 剧作家塑造和发展戏剧人物的方式，和作曲家创造和发展主题的方式是一样的。 你能否成为一个聪明的听众，取决于你对剧作家或音乐家处理艺术材料的手段的了解有多深。

14 显然，看戏的人从来就不会单独注意到这其中的一个元素。 他是同时注意到了一切。 听音乐的道理也是一样的，我们同时地、不假思索地在三个层次上倾听音乐。

The photo

1 On Tuesday afternoon, August 14, 1945, Americans could practically taste the victory over the Japanese Empire. But that wasn't enough. They wanted to see it and never forget what it looked like. They needed a picture – one so sensational that those yet to be born could experience the same exhilaration and always remember what the end of World War II felt like.

2 While many newspapers and magazines hunted for such an image, the expectation of one publication far exceeded the others. Subscribers of that leading photo journal had come to expect eye-catching photographs, especially during World War II. Now, with victory in their grasp, the magazine's subscribers looked for a one-in-a-million photo to mark the occasion.

3 In pursuit of this image, the photo journal's most prominent photographer searched the streets of Times Square. He understood his charge. The magazine that employed him had earned a reputation for always getting the picture. So had he – and today his reputation was once again on the line. On this day, he looked for a picture that would represent the American victory.

4 Finding such an image grew increasingly challenging. As the early afternoon progressed, the nation's most famous Square filled with people celebrating. The photographer's field of vision narrowed. Keeping track of people's movements bordered on the impossible. Focusing on any one person proved especially futile. The noise of clacking feet, laughing voices, and escalating commotion added multiple layers of distraction. Despite the crowds, the photographer persisted in his search for the photo.

5 Suddenly, out of the corner of his eye, he noticed a tall sailor swooping in on a shorter woman dressed in white. Without conscious thought, he acted quickly. Spinning around, he raised his Leica camera and took a photo of what appeared to be a sailor and nurse kissing. He had taken thousands of pictures during his celebrated career. Many commanded the world's attention. None looked like this one. Ultimately, that photo came to represent the victory at the end of World War II.

6 While in the future many would marvel at the sailor's and nurse's captured pose, in truth the shoot required no posing or fussing. In fact, the photographer exercised no role in bringing the moment about. However, his contribution proved enormous. He acted without thinking, aimed accurately, and took the shot at the most moving moment. The image he captured allows one to see the exhilaration, taste the kiss, smell the perfume and cologne, hear the bustling streets, and feel victory. 

7 V-J Day, 1945, Times Square struck a powerful chord in 1945 and continued to play well with future onlookers years and even decades later. The photo takes hold of the viewer's attention and, like the pictured sailors, never seems to let go. All the photo's features compete for the eye's focus. The sailor's huge right hand cups the woman's waist and holds on tightly. She sways her left hip out lazily. His left arm supports her upper torso, which might otherwise collapse forward, supported by a downward, pointed high-heeled white shoe. While their lips pressed tightly together and his nose pressing against her left cheek, she closed her eyes, apparently content to remain unaware of her pursuer's identity. Their uniforms' colors, dark navy blue and bleached white, offer the only contrast between their two joined bodies. Those gathered around the victory celebrants focus attention on the captured moment. Grins and smiles indicate they approve. At last the conquering hero and his obliging maiden are together, safe and sound. 

8 Over the ensuing years millions stared at or studied the anonymous sailor and nurse. Each viewing ignited their imagination. They devised story lines to complement what they saw, but they never knew the truth. Instead, like a1940s movie, surmised plots glossed over the war's miseries and romanticized life in general. Predictably, the stories reached their peak either with the couple parting and never speaking to each another again, but wondering what ever happened to each other, or the photo's principals married, and hung Eisenstaedt's famous photograph in the living room of the Cape home they bought after the war. And, of course, they spawned a boatload of children. While sentimental and unoriginal, such scenarios sit well with a sentimental public. 

9 Often people's fictional plots surrendered to fantasy. And who can blame them? The photograph brims with perceived uncontrolled passion and sexual tension. V-J Day, 1945, Times Square invites viewers to participate in the frolic. Many cannot resist the temptation.

10 Even without such encouragement, other less readily observable

considerations give people cause to stare at the photo longer. One might argue that Times Square's suspended instance marks the high point of America's narrative. America defeated its demons, Adolph Hitler, Benito Mussolini, and Emperor Hirohito and the Japanese military. A victor nation celebrates in a carefree way. Wealth, security, and confidence await the couple. There will be marriages and a baby boom, creating a common experience that continues to characterize America's preferred vision of itself. V-J Day, 1945, Times Square marks the starting line of a sprint toward a more prosperous standard of living and an inventive ideal family life. One can assume the sailor and nurse will go on to purchase a split-level home, live in the suburbs, drive big cars, watch television shows, and produce children — lots of children. Life will be good. No one foresees the Korean or Vietnam conflicts, the civil rights struggles, Watergate, terrorist attacks, or today’ s concerns of "America's decline".Nothing distracts us from the bliss. In fact, in that moment, everybody longs to be an American. And on this glorious day, at that precious moment, regardless of their birth nation, everyone waves the Red, White, and Blue.

11 Though most photographs fade with the passing years, the

black-and-white photo of a sailor and nurse kissing on V-J Day sharpens and raises its voice. Taken in the planet's most popular meeting place and printed in the magazine known around the world for its captivating photographs, the

image reminds us of a time when we felt better as a nation and as individuals than we ever had before and we ever have since. Like a fond memory, no one wants to turn away. And for more than 65 years, almost no one did

照片

1 1945年8月14日（周二）下午，美国人终于可以实实在在地品尝打败日本帝国的胜利滋味了，但这还不够，他们不仅想亲眼目睹胜利，还要永远铭记这个时刻。 他们需要一张照片——一张激动人心的照片，能让战后出生的人体会到当时人们兴高采烈的心情，并永远记住二战结束时人们的感受。

2 虽然很多报纸和杂志都在寻找这样的图像，但人们对其中一份出版物寄予的希望要大大超过其他出版物，这家顶级摄影期刊的订阅者，尤其是在二战期间，本就期待能看到吸引眼球的图片。 现在，胜利已经在握，期刊的订阅者期待有一张百万里挑一的精彩图片，来庆祝这一时刻。

3 为寻求这样一张照片，这家摄影期刊最杰出的摄影师在时代广场的街道上搜索着。 他知道自己所肩负的责任。 那家雇用他的杂志因总能提供最精彩的图片而享有盛誉，他本人也因同样的理由享有很高的声誉——而今天他的声誉将再次受到考验。 他此行的目的在于寻找一张能象征美国胜利的摄影图片。

4 找到这样一个图像变得越来越具挑战性了。 中午刚过，美国最著名的时代广场便挤满了前来庆祝的人。 摄影师缩小了自己的视觉范围。 追踪人群的移动几乎不可能，对任何个人进行聚焦更是徒劳。 咔嗒咔嗒的脚步声、欢笑声以及不断升级的喧闹给摄影增添了多重干扰。 尽管身边人潮涌动，摄影师的眼睛仍在坚持不懈地搜索着那精彩的镜头。

5 突然，他眼角的余光注意到一个高大的水手正迅速扑向一个个子比他矮一些的穿白衣服的女子，他下意识地做出了迅速反应。 他转过身来，举起徕卡相机，拍下了一张貌似水手和护士亲吻的照片。 在他颇负盛名的职业生涯中，他拍摄了成千上万张的照片，其中有不少吸引了全世界的关注。 但这一张却与众不同。 最终，是这张照片在二战结束时象征了胜利。

6 将来还会有很多人赞叹水手和护士被捕捉的瞬间的姿势，但真实的情况是，这次摄影并没有要求摆姿势，也不要求小题大做。 事实上，摄影师并没有刻意安排这一瞬间，但他的贡献却很大：他不假思索，果断行动，准确瞄准，拍下了最感人的瞬间。 他抓拍的画面让人欣赏到那兴高采烈的场面，体会那个吻，闻到香水和古龙香水的芳香，听到大街上熙熙攘攘的喧闹声，感受胜利的喜悦。

7 这张题为《胜利日之吻》的照片在1945年引起了人们强烈的共鸣，并在往后几年，甚至几十年都继续在观看者心中产生强烈的共鸣。 照片抓住了观众的注意力，就像图中的那位水手那样，似乎永远都不会放手。照片所有的细节都在争夺观众的眼球： 水手那只宽大的右手托住女子的细腰，紧紧地搂着。 她的左侧臀部慵懒地向外摆，脚上穿着一双脚跟尖尖的白色高跟鞋。 他的左胳膊支撑着她的上身，不然的话，她的身子可能会向前扑倒在地。两双嘴唇紧紧贴在一起，他的鼻子贴着她的左脸颊，她闭着双眼，显然甘愿不知道眼前这位追求者的身份；他们两个人的身体已经融为一体，唯有两套制服的颜色——深海军蓝和漂白色——构成了鲜明的反差。 那些聚集在胜利庆祝者周围的人把注意力集中在被抓拍的瞬间，咧嘴笑和微笑表明他们赞同这个举动。 终于，凯旋的英雄和他乐于助人的姑娘安然无恙地团聚了。

8 在随后的那些年里，有几百万人注视过，或者研究过那对匿名的水手和护士。 每次看那张照片都会激发他们的想象力，他们编造故事情节，补充照片上的情景，但他们永远都不会知道事情的真相。 相反，他们臆想出来的故事情节就像20世纪40年代的电影那样，通常掩盖战争的苦难，把人生浪漫化。 可以预测，故事的高潮或者是这对恋人分手了，彼此再没说过一句话，但想知道对方过得怎样；或者是照片里的主人公终成眷属，他们战后在五月角买了房子，客厅里挂着艾森斯塔特的这幅画，当然了，他们生了许多孩子。 这类场景比较煽情，缺乏新意，但却正好迎合了感性的大众的趣味。

9 人们在虚构情节时常常爱幻想，可谁又能责怪他们呢？ 这张照片充满了感观的、无法控制的激情与性张力。 《胜利日之吻》这张照片邀请观众来加入到这场狂欢中，许多人无法抵挡这个诱惑。

10 即使没有这样的鼓励，其他一些不太容易被人察觉的原因也会让人有理由对这张照片多看几眼。 人们可以争辩说，时代广场那个被定格的瞬间标志着美国叙事手法的高潮：美国打败了恶魔阿道夫•希特勒、贝尼托•墨索里尼、日本天皇裕仁以及日本军队。 战胜国无拘无束地尽情欢庆，等待着这对情侣的是财富、安全和自信。 很多人将结婚，美国将经历战后生育高峰，并创造出一种继续描绘美国愿景的共同经历。 《胜利日之吻》这张照片标志着从这一天开始国家向着更富裕的生活水准和创新的理想家庭生活全速迈进。 人们可以假定水手和护士接着将购买一个错层式房屋，住在郊区，开着宽敞的轿车，看着电视节目，生孩子——一大堆孩子。 生活将是美好的，没有人预见朝鲜战争、越南战争、民权运动、水门事件、恐怖袭击或现在对“美国衰落”的担忧。 没有什么事能让我们分心，我们尽享极乐，实际上在那个时刻每个人都渴望成为美国人。 在这光荣的日子里，在那弥足珍贵的一刻，无论你出生在哪个国家，每个人的手上都挥舞着红白蓝三色的美国国旗。

11 虽然大多数相片会随着岁月的流逝而变得晦暗，但这张抗日战争胜利日水手和护士接吻的黑白照片却愈加清晰，并更加有影响力。 这张照片摄于地球上最热闹的聚会场所，发表在一本以刊载精彩迷人的图片而饮誉世界的杂志上，它使我们想起那段不论作为国家还是个人都感觉良好的空前绝后的辉煌时代。 就像一个美好的回忆一样，没有人会拒绝它，65年多以来，几乎没有人拒绝过它。

The top five paintings in Western art

Which are the greatest paintings of all time? Everybody has their favourites, and choosing a short list from the huge array of masterpieces in Western art is likely to be a frustrating – and ultimately not very useful – task. But here are five paintings which would be high up on anybody’s list.

Perhaps the most famous, and instantly recognizable, of all is Leonardo’s Mona Lisa, now in the Louvre in Paris. The longer you look at this painting, the more the mystery grows. Who is this person, whose eyes follow us wherever we are? As a famous critic once said, she seems older than the rocks among which she sits.

Las Meninas was painted in 1656 by Diego Velázquez. It hangs in the Prado Museum in Madrid, and is one of the most analyzed works in Western painting. Like a snapshot, it shows a large room in the palace of King Philip IV of Spain, and presents a number of people from the court: the King’s daughter Margarita, surrounded by her maids, a bodyguard, two dwarfs and a dog. In the background is Velázquez himself, working on another painting and looking out towards the viewer. The picture seems to be telling us that art and life are an illusion.

The Starry Night is without question one of Vincent van Gogh’s best-known paintings. It shows the view at night from the room in the mental hospital in Saint Rémy de Provence, in the south of France, where he was staying after a severe breakdown. It also reflects something of the mental turmoil from which he was suffering at the time. It can be viewed in the Metropolitan Museum of Art in New York.

Another well-known modern masterpiece is The Scream by the Norwegian artist, Edvard Munch. It shows a figure in apparent agony in front of a blood-red sky. It’s thought that he is not screaming himself, but protecting himself from a scream, struggling to keep out the distressing noise of nature. Some of this painting’s notoriety is due to the number of times it has been stolen from its home in the Oslo National Gallery.

Last but not least, Picasso’s Les Demoiselles d’Avignon was completed in 1907, and shows five prostitutes in a brothel. Within the history of modern art, it’s held to be one of the most influential works, and a precursor of the Cubist style, which featured geometric shapes and a plural viewpoint of features on different planes and which would otherwise be invisible. It can now be seen in the Museum of Modern Art in New York.

西方艺术史上最好的五幅画作

史上最伟大的画作有哪些？每个人都有自己最喜爱的作品，但要从数不胜数的西方艺术精品中选出几幅最好的，可能是一件费力不讨好的事情。不过，下面这五幅画可能在任何人的选单上都会高居榜首。

其中最有名的、一眼就能认出来的可能会是列奥纳多的《蒙娜•丽莎》，现藏于巴黎的卢浮宫。你看着这幅画越久，它就变得越神秘。这位目光始终追随着我们的画中人到底是谁？正如一位著名评论家所说的，她看上去比她坐着的石头还要古老。

《宫女》是迪戈•委拉兹开斯1656年绘制的作品，它悬挂在马德里普拉多美术馆中。它是西方绘画史上被分析得最多的画作之一。这幅画像一张快照，展示了西班牙腓力四世皇宫里的一间大屋子，还有屋里的许多宫廷人物： 有国王的女儿玛格丽塔，被她的一群宫女、一名护卫、两个侏儒和一条狗簇拥着。后面是委拉兹开斯本人，他正在画另一个作品，他把目光投向了观众。这幅画好像在告诉我们，艺术和生活不过是一种幻觉。

《星夜》无疑是文森特•凡•高最著名的画作之一。它展现了从法国南部圣雷米普罗旺斯的一家精神病院的房间里看到的夜空景象，凡•高在一次严重的精神崩溃后住在了那里。这幅画也反映了他当时所经历的精神混乱。目前在纽约的大都会艺术博物馆里可以看到这幅画。

另一幅著名的现代杰作是挪威艺术家爱华德•蒙克所画的《呐喊》。它展示了血红色的天空下一位痛苦异常的人。有人认为他并不是在呐喊，而是捂着耳朵，保护自己不受到喊声的伤害，他极力把自然界令人痛苦的声音挡在耳外。这幅画名声远扬，部分是缘自它从奥斯陆国家艺术馆被盗的次数。

最后一幅重要画作是毕加索的《阿维农少女》，该画完成于1907年，描绘了妓院里的五个妓女。该画被誉为现代艺术史上最有影响力的作品，也是立体主义画派的先锋之作。立体主义画派的特点是运用许多几何图形，在多个平面中呈现人物五官，创造多重视点，展现出在单一平面中无法看见的特征。该画现藏于纽约现代艺术博物馆。

Guernica is a large mural, painted in 1937 by the Spanish artist Pablo Picasso, to protest against the bombing of a small village in northern Spain. Standing at 3.49 metres tall and 7.76 metres wide, the large mural shows the suffering of people and animals amidst buildings wrenched by violence and chaos. Surprisingly, there is no vivid red colour to show flowing blood, for the mural is startlingly grey, black, and white. But there is no avoiding the horror of the images. The figures are not drawn realistically, but are done in a style that is Cubist and abstract, though it is apparent that innocent civilians are being slaughtered. A mother screams with her mouth wide open, her head tipped back in heart-rending anguish, as she holds her dead baby. A soldier lies dead on the ground, clutching his broken sword, and three other people are shown in shock and agony. Animals, including a tortured horse and a crying bird, are also portrayed as innocent victims of a massacre. There is no doubt that the distorted, horrifying images are intended to shock the viewer. This depiction of human grief is a profound statement of the cruelty and senselessness of war.

《格尔尼卡》是西班牙艺术家巴勃罗•毕加索1937年为抗议轰炸西班牙北部一个小村庄而作的一幅巨型壁画。这幅大型壁画高3.49米，宽7.76米，展示了暴力和混乱给人和动物带来的苦难以及对建筑物的破坏。令人吃惊的是，整个壁画的色调由灰、黑、白组成，没有用鲜艳的红色来表现血腥的场面，但恐怖的景象却历历在目。画面上的人物并非用写实主义的画法来表现，而是采用立体派和抽象派的画法，但无辜平民惨遭屠杀的惨象却一目了然：一位母亲怀抱死婴，张嘴尖叫，她仰面朝天，伤心欲绝；一位士兵横尸地上，手里还紧握着一把断剑；另外三个人也都处于震惊和痛苦之中。画面中的动物——包括一匹受伤的马和一只哭泣的鸟——也都被描绘成这次屠杀的无辜受害者。毫无疑问，描绘这些扭曲变形的骇人惨象的目的就是让观众感到震惊。这种对人类悲苦惨状的描绘是对战争的残酷和荒谬的深刻控诉。

在敦煌莫高窟，最著名的艺术杰作要数壁画“飞天”（flying apsaras）。敦煌飞天是印度文化和中国文化共同孕育而成的。在印度，被称为“飞天”的空中飞行的天神（celestial beings）多出现在佛教石窟壁画（grotto mural）中，中国道教传统则把在空中飞行的天神称为“飞仙”（flying immortals）。魏晋南北朝时，佛教初传入中国，壁画中的飞仙开始被称为“飞天”。后来，随着佛教在中国的深入发展，佛教的飞天和道教的飞仙在艺术形象上相互融合。敦煌莫高窟的飞天是中国古代艺术家的杰作，是世界艺术史的奇迹。

In the Mogao caves in Dunhuang, the murals with "flying apsaras" are one of the most well-known artefacts. The flying apsaras in the Dunhuang Grotto Murals are a product of the intermixing of Indian and Chinese culture. In India, flying celestial beings called "flying apsaras" appear mostly in murals in Buddhist caves, while in the Chinese Daoist tradition, flying celestial beings are known as "flying immortals". During the Wei, Jin, and Northern and Southern dynasties, when the introduction of Buddhism in China was at an early stage, people began to use the term "flying apsaras" to refer to the flying immortals in the murals. Later, with the development of Buddhism in China, the artistic images of Buddhist flying apsaras and Daoist flying immortals merged with each other. The flying apsaras in the Dunhuang Grotto Murals are a most ingenious creation of ancient Chinese artists, and a marvel in the history of world art.