教科书为《Worlds Together, Worlds Apart》第六版，主编来自普林斯顿大学。Challenge yourself！
Framing the Subject 框定主体
Important currents of Enlightenment thought (which fed into classical liberalism in the nineteenth century—see Chapter 16) stressed the autonomy of the individual. All men were thought to be created equal, endowed with reason and the ability to master nature and the world around them. European liberals celebrated individual initiative, self-control, and material success through hard work as signs of virtue. They also drew from the Enlightenment a faith that the natural world follows observable laws. This faith gave rise, as we have seen, to advances in the natural sciences and then the social sciences. In the arts, that faith corresponded to a renewed interest in representing the external world in precise, objective terms, called realism. Painters sought to capture and reflect an independent, external, stable reality—this in a period before photography. It was a confident but also a self-centered view of the world.
启蒙运动的重要思潮（在19世纪汇入古典自由主义--见第16章）强调个人的自主性。所有的人都被认为是生而平等的，被赋予了理性和掌握自然和周围世界的能力。欧洲自由主义者把个人的主动性、自我控制和通过努力工作取得物质上的成功作为美德的标志。他们还从启蒙运动中汲取了一种信念，即自然界遵循可观察的规律。正如我们所看到的，这种信仰催生了自然科学和社会科学的进步。在艺术领域，这种信仰与以精确、客观的术语表现外部世界的新兴趣相对应，称为现实主义。画家们试图捕捉和反映一个独立的、外部的、稳定的现实--这是在摄影之前的一个时期。这是一种自信，但也是一种以自我为中心的世界观。
Here we consider efforts to represent the individual in portraiture. Jean-Auguste-Dominique Ingres painted the French newspaper baron and businessman Louis-François Bertin, in a portrait from 1832. Bertin’s Journal des Débats served as the recognized organ of the opposition to the Bourbon Restoration in early nineteenth-century France and helped put the constitutional July Monarchy in power. The painter Édouard Manet described Bertin as “the Buddha of the self-satisfied, well-to-do, triumphant bourgeoisie.” Unlike Ingres, who painted a real historical figure, Jean-Léon Gérôme, in Bashi-Bazouk (1868–69), painted a model dressed in garments made of textiles he had acquired on a trip to the Near East, to represent the unpaid, irregular mercenary soldiers who lived from plunder and fought in Ottoman armies. Gérôme conceived and executed this painting of an Ottoman soldier in a European studio. In the Portrait of an Indian, French artist Anne-Louis Girodet-Trioson painted a man in Ottoman clothing. Finally, the Portrait of the Imperial Bodyguard Zhanyinbao was probably sketched by a (European) Jesuit artist in the Chinese court and then transferred to a silk scroll by a Chinese master.
这里我们考虑在肖像画中表现个体的努力。让·奥古斯特·多米尼克·安格尔在1832年为法国报业大亨和商人路易-弗朗索瓦-贝尔坦画了一幅肖像画。贝尔坦的《辩论杂志》是19世纪初法国公认的反对波旁王朝复辟的机构，帮助七月王朝君主立宪制上台。画家爱德华-马奈（Édouard Manet）将贝尔坦描述为 "自我满足的、富裕的、胜利的资产阶级的佛"。与安格尔不同，让·莱昂·热罗姆在《巴什波祖克》（1868-69）中画了一个模特，她穿着他在近东旅行时获得的纺织品制成的服装，以表现那些靠掠夺为生、在奥斯曼帝国军队中作战的无报酬的非正规雇佣兵。热罗姆在欧洲的画室里构思并完成了这幅奥斯曼士兵的画作。在《一个印度人的肖像》中，法国艺术家安妮·路易·吉洛·德·特里奥森画了一个穿着奥斯曼帝国服装的人。最后，《御前侍卫占音保像》可能是由一位（欧洲）耶稣会艺术家在中国宫廷里画的草图，然后由一位中国大师转绘到绢卷上。
Ingres, Louis-François Bertin
安格尔，《路易·弗朗索瓦·贝尔坦》
Gérôme, Bashi-Bazouk
热罗姆, 《巴什波祖克》
Girodet-Trioson, Portrait of an Indian
吉洛·特里奥森，《一个印度人的肖像》
Portrait of the Imperial Bodyguard Zhanyinbao
御前侍卫占音保像
QUESTIONS FOR ANALYSIS 分析题
1.Create a psychological profile for each portrait. What clues does the artist give you about the men, their values, and their standing in the world?
1.为每幅肖像建立一个心理轮廓。艺术家给了你关于这些人、他们的价值观和他们在世界上的地位的什么线索？
2.What is the effect of the sparse backgrounds and the intricate detail in the foregrounds? What do you think the artists left out of these portraits that might influence your profiles?
2.稀疏的背景和前景中复杂的细节有什么效果？你认为艺术家们在这些肖像画中遗漏了什么，可能会影响到你建立的心理轮廓？
3.Do the painters create coherent images of their subjects? What contradictions can you see—for example, between violent aggression and delicate refinement, or between order and disorder—with respect to discipline and control?
3.画家们是否为他们的对象创造了连贯的形象？关于纪律和控制，你能看到什么矛盾--例如，在暴力的侵略性和细腻的精致之间，或者在秩序和无序之间？
4.Compare the two “Orientalist” paintings—the Portrait of an Indian and Bashi-Bazouk—with the other two. What does Orientalist mean in this context? How, in particular, do they differ from the Portrait of the Imperial Bodyguard Zhanyinbao?
4.将两幅 "东方主义 "画作--《一个印度人的肖像》和《巴什波祖克》--与其他两幅画作进行比较。在这种情况下，东方主义是什么意思？特别是，它们与《御前侍卫占音保像》有什么不同？
教科书为《Worlds Together, Worlds Apart》第六版，主编来自普林斯顿大学。Challenge yourself！
Framing the Subject 框定主体
Important currents of Enlightenment thought (which fed into classical liberalism in the nineteenth century—see Chapter 16) stressed the autonomy of the individual. All men were thought to be created equal, endowed with reason and the ability to master nature and the world around them. European liberals celebrated individual initiative, self-control, and material success through hard work as signs of virtue. They also drew from the Enlightenment a faith that the natural world follows observable laws. This faith gave rise, as we have seen, to advances in the natural sciences and then the social sciences. In the arts, that faith corresponded to a renewed interest in representing the external world in precise, objective terms, called realism. Painters sought to capture and reflect an independent, external, stable reality—this in a period before photography. It was a confident but also a self-centered view of the world.
启蒙运动的重要思潮（在19世纪汇入古典自由主义--见第16章）强调个人的自主性。所有的人都被认为是生而平等的，被赋予了理性和掌握自然和周围世界的能力。欧洲自由主义者把个人的主动性、自我控制和通过努力工作取得物质上的成功作为美德的标志。他们还从启蒙运动中汲取了一种信念，即自然界遵循可观察的规律。正如我们所看到的，这种信仰催生了自然科学和社会科学的进步。在艺术领域，这种信仰与以精确、客观的术语表现外部世界的新兴趣相对应，称为现实主义。画家们试图捕捉和反映一个独立的、外部的、稳定的现实--这是在摄影之前的一个时期。这是一种自信，但也是一种以自我为中心的世界观。
Here we consider efforts to represent the individual in portraiture. Jean-Auguste-Dominique Ingres painted the French newspaper baron and businessman Louis-François Bertin, in a portrait from 1832. Bertin’s Journal des Débats served as the recognized organ of the opposition to the Bourbon Restoration in early nineteenth-century France and helped put the constitutional July Monarchy in power. The painter Édouard Manet described Bertin as “the Buddha of the self-satisfied, well-to-do, triumphant bourgeoisie.” Unlike Ingres, who painted a real historical figure, Jean-Léon Gérôme, in Bashi-Bazouk (1868–69), painted a model dressed in garments made of textiles he had acquired on a trip to the Near East, to represent the unpaid, irregular mercenary soldiers who lived from plunder and fought in Ottoman armies. Gérôme conceived and executed this painting of an Ottoman soldier in a European studio. In the Portrait of an Indian, French artist Anne-Louis Girodet-Trioson painted a man in Ottoman clothing. Finally, the Portrait of the Imperial Bodyguard Zhanyinbao was probably sketched by a (European) Jesuit artist in the Chinese court and then transferred to a silk scroll by a Chinese master.
这里我们考虑在肖像画中表现个体的努力。让·奥古斯特·多米尼克·安格尔在1832年为法国报业大亨和商人路易-弗朗索瓦-贝尔坦画了一幅肖像画。贝尔坦的《辩论杂志》是19世纪初法国公认的反对波旁王朝复辟的机构，帮助七月王朝君主立宪制上台。画家爱德华-马奈（Édouard Manet）将贝尔坦描述为 "自我满足的、富裕的、胜利的资产阶级的佛"。与安格尔不同，让·莱昂·热罗姆在《巴什波祖克》（1868-69）中画了一个模特，她穿着他在近东旅行时获得的纺织品制成的服装，以表现那些靠掠夺为生、在奥斯曼帝国军队中作战的无报酬的非正规雇佣兵。热罗姆在欧洲的画室里构思并完成了这幅奥斯曼士兵的画作。在《一个印度人的肖像》中，法国艺术家安妮·路易·吉洛·德·特里奥森画了一个穿着奥斯曼帝国服装的人。最后，《御前侍卫占音保像》可能是由一位（欧洲）耶稣会艺术家在中国宫廷里画的草图，然后由一位中国大师转绘到绢卷上。
Ingres, Louis-François Bertin
安格尔，《路易·弗朗索瓦·贝尔坦》
Gérôme, Bashi-Bazouk
热罗姆, 《巴什波祖克》
Girodet-Trioson, Portrait of an Indian
吉洛·特里奥森，《一个印度人的肖像》
Portrait of the Imperial Bodyguard Zhanyinbao
御前侍卫占音保像
QUESTIONS FOR ANALYSIS 分析题
1.Create a psychological profile for each portrait. What clues does the artist give you about the men, their values, and their standing in the world?
1.为每幅肖像建立一个心理轮廓。艺术家给了你关于这些人、他们的价值观和他们在世界上的地位的什么线索？
2.What is the effect of the sparse backgrounds and the intricate detail in the foregrounds? What do you think the artists left out of these portraits that might influence your profiles?
2.稀疏的背景和前景中复杂的细节有什么效果？你认为艺术家们在这些肖像画中遗漏了什么，可能会影响到你建立的心理轮廓？
3.Do the painters create coherent images of their subjects? What contradictions can you see—for example, between violent aggression and delicate refinement, or between order and disorder—with respect to discipline and control?
3.画家们是否为他们的对象创造了连贯的形象？关于纪律和控制，你能看到什么矛盾--例如，在暴力的侵略性和细腻的精致之间，或者在秩序和无序之间？
4.Compare the two “Orientalist” paintings—the Portrait of an Indian and Bashi-Bazouk—with the other two. What does Orientalist mean in this context? How, in particular, do they differ from the Portrait of the Imperial Bodyguard Zhanyinbao?
4.将两幅 "东方主义 "画作--《一个印度人的肖像》和《巴什波祖克》--与其他两幅画作进行比较。在这种情况下，东方主义是什么意思？特别是，它们与《御前侍卫占音保像》有什么不同？
