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In his view of Dudley, in England's industrial heartland,
为画他眼中的达德利 这块英格兰的工业腹地
he juxtaposed the old town on the hill,
他将旧城镇排列在山丘旁
its ruined castle and church steeple,
那残破的城堡和教堂尖塔
symbols of tradition and faith...
象征着传统与信仰
with the blazing furnaces and busy canals of the modern age.
旁边是现代燃烧的炉子与繁忙的运河
The great thinker and art critic John Ruskin
伟大的思想家和艺术评论家约翰.罗斯金
saw in the picture an indictment
在这幅画中看到了一种控诉
of how the old way of life
控诉着过去的生活方式
was being destroyed by the factory and the machine.
是如何被工厂和机器摧毁的
Because as manufacturing cities mushroomed in size,
因为随着制造业城市的迅速扩张
they became a social disaster
它们成为了一种社会灾难
overcrowded and rife with poverty and disease.
充斥着贫穷和疾病
This was the human cost of mechanisation.
这就是机械化让人类付出的代价
In America,
在美国
the frontiers of progress pushed inexorably westwards,
发展边界不断向西扩张
into territory as yet unspoiled by industry.
一直到还未被工业污染的地域
The United States was a young country,
美国是一个年轻的国家
forged, like France,
和法国一样
out of revolutionary and Enlightenment idealism.
形成于革命家和启蒙运动理想主义
To its pioneers, the entire American wilderness,
对于其先驱者来说 整片美洲荒野
from East to West, seemed like virgin territory.
从东到西 就像是贞女地
Artists translated these vast landscapes onto canvas
艺术家将这些风景展现在画布上
and filled them with divine light.
画中满是神光
They conveyed the idea that God himself blessed not only the land
他们传递的观念是 上帝不仅保佑这片土地
but also the new nation being forged from it.
也保佑着这片土地上新生的国家
The great pioneer of American landscape art
美国风景画艺术的伟大先驱
was the British-born Thomas Cole.
是在英国出生的托马斯.科尔
Thomas Cole regarded the American landscape
托马斯.科尔将美国风景视为
as being what he himself called "the undefiled work of gods".
他所说的"神的纯粹之作"
In this young country
这个年轻的国家
that just didn't have what Europeans recognised as a history,
没有欧洲人认可的历史
mountains and canyons and waterfalls were to replace
山川 峡谷和瀑布代替了
the classical ruins so beloved of European landscape artists.
欧洲风景艺术家热爱的经典遗迹
In America, natural history was to stand in for history itself.
在美国 自然历史代替了历史本身
