介紹江南建築文化英語怎麼說
⑴ 介紹江南水鄉建築特色
四水歸堂式住宅的個體建築以傳統的「間」為基本單元,房屋開間多為奇數,一般三間或五間.每間面闊3～4米,進深五檁到九檁,每檁1～1.5米.各單體建築之間以廊相連,和院牆一起,圍成封閉式院落.不過為了利於通風,多在院牆上開漏窗,房屋也前後開窗.這類適應地形地勢,充分利用空間,布置靈活,體型美觀、合理使用材料的住宅,表現出清新活潑的面貌.
江南民居的結構多為穿斗式木構架,不用梁,而以柱直接承檁,外圍砌較薄的空斗牆或編竹抹灰牆,牆面多粉刷白色.屋頂結構也比北方住宅為薄.牆底部常砌片石,室內地面也鋪石板,以起到防潮的作用.廳堂內部隨著使用目的的不同,用傳統的罩、木鬲扇、屏門等自由分隔.梁架僅加少量精緻的雕刻,塗栗、褐、灰等色,不施彩繪.房屋外部的木構部分用褐、黑、墨綠等顏色,與白牆、灰瓦相映,色調雅素明凈,與周圍自然環境結合起來,形成景色如畫的水鄉風貌.
(1)介紹江南建築文化英語怎麼說擴展閱讀
周庄民居周庄鎮為澤國,因河成街,呈現一派古樸、明潔的幽靜,是江南典型的「小橋、流水、人家」,雖歷經900多年的滄桑,仍完整地保存著原有的水鄉古鎮的風貌和格局.周庄最為著名的景點有富安橋、雙橋、沈廳.富安橋是江南僅存的立體形橋樓合壁建築；雙橋則由兩橋相連為一體,造型獨特；沈廳為清式院宅,整體結構嚴整,局部風格各異；此外還有澄虛道觀、全福講寺等宗教場所.
參考資料網路——水鄉建築
⑵ 用英語介紹文化遺產
There are rich immaterial cultural heritage of mankind in China. While with the development of China』 economics and construction, a large number of immaterial cultural heritage are facing the danger of vanishing. So in recent years, Chinese governments at all levels enhance the protection. The immaterial cultural heritage announced by the government has already reached more than 500. On 30th September 2009, the fourth meeting of the Intergovernmental Committee for the protection of the immaterial cultural heritage of UNESCO considered and approved 76 projects in Abu Dhabi, including 22 projects of China: China』s mulberry silk art, Fujian Nanyin, Nanjing brocade, Anhui Xuan paper, The Dong Chorus, Guangdong opera, Gesar Epic, Zhejiang Longquan celadon, Qinghai Regong Art, Tibetan opera, Xinjiang Manas, the Mongolian Humai, Gansu Huaer, Xi'an drum music, farming dancing of Chaoxian nationality, calligraphy, seal cutting, paper cutting, engraving printing, the traditional wooden structure skill, Dragon Boating Festival, Mazu Folklore.
⑶ 江南水鄉的標准英語是The south of the lower reaches of the Y
因為這是很中國的詞語，所以沒有所謂的標准英語
建議翻譯成
Canal Towns in Southern China
or
Watery Towns in Southern China
or
Riverside Towns in Southern China
or
Canal Towns in South of the Yangtze
個人感覺回最後一個比較答貼切，林峰的《江南水鄉》英文版就是這么翻譯的。
⑷ 用英語介紹我國的文化遺產
There are rich immaterial cultural heritage of mankind in China. While with the development of China』 economics and construction, a large number of immaterial cultural heritage are facing the danger of vanishing. So in recent years, Chinese governments at all levels enhance the protection. The immaterial cultural heritage announced by the government has already reached more than 500. On 30th September 2009, the fourth meeting of the Intergovernmental Committee for the protection of the immaterial cultural heritage of UNESCO considered and approved 76 projects in Abu Dhabi, including 22 projects of China: China』s mulberry silk art, Fujian Nanyin, Nanjing brocade, Anhui Xuan paper, The Dong Chorus, Guangdong opera, Gesar Epic, Zhejiang Longquan celadon, Qinghai Regong Art, Tibetan opera, Xinjiang Manas, the Mongolian Humai, Gansu Huaer, Xi'an drum music, farming dancing of Chaoxian nationality, calligraphy, seal cutting, paper cutting, engraving printing, the traditional wooden structure skill, Dragon Boating Festival, Mazu Folklore.
⑸ 江南的英文怎麼說
翻譯為來：
江南【jiāng
ná源n
】（jiangnan）
詞典
（長江下游以南的地區）
regions
south
of
the
yangtze
river;
（泛指長江以南）
south
of
the
yangtze
river
例句：
這里是江南文化的源頭。
this
is
the
origin
of
jiangnan
culture.
⑹ 英語寫「江南水鄉」作為一個中國特有景點介紹，怎麼寫
he rain has always been a dream south are all doing the same dream. The dream, you support the embroider red umbrella, pacing in full of the awaken of spring flowers in between. Fine the wind, rain, such as fog erratic figures of the thin, let I brought forth "pitiful quest" gloomy mood. ChunCao such as washing, the mischievous resistance stumble upon you from the steps of idle, wet pink silk edge leg, also are wet your lonely mood. The castle peak in the rain, the face of melancholy recounting your lonely. "Do not think of rain and wind to ', you was standing there, the children, the children of autumn, qianshan mountains children the past lives. We wake up to just know, this is just a dream, a dream only in jiangnan just some. I actually li and the same dream, he 1000 years ago in" the nothing. Acacia straight
⑺ 世界著名建築+英文介紹
世界文化遺產——墨西哥路易斯·巴拉甘住宅與工作室
The Luis Barragá House and Studio exhibit the integration of modern and traditional influences, which in turn have had an important impact especially on garden design and urban landscaping. The artistic manifesto of Casa Estudio Luis Barragán is the result of the criticism and renovation of the Modern Movement in architecture, achieved by synthesizing other cultural traditions and artistic styles, fundamentally Mexican heritage, but surpassing its cultural horizon with many other approaches.
Luis Barragán (1902-88) was trained as an engineer, but became a self-taught architect. In his early career he was involved in real estate management. The property on which the house and studio were built was probably purchased in 1939 together with a larger area. This moment coincides with his shift of interest from real estate activities towards architecture. He built the so-called Ortega House, making use of a pre-existing building. He took up his residence in this house in 1943. The house in No. 14 was built in 1948. The first drawings for the project were realized for Mrs Luz Escandón de R. Valenzuela. However, in summer 1948, Barragán decided to take the house for himself. The rest of the property was sold to the Ortega family. The plans of the house were graally developed over the construction period. In fact, it became a sort of laboratory for the architect, who lived there for the rest of his life, until 1988.
The property is a single construction located on two adjacent lots on a small street (12 and 14 General Francisco Ramirez Street) in the Daniel Garza suburb of Mexico City. The total surface area is around 1,161 m2 . Adjacent is Barragán's Ortega House. The house is built from concrete with plaster rendering. It has a ground floor and two upper storeys, as well as a small private garden. The entrance is directly from the street on the east side. The garden opens towards the west. The studio takes the northern part of the building, with an entrance directly from the street; the rest is Barragán's private residential quarters.
The entrance facade aligns with the street and preserves the appearance of the neighbouring facades. It is a massive boundary with precise openings. Because of its austere, almost unfinished appearance, the house would almost be unnoticed, except for its scale, which contrasts with the rest of the buildings in the neighbourhood. The house announces the dwelling of an upper-class gentleman, but at the same time its materials speak of an introspective and intimate nature, paradoxically humble. All the windows of the eastern facade represent the possibility of hiding the direct communication between domestic space and the city. The entire exterior conserves the colour and natural roughness of the plastered concrete.
Some of the subdivisions or screens were introced later. The separate dining room is reached from the hall and the living room, next to which there is a small breakfast room and the kitchen. All these spaces open towards the garden. On the first floor are the master bedroom and a guest room, as well as an 'afternoon room'. On the second floor, there are service spaces and a roof terrace. The upper storeys are accessed via narrow stairs without railings. The levels of the different floors are not regularly placed, but are designed so as to allow spaces of different heights. Thus, the living room is double height.
The north side of the property is reserved for the studio with direct access from the street. There is also internal access from the living room. The main studio space is linked with the garden through a patio. On the street side, there are two small offices, and on the first floor there is a small private office.
On the garden side, the building has a very different aspect compared with the street side. The qualities of Barragán's architecture are expressed in the treatment of the spaces inside the house, where he plays with strong non-harmonic colour schemes (e.g. the sequence from the entrance); the raw volcanic stone on the vestibule floor extends through a second door to the hall. The garden was initially conceived as a large expanse of grass, but Barragán later allowed it to grow more freely.
⑻ 江南水鄉的英文介紹
"The chiangnan grand old had good, scenery; the sunrise river bonus wins fire, spring bluish green, blue. Can not have jiangnan?" This poem, always put the people's minds led to the picturesque jiangnan. South of the Yangtse River zhejiang provinces, since ancient times, enjoy paradise of reputation. Here fiver-lake crisscross, dipping freely, Bridges, guzhen town, rural cottages, picturesque, Classical gardens, meandering corridors, glamour infinite; WuNong whispers, jiangnan silk, do not have lasting appeal.
⑼ 我要一篇關於介紹文化遺產的英語作文
寫作思路：從文章的寫作目的、中心主旨入手，結合自身感受，真實得描述，新鮮有趣的材料，以使文章中心思想鮮明、深刻地表現出來，正文：
Like tangible cultural heritages such as the Great Wall and the Forbidden City, intangible cultural heritages like Peking Opera and Confucius-commemorating rituals are equally crucial.
對比長城和紫禁城這樣的有形文化遺產，像京劇和孔子紀念儀式這樣的非物質文化遺產同樣重要。
We should make our utmost efforts to preserve intangible heritages because, without their physical form of existence, they are in greater risk of extinction.
我們應該盡最大努力去保護非物質遺產，因為沒有它們的物質存在，它們就有更大的滅絕風險。
According to UNESCO's Convention for the Safeguarding of Intangible Cultural Heritage , all forms of social customs and habits, folklore, performing arts, rituals, oral traditions, festivals, traditional crafts and various knowledge and practices about nature and universe can be classified as intangible cultural heritages.
根據聯合國教科文組織的公約對非物質文化遺產保護，各種形式的社會風俗習慣、民俗、表演藝術、儀式、口頭傳統、節慶、傳統手工藝、關於自然和宇宙的知識和實踐可以分為非物質文化遺產。
As a country consisting of a great diversity of ethnic groups and with time-honored history and civilization, China abounds in intangible cultural heritages.
Cultural heritages connect modern people with the historical past, allowing them to acquire a cultural and historical identity. Without cultural heritages, we would be rendered absolutely rootless and we would find it hard to cope with challenges at present and in the future.
作為一個由多種多樣的`民族，擁有悠久的歷史和文明的國家，中國豐富的非物質文化遺產。文化遺產將現代人與歷史的過去聯系起來，使他們獲得了文化和歷史的認同。如果沒有文化遺產，我們就會變得完全無根，我們會發現很難應對當下及未來的挑戰。
However, the modernization process poses mounting threats to intangible heritages. Many people have a blind faith in the latest electronic devices. It is also pathetic to see elderly people in possession of such legacies pass away without transmitting them to the younger generation.
Faced with those challenges, we should both preserve and renovate our ancestral heritages so that we can help contribute to the cultural diversity of the world and return to our spiritual homeland in this age of impersonal science and technology.
面對這些挑戰，我們既要保護和更新我們的祖先遺產，使我們能夠幫助促進文化多樣性的世界，並返回到我們的精神家園在這個時代的客觀科學和技術。
⑽ 用英語介紹中國南北方建築的特點
從建築文化上講，中國傳統民居的沒落不代表中國的建築文化就落後於國專外，但卻是經濟發屬展水平的反映。所謂強勢的經濟必然帶來強勢的文化滲透，在現有經濟條件下，很多人覺得照搬過來的別墅，未必是真正適合自己的生活模式，但是它能帶來一種滿足...