介绍江南建筑文化英语怎么说
⑴ 介绍江南水乡建筑特色
四水归堂式住宅的个体建筑以传统的“间”为基本单元,房屋开间多为奇数,一般三间或五间.每间面阔3～4米,进深五檩到九檩,每檩1～1.5米.各单体建筑之间以廊相连,和院墙一起,围成封闭式院落.不过为了利于通风,多在院墙上开漏窗,房屋也前后开窗.这类适应地形地势,充分利用空间,布置灵活,体型美观、合理使用材料的住宅,表现出清新活泼的面貌.
江南民居的结构多为穿斗式木构架,不用梁,而以柱直接承檩,外围砌较薄的空斗墙或编竹抹灰墙,墙面多粉刷白色.屋顶结构也比北方住宅为薄.墙底部常砌片石,室内地面也铺石板,以起到防潮的作用.厅堂内部随着使用目的的不同,用传统的罩、木鬲扇、屏门等自由分隔.梁架仅加少量精致的雕刻,涂栗、褐、灰等色,不施彩绘.房屋外部的木构部分用褐、黑、墨绿等颜色,与白墙、灰瓦相映,色调雅素明净,与周围自然环境结合起来,形成景色如画的水乡风貌.
(1)介绍江南建筑文化英语怎么说扩展阅读
周庄民居周庄镇为泽国,因河成街,呈现一派古朴、明洁的幽静,是江南典型的“小桥、流水、人家”,虽历经900多年的沧桑,仍完整地保存着原有的水乡古镇的风貌和格局.周庄最为著名的景点有富安桥、双桥、沈厅.富安桥是江南仅存的立体形桥楼合壁建筑；双桥则由两桥相连为一体,造型独特；沈厅为清式院宅,整体结构严整,局部风格各异；此外还有澄虚道观、全福讲寺等宗教场所.
参考资料网络——水乡建筑
⑵ 用英语介绍文化遗产
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 江南水乡的标准英语是The south of the lower reaches of the Y
因为这是很中国的词语，所以没有所谓的标准英语
建议翻译成
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
个人感觉回最后一个比较答贴切，林峰的《江南水乡》英文版就是这么翻译的。
⑷ 用英语介绍我国的文化遗产
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 江南的英文怎么说
翻译为来：
江南【jiāng
ná源n
】（jiangnan）
词典
（长江下游以南的地区）
regions
south
of
the
yangtze
river;
（泛指长江以南）
south
of
the
yangtze
river
例句：
这里是江南文化的源头。
this
is
the
origin
of
jiangnan
culture.
⑹ 英语写“江南水乡”作为一个中国特有景点介绍，怎么写
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 世界著名建筑+英文介绍
世界文化遗产——墨西哥路易斯·巴拉甘住宅与工作室
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 江南水乡的英文介绍
"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 我要一篇关于介绍文化遗产的英语作文
写作思路：从文章的写作目的、中心主旨入手，结合自身感受，真实得描述，新鲜有趣的材料，以使文章中心思想鲜明、深刻地表现出来，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.
对比长城和紫禁城这样的有形文化遗产，像京剧和孔子纪念仪式这样的非物质文化遗产同样重要。
We should make our utmost efforts to preserve intangible heritages because, without their physical form of existence, they are in greater risk of extinction.
我们应该尽最大努力去保护非物质遗产，因为没有它们的物质存在，它们就有更大的灭绝风险。
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.
根据联合国教科文组织的公约对非物质文化遗产保护，各种形式的社会风俗习惯、民俗、表演艺术、仪式、口头传统、节庆、传统手工艺、关于自然和宇宙的知识和实践可以分为非物质文化遗产。
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.
作为一个由多种多样的`民族，拥有悠久的历史和文明的国家，中国丰富的非物质文化遗产。文化遗产将现代人与历史的过去联系起来，使他们获得了文化和历史的认同。如果没有文化遗产，我们就会变得完全无根，我们会发现很难应对当下及未来的挑战。
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.
面对这些挑战，我们既要保护和更新我们的祖先遗产，使我们能够帮助促进文化多样性的世界，并返回到我们的精神家园在这个时代的客观科学和技术。
⑽ 用英语介绍中国南北方建筑的特点
从建筑文化上讲，中国传统民居的没落不代表中国的建筑文化就落后于国专外，但却是经济发属展水平的反映。所谓强势的经济必然带来强势的文化渗透，在现有经济条件下，很多人觉得照搬过来的别墅，未必是真正适合自己的生活模式，但是它能带来一种满足...