【文章內(nèi)容簡介】 鯶鯷鯸鯹鯺鯻鯼鯽鯾鯿鰀鰁鰂鰃鰄鰅鰆鰇鰈鰉鰊 鰋鰌鰍鰎鰏鰐鰑鰒鰓鰔鰕鰖鰗鰘鰙鰚鰛鰜鰝鰞鰟鰠鰡鰢鰣鰤鰥鰦鰧鰨鰩鰪鰫鰬鰭鰮鰯鰰鰱鰲鰳鰴鰵鰶鰷鰸鰹鰺鰻鰼鰽鰾鰿鱀鱁鱂鱃鱄鱅鱆鱇鱈鱉鱊鱋鱌鱍鱎鱏鱐鱑鱒鱓鱔鱕鱖鱗鱘鱙鱚鱛鱜鱝鱞鱟鱠鱡鱢鱣魚鱤鱥鱦鱧鱨鱩鱪鱫鱬鱭鱮鱯鱰鱱鱲鱳鱴鱵鱶鱷鱸鱹鱺鱻鱽鱾魷鲀魯魴鲃鲄鲆鲅鱸 鲉鲊鮒鲌鮑鱟鲏鮐鮭鮚鲓鮪鮞鲖鲗鲘鲙鱭鮫鲝鲞鱘鯁鱺鰱鰹鯉鰣鰷鯀鯊鯇鲪鯽鲬鯖鯪鲯鯫鯡鯤鯧鲴鯢鯰鯛鯨鲹鲺鯔鲼鰈鲾鲿鳀鳁鳂鰓鱷鰍鰒鰍鰉鳈鳉鳊鳋鰲鰭鰨鰥鰩鳑鳒鰳鰾鱈鱉鰻鳘鳙鳚鳛鱖鱔鱗鱒鳠鳡鱧鳣鳤馬部：馭馮馯馰馱馲馳馴馵馶馷馸馹馺馻馼馽馾馿駀駁駂駃駄駅駆駇駈駉駊 駋駌駍駎駏駐 駑駒駓駔駕駖駗駘駙駚駛駜駝駞駟駠駡駢駣駤駥駦駧駨駩駪駫駬駭駮駯駰駱駲駳駴駵駶駷駸駹駺駻駼駽駾駿騀騁騂騃騄騅騆騇騈騉騊騋騌騍騎騏騐騑騒験騔騕騖騗騘騙騚騛騜騝騞騟騠騡騢騣騤騥騦騧騨騩騪騫騬騭騮騯騰騱騲騳騴騵騶騷騸騹騺騻騼騽騾騿驀驁驂驃驄驅(qū)驆驇驈驉驊驋驌驍驎驏驐驑驒驓驔驕驖驗(yàn)驘驙驚驛驜驝驞驟驠驡驢 驣驤驥驦驧驨驩驪驫馱驲駁駔駟駙騶駐驛駘驍骃驕驊駱駭駢骉驪騁骍骎駿騏騍騅骔骕驂騭骙騖驁騮騫騸驃騾驄驏驟驥骦驤馬金釒部：釓釔釕釖釗釘釙釚釛釜釞釟釠釡釢釣釤釥釦釧釨釩釪釫釬釭釮釯釰釱釲釳釴釵釶釷釸釹釺釻釼釽釾釿鈀鈁鈂鈃鈄鈅鈆鈇 鈈鈉鈊鈋鈌鈍鈎鈏鈐鈑鈒鈓鈔鈕鈖鈗鈘鈙鈚鈛鈜鈝鈞鈟鈠鈡鈢鈣鈤鈥鈦鈧鈨鈩鈪鈫鈬鈮鈯鈰鈱鈲鈳鈴鈵鈶鈷鈸鈹鈺鈻鈼鈽鈾鈿鉀鉁鉂鉃鉄鉅鉆鉇鉈鉉鉊鉋鉌鉍鉎鉏鉐鉑鉒鉓鉔鉕鉖鉗鉘鉙鉚鉛鉜鉝鉞鉟鉠鉡鉢鉣鉤鉥鉦鉧鉨鉩鉪鉫鉬鉭鉮鉯鉰鉱鉲鉳鉵鉶鉷鉸鉹鉺鉻鉼鉽鉾鉿銀銁銂銃銄銅銆 銇銈銉銊銋銌銍銎銏銐銑銒銓銔銕銖銗銘銙銚銛銜銝銞銟銠銡銢銣銤銥銦銧銨銩銪銫銬銭鑾銯銰銱銲銳銴銵銶銷銸銹銺銻銼銽銾銿鋀鋁鋂鋃鋄鋅鋆鋇鋈鋉鋊鋋鋌鋍鋎鋏鋐鋑鋒鋓鋔鋕鋖鋗鋘鋙鋚鋛鋜鋝鋞鋟鋠鋡鋢鋣鋤鋥鋦鋧鋨鋩鋪鋫鋬鋭鋮鋯鋰鋱鋲鋳鋴鋵鋶鋷鋸鋹鋺鋻鋼鋽鋾鋿錀錁錂錃錄錅錆錇錈錉 錊錋錌錍錎錏錐錑錒錓錔錕錖錗錘錙錚錛錜錝錞錟錠錡錢錣錤錥錦錧錨錩錪錫錬錭錮錯(cuò)錰錱録錳錴錵錶錷錸錹錺錻錼錽鏨錿鍀鍁鍂鍃鍄鍅鍆鍇鍈鍉鍊鍋鍌鍍鍎鍏鍐鍑鍒鍓鍔鍕鍖鍗鍘鍙鍚鍛鍜鍝鍞鍟鍠鍡鍢鍣鍤鍥鍦鍧鍨鍩鍪鍫鍬鍭鍮鍯鍰鍱鍲鍳鍴鍵鍶鍷鍸鍹鍺鍻鍼鍽鍾鍿鎀鎁鎂鎃鎄鎅鎆 鎇鎈鎉鎊鎋鎌鎍鎎鎏鎐鎑鎒鎓鎔鎕鎖鎗鎘鎙鎚鎛鎜鎝鎞鎟鎠鎡鎢鎣鎤鎥鎦鎧鎨鎩鎪鎫鎬鎮(zhèn)鎭鎯鎰鎱鎲鎳鎴鎵鎶鎷鎸鎹鎺鎻鎼鎽鎾鎿鏀鏁鏂鏃鏄鏅鏆鏇鏈鏉鏊鏋鏌鏍鏎鏏鏐鏑鏒鏓鏔鏕鏖鏗鏘鏙鏚鏛鏜鏝鏞鏟鏠鏡鏢鏣鏤鏥鏦鏧鏨鏩鏪鏫鏬鏭鏮鏯鏰鏱鏲鏳鏴鏵鏶鏷鏸鏹鏺鏻鏼鏽鏾鏿鐀鐁鐂鐃 鐅鐄鐅鐆鐇鐈 鐉鐊鐋鐌鐍鐎鐏鐐鐑鐒鐓鐔鐕鐖鐗鐘鐙鐚鐛鐜鐝鐞鐟鐠鐡鐢鐣鐤鐥鐦鐧鐨鐩鐪鐫鐬鐭鐮鐯鐰鐱鐲鐳鐴鐵鐶鐷鐸鐹鐺鐻鐼鐽魤 鳥部：鳦鳧鳨鳩鳪鳫鳬鳭鳮鳯鳰鳱鳲鳳鳴鳵鳶鳷鳹鳸鳺鳻鳼鳽鳾鳿鴀鴁鴂鴃鴄鴅鴆鴇鴈鴉鴊鴋鴌鴍鴎鴏鴐鴑鴒鴓鴔鴕鴖鴗鴘鴙鴚鴛鴜鴝鴞鴟鴠鴡鴢鴣鴤鴥鴦鴧鴨鴩鴪鴫鴬鴭鴮鴯鴰鴱鴲鴳鴴鴵鴶鴷鴸鴹鴺鴻鴼鴽鴾鴿鵀鵁鵂鵃鵄鵆鵅鵄鵆鵇鵈鵉鵊鵋鵌鵍鵎鵏鵐鵑鵒鵓鵔鵕鵖鵗鵘鵙鵚鵛鵜鵝 鵞鵟鵠鵡鵢鵣鵤鵥鵦鵧鵨鵩鵪鵫鵬鵭鵮鵯鵰鵱鵲鵳鵴鵵鵶鵷鵸鵹鵺鵻鵼鵽鵾鵿鶀鶁鶂鶃鶄鶅鶆鶇鶈鶉鶊鶋鶌鶍鶎鶏鶐鶑鶒 鶓鶔鶕鶖鶗鶘鶙鶚鶛鶜鶝鶞鶟鶠鶡鶢鶣鶤鶥鶦鶧鶨鶩鶪鶫鶬鶭鶮鶯鶰鶱鶲鶳鶴鶵鶶鶷鶸鶹鶺鶻鶼鶽鶾鶿鷀鷁鷂鷃鷄鷅鷆鷇鷈鷉鷊鷋鷌鷍鷎鷏鷐鷑鷒鷓鷔鷕鷖鷗鷘鷙鷚鷛鷜鷝鷞鷟鷠鷡鷢鷣鷤鷥鷦鷧鷨鷧鷦鷩鷪鷫鷬鷭鷮鷯鷰鷱鷲鷳鷴鷵?dān)旡慂旡曻桗楘橔欪汑淂滫濟(jì)烔燏狖@鸄鸅鸆鸇鸈鸉鸊鸋 鸌鸍鸎鸏鸐鸑鸒鸓鸔鸕鸖鸗鸘鸙鸚鸛鸜鸝鸞鳥鳩鳶鸤鷗鴉鸧鴇鴆鴣鶇鸕鸮鴦鸰鴟鴝鴛鸴鴕鷥鷙鴯鴰鵂鸻鸼鴿鸞鹀鵓鸝鵑鵠鵒鷴鵜鵡鵲鹋鵪鹍鵯鵬鹐鶉鹒鹓鹔鶘鹖鶚鶻鹙鶿鹛鶩鹝鷂鹟鹠鹡鹢鶼鶴鹥鸚鷓鷚鷯鷦鷲鷸鷺鹮鹯鷹鹱鹲鸛鹴魚部：魛魜魝魞魟魠魡魣魢魤魥魦魧魨魩魪魫魬魭魮魯魰 魱魲魳魴魵魶 魷魸魹魺魻魼魽魾魿鮀鮁鮂鮃鮄鮅鮆鮇鮈鮉鮊鮋鮌鮍鮎鮏鮐鮑鮒鮓鮔鮕鮖鮗鮘鮙鮚鮛鮜鮝鮞鮟鮠鮡鮢鮣鮤鮥鮦鮧鮨鮩鮪鮫鮬鮭鮮鮯鮰鮱鮲鮳鮴鮵鮶鮷鮸鮹鮺鮻鮼鮽鮾鮿鯀鯁鯂鯃鯄鯅鯆鯇鯈鯉鯊鯋鯌鯍鯎鯏鯐鯑鯒鯓鯔鯕鯖鯗鯘鯙鯚鯛鯜鯝鯞鯟鯠鯡鯢鯣鯤鯥鯦鯧鯨鯩鯪鯫鯬鯭鯮鯯鯰鯱鯲鯳 鯴鯵鯶鯷鯸鯹鯺鯻鯼鯽鯾鯿鰀鰁鰂鰃鰄鰅鰆鰇鰈鰉鰊鰋鰌鰍鰎鰏鰐鰑鰒鰓鰔鰕鰖鰗鰘鰙鰚鰛鰜鰝鰞鰟鰠鰡鰢鰣鰤鰥鰦鰧鰨鰩鰪鰫鰬鰭鰮鰯鰰鰱鰲鰳鰴鰵鰶鰷鰸鰹鰺鰻鰼鰽鰾鰿鱀鱁鱂鱃鱄鱅鱆鱇鱈鱉鱊鱋鱌鱍鱎鱏鱐鱑鱒鱓鱔鱕鱖鱗鱘鱙鱚鱛鱜鱝鱞鱟鱠鱡鱢鱣魚鱤鱥鱦鱧鱨鱩鱪鱫鱬鱭鱮鱯 鱰鱱鱲鱳鱴鱵 鱶鱷鱸鱹鱺鱻鱽鱾魷鲀魯魴鲃鲄鲆鲅鱸鲉鲊鮒鲌鮑鱟鲏鮐鮭鮚鲓鮪鮞鲖鲗鲘鲙鱭鮫鲝鲞鱘鯁鱺鰱鰹鯉鰣鰷鯀鯊鯇鲪鯽鲬鯖鯪鲯鯫鯡鯤鯧鲴鯢鯰鯛鯨鲹鲺鯔鲼鰈鲾鲿鳀鳁鳂鰓鱷鰍鰒鰍鰉鳈鳉鳊鳋鰲鰭鰨鰥鰩鳑鳒鰳鰾鱈鱉鰻鳘鳙鳚鳛鱖鱔鱗鱒鳠鳡鱧鳣鳤馬部：馭馮馯馰馱馲馳馴馵馶馷馸馹 馺馻馼馽馾馿駀駁駂駃駄駅駆駇駈駉駊駋駌駍駎駏駐駑駒駓駔駕駖駗駘駙駚駛駜駝駞駟駠駡駢駣駤駥駦駧駨駩駪駫駬駭駮駯駰駱駲駳駴駵駶駷駸駹駺駻駼駽駾駿騀騁騂騃騄騅騆騇騈騉騊騋騌騍騎騏騐騑騒験騔騕騖騗騘騙騚騛騜騝騞騟騠騡騢騣騤騥騦騧騨騩騪騫騬騭騮騯騰騱騲騳騴騵騶騷騸騹騺騻騼 騽騾騿驀驁驂驃驄驅(qū)驆驇驈驉驊驋驌驍驎驏驐驑驒驓驔驕驖驗(yàn)驘驙驚驛驜驝驞驟驠驡驢驣驤驥驦驧驨驩驪驫馱驲駁駔駟駙騶駐驛駘驍骃驕驊駱駭駢骉驪騁骍骎駿騏騍騅骔骕驂騭骙騖驁騮騫騸驃騾驄驏驟驥骦驤馬金釒部：釓釔釕釖釗釘釙釚釛釜釞釟釠釡釢釣釤釥釦釧釨釩釪釫釬釭釮釯釰 釱釲釳釴釵釶釷釸釹釺釻釼釽釾釿鈀鈁鈂鈃鈄鈅鈆鈇鈈鈉鈊鈋鈌鈍鈎鈏鈐鈑鈒鈓鈔鈕鈖鈗鈘鈙鈚鈛鈜鈝鈞鈟鈠鈡鈢鈣鈤鈥鈦鈧鈨鈩鈪鈫鈬鈮鈯鈰鈱鈲鈳鈴鈵鈶鈷鈸鈹鈺鈻鈼鈽鈾鈿鉀鉁鉂鉃鉄鉅鉆鉇鉈鉉鉊鉋鉌鉍鉎鉏鉐鉑鉒鉓鉔鉕鉖鉗鉘鉙鉚鉛鉜鉝鉞鉟鉠鉡鉢鉣鉤鉥鉦鉧鉨鉩鉪鉫鉬鉭鉮 鉯鉰鉱鉲鉳鉵 鉶鉷鉸鉹鉺鉻鉼鉽鉾鉿銀銁銂銃銄銅銆銇銈銉銊銋銌銍銎銏銐銑銒銓銔銕銖銗銘銙銚銛銜銝銞銟銠銡銢銣銤銥銦銧銨銩銪銫銬銭鑾銯銰銱銲銳銴銵銶銷銸銹銺銻銼銽銾銿鋀鋁鋂鋃鋄鋅鋆鋇鋈鋉鋊鋋鋌鋍鋎鋏鋐鋑鋒鋓鋔鋕鋖鋗鋘鋙鋚鋛鋜鋝鋞鋟鋠鋡鋢鋣鋤鋥鋦鋧鋨鋩鋪鋫鋬鋭鋮鋯鋰鋱鋲鋳鋴鋵鋶鋷鋸鋹鋺鋻鋼鋽鋾鋿錀錁錂錃錄錅錆錇錈錉錊錋錌錍錎錏錐錑錒錓錔錕錖錗錘錙錚錛錜錝錞錟錠錡錢錣錤錥錦錧錨錩錪錫錬錭錮錯(cuò)錰錱録錳錴錵錶錷錸錹錺 these changes al so l ed to new pai nti ng styl es. Am ong the painters who broke away from the tradi tional styl e of pai nti ng were the Im pressioni sts, who l ived and worked i n Pari s. The Im pressi oni sts were the fi rst pai nters to work outdoors. They were eager to show how li ght and shadow fel on objects at di fferent tim es of day. H owever, because natural li ght changes so qui ckl y, the Im pressioni sts had to pai nt qui ckl y. Thei r pai nti ngs were not as detai l ed as those of earl i er pai nters. At fi rst, m any peopl e di sl iked thi s styl e of pai nti ng and became very angry about i t. They sai d that the pai nters were carel ess and thei r painti ngs were ri di cul ous. Modern Art (20th century to today) At the ti m e they were created, the Im pressi oni st pai nti ngs were controversi al , but today they are accepted as the begi nning of what we cal l “modern art”. Thi s i s because the Im pressi onists encouraged artists to l ook at their envi ronm ent i n new ways. There are scores of m odern art styl es, but wi thout the Im pressi oni sts, m any of these pai nti ng styl es m i ght not exi st. O n the one hand, som e m odern art i s abstract。 that i s, the pai nter does not attem pt to pai nt objects as we see them wi th our eyes, but i nstead concentrates on certai n quali ti es of the object, usi ng color, li ne and shape to represent them. O n the other hand, som e pai nti ngs of m odern art are so real i sti c that they l ok l i ke photographs. These styl es are so di ferent. Who can predi ct what pai nti ng styl es there wi l be in the future? TH E BEST OF MANH ATTAN’S ART GALLERIES The Fri ck Col lection (5th Avenue and E. 70th Street) M any art l overs woul d rather vi sit thi s sm al art gal ery than any other i n N ew York. H enry Cl ay Frick, a ri ch New Yorker, di ed i n 1919, l eavi ng his house, furni ture and art col l ecti on to the Am eri can peopl e. Fri ck had a preference for pertwentieth century Western pai nti ngs, and these are wel represented i n thi s excel ent col l ecti on. You can al so explore Fri ck’s beauti ful hom e and garden whi ch are wel worth a vi sit. Guggenhei m Museum (5th Avenue and 88th Street) Thi s m useum owns 5, 000 superb m odern pai ntings, scul ptures and drawi ngs. These art works are not al di splayed at the sam e tim e. The exhi bi ti on i s al ways changing. It wil l appeal to those who l ove Im pressioni st and PostIm pressi oni st painti ngs. The Gugenheim Museum bui l di ng i s also worl dfam ous. When you wal k i nto the gal ery, you feel as i f you were i nsi de a fragil e, whi te seashel . The best way to see the painti ngs i s to start from the top fl oor and wal k down to the bottom . There are no stai rs, just a ci rcul ar path. The m useum al so has an excel ent restaurant. Metropoli tan Museum of Art (5th Avenue and 82nd Stret) The reputati on of thi s m useum l i es i n the vari ety of its art col ecti on. Thi s covers m ore than 5, 000 years of ci vi li zati on from m any parts of the worl d, i ncl udi ng Am eri ca, Europe, Chi na, Egypt, other Afri can countri es and South Am eri ca. The m useum di spl ays m ore than just the visual del i ghts of art. It i ntroduces you to anci ent ways of li vi ng. You can visi t an Egypti an templ e, a fragrant Mi ng garden, a typi cal room in an 18th century French house and m any other speci al exhi bi ti o