When elucidating the purpose of pai

When elucidating the purpose of painting, as we have here essayed to do, it isimperative to employ a distinction, one that has already been drawn by the ChurchFathers, in order to clarify the issue: they say that the work has one purpose [/In] andthe worker [operanle] who produces it another. And in accordance with this teaching,1 would likewise say that the painter has one purpose, and painting another. Thepurpose of the painter, considered simply as a craftsman, will be to acquire, by meansof this his art, wealth, fame or credit, to procure enjoyment, to perform a service foranother, or to labour for his own pastime or some such similar reason. The purpose ofpainting, ordinarily speaking, will thus be to depict, through imitation, the repre-sented object with all possible boldness and propriety. This is what some call the verysoul of painting because it endows the same with apparent life and treats beauty andthe manifold variety of colour and other embellishments merely as accessoriesthereto. Hence it was that Aristotle averred that in confronting two different paint-ings, the one adorned with beautiful colours but little resembling its object and theother executed in straightforward lines but very faithful to the truth, the former mustbe adjudged inferior in relation to the latter. And this is because the former presentsmerely accidental features, while the latter encompasses the fundamental characterand substance of the object and thus involves representing what is to be imitated

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结果 (简体中文) 1: [复制]

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当阐明画，我们在这里试图作这样做的目的，是 迫切需要采用区别，一个已经被绘制由教会 神父，为了澄清这个问题：他们说，这项工作有一个目的[ /在]和 谁产生它的另一个工人[operanle。而按照这个教学， 1人也说，画家有一个宗旨，画另一个。该 画家，简单地看作是一个工匠的宗旨，将以收购，借助 这个他的艺术，财富，名誉或信用，促使享受，为执行服务 的另一个，或以劳动为自己的消遣或一些这样类似的原因。的目的 画，一般来讲，因而将去描绘，通过模仿，在表象 与所有可能的大胆和适当sented对象。这就是一些人所说的非常 绘画，因为它赋予了明显的生活和对待美和相同的灵魂 歧管多种颜色和其他装饰配件仅作为 于此。因此，它是亚里士多德断言，在面对两个不同的漆料 英格斯，在一个装饰着美丽的颜色，但有点类似于它的对象和 在简单的线条执行等，但非常忠实于真理，前者必须 被判定相对于劣质后者。这是因为前者的礼物 仅仅偶然特征，而后者包括基础字符 的对象和物质，因此包括表示什么是被模仿

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结果 (简体中文) 2:[复制]

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When elucidating the purpose of painting, as we have here essayed to do, it is imperative to employ a distinction, one that has already been drawn by the Church Fathers, in order to clarify the issue: they say that the work has one purpose [/In] and the worker [operanle] who produces it another. And in accordance with this teaching, 1 would likewise say that the painter has one purpose, and painting another. The purpose of the painter, considered simply as a craftsman, will be to acquire, by means of this his art, wealth, fame or credit, to procure enjoyment, to perform a service for another, or to labour for his own pastime or some such similar reason. The purpose of painting, ordinarily speaking, will thus be to depict, through imitation, the repre- sented object with all possible boldness and propriety. This is what some call the very soul of painting because it endows the same with apparent life and treats beauty and the manifold variety of colour and other embellishments merely as accessories thereto. Hence it was that Aristotle averred that in confronting two different paint- ings, the one adorned with beautiful colours but little resembling its object and the other executed in straightforward lines but very faithful to the truth, the former must be adjudged inferior in relation to the latter. And this is because the former presents merely accidental features, while the latter encompasses the fundamental character and substance of the object and thus involves representing what is to be imitated

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结果 (简体中文) 3:[复制]

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正如我们在这里所说的，在阐明绘画的目的时 必须采用一种区别，一种已经被教会划定的区别 父亲们，为了澄清这个问题：他们说这项工作有一个目的 另一个生产它的工人。根据这个教训， 我也会说画家有一个目的，而画另一个。这个 作为一个简单的工匠，画家的目的是通过 他的艺术、财富、名望或功劳，为了获得享受，为了 另一个，或为自己的消遣或类似的原因而劳动。目的 一般来说，绘画就是通过模仿来描绘- 以所有可能的大胆和适当的方式放置物体。这就是一些人所说的 绘画的灵魂，因为它赋予了同样的生命，对待美和 各种各样的颜色和其他装饰仅仅作为配饰 在那里。因此亚里士多德断言，面对两种不同的绘画- 装饰着美丽色彩但与它的物体和 另一种是直截了当地执行，但非常忠实于事实，前者必须 相对于后者被判定为低等。这是因为前者 只是偶然的特征，而后者包含了基本特征 以及对象的实质，因此涉及到表示要模仿的东西

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