英語專業(yè)外文翻譯---巴洛克與洛可可

1、<p><b>　　外文翻譯</b></p><p>　　巴洛克與洛可可1600-1751</p><p>　　BAROQUE&ROCOCO:1600-1750</p><p>　　Colonnade and Baldacchino,St.Peter,Rome,Italy,1620-1650,Architect:Bernini

2、</p><p>　　San Carlo alle Quattro Fontane,Rome,Italy,1640,Architect:Borromini</p><p>　　San Andrea al Quirinale,Rome,Italy,1658-1670,Architect:Bernini</p><p>　　Trevi Fountain,Rome,Ita

3、ly,1732,Architect:Salvi</p><p>　　Versailles Palace,Versailles,France,1670-1710,Architect:Mansart and Le Brun</p><p>　　Bishop's Residence,Wurzburg,Germany,1720-1744,Architect:Neumann</p>

4、;<p>　　Introduction:After years of following the rational Renaissance rules of design,architects were looking for new inspiration.While Renaissance architecture was mostly expressed through geometric proportions a

5、nd the limitations of the straight line,Baroque and Rococo architecture was based on the curved line and rounded forms.Designs from this period were emotional and dramatic.If Renaissance architecture was calm and serene,

6、Baroque architecture was full of passion and exuberance.</p><p>　　At the same time,the Pope and the Catholic church,in an effort to strengthen its authority which was weakened during the Renaissance),were al

7、so searching for a new image that would appeal to the emotions of the people.Thus,the baroque was also a reaction against the Renaissance principles of humanism which proposed a less religious outlook.As a result, the Ba

8、roque style developed mostly in Catholic countries in Europe such as Italy,France and Germany while it was almost non-existent in more Prot</p><p>　　The French word“baroque”means bizarre or fantastic.Spaces

9、were manipulated like plastic or clay,architectural elements were deliberately distorted,and the laws of nature were often ignored.Baroque architectural elements were deliberately distorted,and the laws of nature were of

10、ten ignored.Baroque architects had complete artistic freedom.Yet,while Baroque architecture was an expression of unusual creativity and originality,it was also symbolic of extreme decadence and excessive ornamentation.Th

11、e </p><p>　　Baroque Forms: </p><p>　　Unlike the Renaissance,architects did not follow one set of Baroque principles neatly described in an illustrated book.Instead,Baroque architects worked as h

12、ard as they could to make their designs unique,original,creative and inspirational.They used Renaissance forms,such as the arch,cross vault,classical column and dome,but in completely new and sometime bizarre ways.</p

13、><p>　　Common characteristics of the Baroque period:</p><p>　　Curved Forms and Spiral Columns</p><p>　　Enormous Scale and Grand Volumes</p><p>　　Religious Enthusiasm and E

14、xpression</p><p>　　Opulent of Extravagant use of Materials</p><p>　　Opulent of Extravagant use of Materials</p><p>　　Complex Interiors with Dramatic Lighting</p><p>　　E

15、nergetic and Emotional Sculpture and Fountains</p><p>　　Illusionism created with Mirrors and Painting</p><p>　　Playfulness and Freedom of Spirit</p><p>　　Colonnade,St..Peter’s,Rome,

16、1620-1650,architect:Bernini</p><p>　　The design of St.Peter’s,which had been developing since the days of Bramante and Michelangelo,was completed by Gianlorenzo Bernini,Bernini,a painter and a sculptor, wasa

17、 also one of the most famous architects of the Baroque period.Bernini’s largest and most impressive project was the design of a monumental piazza(open square)in front of St.Peter’s Cathedral.Bernini had to adjust his des

18、ign for pre-existing structures:an ancient obelisk brought back from Egypt by the Romans and two fountains.He </p><p>　　Baldacchino,St.Peter’s,Rome,1620-1650,architect:Bernini</p><p>　　Long befo

19、re the planning of the Piazza and Colonnades,Bernini and been at work designing the interior of St.Peter’s.His first commission at St.Peter’s,completed between 1624and 1633, ws the gigantic,bronze baldacchino(a canopy on

20、 columns)built over the most sacredc place within the church-the altar under the great dome.The baldacchino form had been used in ancient architecture.For example,in the megaron at the Citadel of Tiryns,the king’s throne

21、 was surrounded by 4 great columns to mark its extr</p><p>　　San Carlo alle Quattro Fontane,Rome,1640,architect:Borromini</p><p>　　Francesco Borromini started his career as a stone cutter at St.

22、Peter’s,where he eventually became Bernini’s assistant.Borromini was also the architect for the little church of San Carlo (Saint Carlo at the Four Fountains,English)which was located at a street intersection in Rome.Eac

23、h of the four buildings which make up the intersection has a fountain.New energy was designed within the walls of this church as Borromini set the whole fa?ade in motion- both forward and backward.The fa?ade had a scu<

24、;/p><p>　　The interior was a creative solution to a difficult site as well as a unique interpretation of the centrally planned church.The church was designed as an oval,cross plan with an axial relationship bet

25、ween entrance and altar.The side walls moved in a rolling motion that reversed the motion of the fa?ade.Overall,the interior had a molded feeling as if was sculpted out of soft clay.Hardly a flat surface could be found!T

26、he interior space was covered by a deeply coffered.Oval dome that seemed to floa</p><p>　　San Andrea al Quirinalle,Rome,1658-1670,architect:Bernini</p><p>　　This small chapel was one of the most

27、 dynamic buildings in Baroque architecture and represented a powerful combination of sculpture,architecture and painting.The church had an unusual plan,an oval with the short axis leading to the altar(axis to altar was u

28、sually the long axis).Against the colored marble walls,Bernini built an oval niche crowned by a curved ,yet broken pediment and framed by paired columns.The niche,similar but opposite to the exterior porch,served as a dr

29、amatic stage for the al</p><p>　　The exterior was dominated by heavy scrolls,which helped support the dome,and by the porch which echoed the half-oval chapel within.The half-oval walls on either side of the

30、entrance curved out to welcome the approaching worshipper.This gesture was similar to Bernini’s Colonnade at St.Peter’S but on a much smaller scale.The concave curve of the wall was contrasted by the convex curve of the

31、entrance portico.Surrounding the portico,Bernin designed an extremely overscaled temple front.The exterior</p><p>　　Trevi Fountain,Rome,1732,architect:Salvi</p><p>　　The Trevi Fountain was an ex

32、traordinary late Baroque combination of architecture and fountain. It reused the ancient Roman triumphal arch which was set into the fa?ade of a small palace and defined by a giant order of Corinthian pilasters and half-

33、columns.These classical forms were energized by the illusion of stone-cut to look like layers of natural rock.This magical feat was energized by the illusion of stone0cut to look like layers of natural rock.This magical

34、feat was only made possible by t</p><p>　　Versailles,France,1670-1720,architects:Mansart and Le Brun</p><p>　　Around 1670,King Louis XIV(14th)decided to turn a royal hunting lodge,a few miles ou

35、tside of Paris in Versailles,into a great palace.An army of architects,sculptors,painters and landscape architects were brought together to create the greatest monument of the French Baroque/ Rococo.Versailles was a symb

36、ol of human power and order over the fragility and disorder of</p><p><b>　　nature.</b></p><p>　　Of the hundreds of rooms within the palace,the most famous was the Galerie des glaces

37、or Hall of Mirrors which overlooked the park from the second floor and extended along most of the width of the central block.Its enormous size was heightened by hundreds of mirrors,set into the wall opposite the windows

38、which created the illusion of greater width.The mirror,the ultimate source of illusion,was a favorite element of Baroque interior design.</p><p>　　The enormous palace would have appeared unbearable had it no

39、t been for its setting in a vast park-like landscape.The park,designed by Andre Le Notre,transformed and entire forest in to a collection of axially arranged gardens,vistas and paths(allees).The gardens created a gradual

40、 transition from formal architecture to wild nature.The formal gardens near the palace were tightly designed geometric units but farther away from the palace the design loosened as tree screens or framed views of the dis

41、</p><p>　　Bishop’sResidence,Wurzburg,1720-1744,architect:Neumann</p><p>　　Among the most famous German architects of the Rococo era was Johann Balthasar Neumann. It was in the south of Germany t

42、hat German Baroque and Rococo reached its peak.Theatrical illusionism,the combining of painting,sculpture and architecture,was used to expres religious enthusiasm and excessive wealth.</p><p>　　Neumann was a

43、 master of bringing light into a building through invisible sources and making that light feel like radiance from heaven.In the Residence(Palace}of the Prince Bishop in Wurzburg,</p><p>　　the interiors were

44、the focus of attention as seem in the Main Staircase,the Reception Hall and the Chapel.Neumann raised the idea of the stair from a humble and functional element into something spectacular.The stair climbed up first on a

45、single,central flight and then in the reverse direction,on two wings that doubled back and surrounded the central flight.The ascent was into an ever-widening,increasingly lighter space that culminated into a great hall w

46、ith a ceiling fresco.The gilt framed pain</p><p>　　The purpose of the stair was to provide access to tie imperial Reception Hall.Neumann also designed the chapel so its magnificence would have an even greate

47、r impact than the main stair. the chapel was a typical immense Baroque oval,excessively rich in detail with pastel colors, veined marble and opulent gold gilding.At the top of the spiral columns were gold covered Composi

48、te capitals.In addition to extreme religious devotion,the overall impression of the Bishop’s Residence way an architecture t</p><p>　　Neue Staatsgalerie,Stuttgart,Germany,1977-84,architect;James Stirling,Eng

49、lish</p><p>　　For the British architect James Sterlng,this German Art Museum in Stuttgart balanced Baroque forms and modernist compositional elements.At the Neue Staatsgalerie(or New State Gallery), walls fl

50、awed around a mass of travertine masonry.Stirling said in response to critics,“a city without monuments would not be a city at al1.”The New State Gallery,with its blazing Italianate color and energetic amassing was full

51、of Baroque energy in modern materials.The New State Gallery fromed an expression of dra</p><p>　　Robert Venturi called“complexity and contradiction.”The museum was a modern variation on the asymmetrical,dyna

52、mic and theatrical forms used during the Baroque period.The New State Gallery expressed the artistic freedom of an architect creating a dramatic stage for viewing art.</p><p>　　巴洛克與洛可可1600-1751</p>&l

53、t;p>　　柱廊與華蓋：圣彼得大教堂，羅馬，意大利。1620-1650St.Peter,Rome,Italy,1620-1650,建筑師：貝爾尼尼</p><p>　　圣卡羅教堂,羅馬，意大利,1640,建筑師:巴洛米尼</p><p>　　圣安卓教堂,羅馬，意大利, 1658-1670,建筑師：貝爾尼尼</p><p>　　許愿池,羅馬，意大利,1732,建

54、筑師:薩爾維</p><p>　　凡爾賽宮苑,凡爾賽,法國,1670-1710,建筑師: 芒薩爾與勒布龍</p><p>　　主教住宅, 維爾斯堡,德國,1720-1744,建筑師:諾依曼</p><p>　　引論：經(jīng)過多年的文藝復(fù)興時期的規(guī)則遵循合理的設(shè)計,建筑師正在尋找新的靈感。在文藝復(fù)興時期的建筑主要是通過幾何比例和有限的直線來表達,而巴洛克風(fēng)格和洛可可建筑是

55、基于曲線狀和圓形的形式。這一時期的設(shè)計偏向于情感和戲劇。如果文藝復(fù)興時期的建筑是平靜而安詳,巴洛克建筑是充滿熱情和繁榮。</p><p>　　與此同時,教皇和天主教,為了加強其在文藝復(fù)興時期被削弱的權(quán)威,也尋找一個新的形象,來吸引人們的好感。因此,巴洛克也是一種反對文藝復(fù)興時期人文主義原則,而這個原則提出了減少宗教的觀點。結(jié)果,這款巴洛克主義風(fēng)格的發(fā)展主要在天主教歐洲國家如意大利、法國和德國,而幾乎不存在新教國家

56、,比如英國和荷蘭。隨著教皇的勢力的恢復(fù),天主教堂也試圖通過藝術(shù)來復(fù)興人們對教堂的興趣。伴隨著精神覺醒,它也是通過建筑、雕塑、繪畫、音樂噴泉和景觀設(shè)計進行強烈 藝術(shù)表達的時期。</p><p>　　在法語中“巴洛克”是指古怪或太棒了。空間像塑料或粘土一樣被操縱，建筑元素被故意歪曲,自然法則經(jīng)常被忽略。巴洛克式的建筑元素被人故意歪曲,自然法則經(jīng)常被忽略。進行巴洛克式藝術(shù)創(chuàng)作的建筑師擁有完全的自由。然而,盡管巴洛克建筑

57、是一種對不尋常創(chuàng)造力和創(chuàng)意的表現(xiàn),它也是極端墮落和過多的裝飾的象征?！奥蹇煽伞笔前吐蹇耸降淖詈箅A段。早在17世紀, 在法國和德國的皇室與教會領(lǐng)袖都要求更多的優(yōu)雅與華麗的建筑。輕靈的顏色是“洛可可”的特點而巴洛克風(fēng)格則偏向深色和濃重的感覺。洛可可建筑外觀也比巴洛克更精致、更雅致?？偟膩碚f,洛可可是一個極盡裝飾和財富和權(quán)力展示的時期。</p><p><b>　　巴洛克式的形式</b></

58、p><p>　　與文藝復(fù)興時期不同的是,建筑師并不遵循在指導(dǎo)書上的一系列完整闡述的巴洛克式的原則。相反,巴洛克建筑師盡量努力能讓他們的設(shè)計獨特、并追求創(chuàng)新和靈感。他們用文藝復(fù)興時期的形式,如拱門,交叉跳馬、古典柱和圓頂,但是全新的而且有時奇異的方式。</p><p>　　巴洛克時期的共同特點:</p><p>　　彎曲的形式和螺旋圓柱</p><p&

59、gt;<b>　　巨大的規(guī)模和體積</b></p><p><b>　　對宗教熱情地表達</b></p><p>　　奢侈豪華的使用的材料</p><p>　　復(fù)雜的內(nèi)部裝飾和戲劇性的燈飾</p><p>　　富有精力和感染力的雕塑和噴泉</p><p>　　用鏡子和繪畫創(chuàng)造

60、出來的幻覺</p><p>　　玩世不恭和自由的精神</p><p>　　Colonnade,圣。彼得,羅馬(1620 - 1650),建筑設(shè)計師:Bernini</p><p>　　圣彼得的設(shè)計發(fā)源于Bramante和米開朗基羅的時期,由Gianlorenzo Bernini完成。Bernini是畫</p><p>　　家和雕塑家,他也是巴

61、洛克時期最著名的建筑師。Bernini最大和最壯觀的項目是在圣彼得大教堂</p><p>　　前設(shè)計一個紀念碑廣場。Bernini不得不因為事先存在的結(jié)構(gòu)調(diào)整自己原有的設(shè)計:被羅馬人從</p><p>　　埃及帶回來的方尖碑和兩個噴泉。他用這些元素(方尖碑和噴泉)來定義通向圣彼得入口處的軸。為了加強這個軸,Bernini用柱廊環(huán)繞成巨大的橢圓形來設(shè)計。兩個通向古典廟宇前面的柱廊由巨大的托斯

62、卡納柱組成。由柱廊構(gòu)成的戲劇性的擁抱的姿勢象征著教堂的歡迎。因此,由米開朗基羅設(shè)計的結(jié)構(gòu)緊湊、集中的文藝復(fù)興時期大教堂被Bernini用巴洛克式的柱廊進行了軸向的擴展。在典型的文藝復(fù)興時期的建筑十分孤獨地矗立的時候,巴洛克建筑大膽考慮它周圍的環(huán)境了。</p><p>　　Baldacchino,到圣彼得,羅馬(1620 - 1650),建筑設(shè)計師:Bernini</p><p>　　在很久

63、以前的廣場和柱廊的規(guī)劃,有Bernini設(shè)計的圣彼得的內(nèi)部。第一次到圣彼得委員會后,在1624年和1633年之間他完成的是建在最神圣的圓頂下面的交給壇的內(nèi)部巨大的、青銅華蓋。baldacchino的形式已經(jīng)被用于古代建筑。例如,在megaron Tiryns在的時候,國王的寶座被四大縱隊包圍，標(biāo)志著它是極其重要的。在圣彼得將近100 '(30米)高的baldacchino作為巨大教堂的重點。在拱頂?shù)膱A頂上是人類和建筑之間的視覺連

64、接。它的四個螺旋柱部分有凹槽。圓柱似乎否認其上的大規(guī)模的青銅的重量。與此同時,巴洛克能源柱的眼睛上的四個巨大的天使守護著教堂頂部的角落和最終的十字。</p><p>　　San Carlo alle Quattro Fontane,羅馬,1640年,建筑師:Borromini</p><p>　　弗朗切斯科·Borromini在圣彼得作為一個磨刀者開始他的職業(yè)生涯,在那里他最后成

65、為Bernini的助手。Borromini也是位于羅馬一個街的交叉路口小教堂圣卡洛的建筑師。組成十字路口的每四樓有一個噴泉。其內(nèi)部是一個針對困難立地以及中央計劃的教堂獨特的解釋的創(chuàng)造性解決方案。教堂的設(shè)計為橢圓,在入口和祭壇之間的軸向關(guān)系貫穿著這個計劃。側(cè)墻引入了一個滾動效果?？傮w而言,室內(nèi)被塑造的好像是用軟粘土刻畫出來的一樣。幾乎找不到一個平坦的表面!其內(nèi)部空間也被厚厚的金磚覆蓋著。由于從隱藏在圓頂基部的窗戶射入的光線，橢圓形的穹頂似

66、乎在浮動。不像文藝復(fù)興時期對建筑那樣嚴格的定義，室內(nèi)從入口一直延伸到祭壇。再一次,從Borromini的小教堂里復(fù)雜的幾何圖形和起伏的墻壁看到了人和神的聯(lián)系。</p><p>　　圣安德烈·艾爾Quirinalle,羅馬(1658 - 1670),建筑設(shè)計師:Bernini</p><p>　　這個小教堂是巴洛克建筑中最具動態(tài)效果的一個，代表著一個強有力的雕塑，建筑和繪畫的結(jié)晶，

67、教堂的結(jié)果十分詭異，橢圓的短軸通向教堂最中心，（一般都是長軸）針對五顏六色的大理石墻，貝尼尼建立了一個橢圓形的皇冠狀的被雕刻的不完整三角形狀的用一對對圓柱構(gòu)造的柱子。這個niche，相似又不同于外部的玄關(guān)，被用作戲劇用的天壇，圓頂?shù)姆礁裼眉僖暯抢L畫創(chuàng)造了更深的印象，更高的空間。就好像天使舒適的躺著，窗戶反射的光似乎漂浮在天上，貝爾尼尼用陽光來模糊幻想和現(xiàn)實的差別 為宗教性的氛圍來試圖創(chuàng)造一種戲劇性的舞臺</p><p

68、>　　外部主要是重的卷性構(gòu)造，這有助于支撐圓頂，并由門廊，呼應(yīng)的半橢圓形小教堂內(nèi)的墻壁上半橢圓形。兩邊的入口彎曲出來歡迎到來的崇拜者。這個手勢是類似貝爾尼尼的柱廊在圣彼得但規(guī)模小得多的凹曲線。墻是對比的凸曲線的入口門廊。周圍門廊，貝爾尼尼設(shè)計了一個完全沒有裝飾的寺在前面。外部結(jié)合許多古典形式–中央入口，拱形，山形墻，柱?，F(xiàn)在這些元素組合幾乎雕塑還在運用。這無疑是一個經(jīng)典的惡夢一些對于其他的創(chuàng)造性天才（沒有機會創(chuàng)造）。</p&

69、gt;<p>　　特列維噴泉,羅馬,1732年,建筑師: Salvi</p><p>　　特雷維噴泉是不平凡的后期巴洛克式建筑和噴泉結(jié)合。重用古羅馬凱旋門，加上一個小宮殿的科林斯壁柱和半圓柱.這些古典形式的巨頭為了定義通電石材切割的錯覺，看起來像層層自然石塊.這神奇壯舉導(dǎo)致了石頭變動的錯覺，像層層天然石塊.這神奇的壯舉，只有可能由液壓工程新技術(shù)，供電噴泉，大小瀑布和池塘.Enormous特雷維噴泉是

70、一個奢侈的巴洛克式建筑，雕塑，重量輕，如果真正口渴的聲音融合的話，真正的水的流動感官架構(gòu)作為一個可以看到，聽到，觸覺，嗅覺，甚至味道的水。</p><p>　　法國凡爾賽召開,1670 - 1720,建筑師:Mansart和Le Brun</p><p>　　大約在1670年 路易十四決定將在凡爾賽的離巴黎幾公里遠的一個皇家狩獵旅館變成一個宏偉的地方。一群群的建筑師，雕刻師，畫家和風(fēng)景藝術(shù)

71、師匯集至此來打造一個法國巴洛克式的最偉大的紀念碑之一。凡爾賽象征著人類的權(quán)力和對秩序的脆弱性和無序性。房間內(nèi)宮，從二樓俯視花園并且沿著中心街區(qū)擴展，最有名的是玻璃畫廊和魔鏡殿堂。他的龐大的規(guī)模由數(shù)百鏡子組成，對面的窗戶，創(chuàng)造更大的寬度錯覺墻，錯覺的最終來源，是最喜愛的巴洛克室內(nèi)設(shè)計元素。巨大的宮殿設(shè)置在一個巨大的公園般的安德烈勒諾特風(fēng)景公園，改造整個森林的軸向排列的花園，景觀和路徑的集合（allees）花園創(chuàng)建一個正式結(jié)構(gòu)逐步過渡到自然

72、結(jié)構(gòu).花園附近的宮正式的緊密設(shè)計的幾何設(shè)計單位，但遠離宮殿樹屏或遙遠鄉(xiāng)村.沒有照片的框架可以描述公園的設(shè)計經(jīng)驗，只能通過步行花園。雖然是人為設(shè)計的經(jīng)驗，景觀藝術(shù)是純粹的自然花園。因為他改變每天的每個小時，季節(jié)和每束光線照射的那一刻。</p><p>　　主教公館，維爾茨堡（1720 – 1744），建筑師：約翰·巴塔薩·諾伊曼，德國</p><p>　　約翰·

73、巴塔薩·諾依曼可謂是洛可可時期德國最著名的建筑師。這棟位于德國南部的主教公館落成于巴洛克風(fēng)格和洛可可風(fēng)格在德國發(fā)展的鼎盛時期。戲劇中的幻覺法與繪畫、雕塑和建筑的結(jié)合，顯現(xiàn)出了主人的萬貫家財與對宗教的狂熱信仰。</p><p>　　諾依曼是一個善于通過不可見的光源使光線猶如從天界圣光一般射入房間中的大師。在維爾茨堡大主教1的公館（宮殿）中，主樓梯、接待大廳和附屬教堂的內(nèi)飾是人們所關(guān)注的焦點。諾依曼實踐了令

74、樓梯中簡陋而實用的元素變得雍容華貴的構(gòu)想。樓梯起初通過一個中央的階梯向上，然后反方向延伸出包圍著中央階梯的兩側(cè)階梯2。沿著階梯向上會逐漸進入一個越來越寬廣明亮的空間，最終引領(lǐng)人們踏進一個天花板上繪有壁畫的大廳。鍍金鑲邊的壁畫無法完全囊括畫面中散布于畫在天花板上舞臺一般的劇場中的人們的活動——一個男人的一條腿已松弛地垂出了框架，而一條狼狗和一名士兵已經(jīng)掉到了壁架的外面！</p><p>　　樓梯的盡頭是皇家接待室。

75、諾依曼也精心設(shè)計了富麗堂皇的教堂，使它對客人感官的沖擊力比主樓梯更甚。巨大的教堂采用了典型的巴洛克式橢圓形設(shè)計，用柔和的色調(diào)、紋路大理石和大量鍍金鑲邊作為其內(nèi)飾。螺旋形圓柱的頂端有著純金覆蓋的華麗頂飾3。整體下來，人們主教公館的印象除了建筑藝術(shù)中對宗教極端投入的著墨，便是對無上力量與無盡財寶的表現(xiàn)。</p><p>　　Neue Staatsgalerie，德國斯圖加特，1977 – 1984，建筑師：詹姆斯&#

76、183;斯特林，英國</p><p>　　英國建筑師詹姆斯·斯特林令巴洛克風(fēng)格和現(xiàn)代主義創(chuàng)作元素在德國斯圖加特的新國家藝術(shù)館中取得了平衡。在Neue Staatsgalerie（新國家藝術(shù)館），大量由鐘乳石砌成的墻面被刻意掏出了一些空洞1。斯特林在對評論家的回復(fù)中寫道：“沒有地標(biāo)，城市便失去了其意義?！?2在新國家藝術(shù)館中，鮮艷的意大利風(fēng)色調(diào)和富有活力的堆砌被運用在了現(xiàn)代風(fēng)格的材料中，使其充滿了巴洛克風(fēng)