本文目录导航：
哪位好友知道台北故宫博物院的 英文向导词啊？谢谢
这是台北故宫网页的英文引见，前面还有，可是字超越了Antiquities DepartmentComposed of sections for bronzes, ceramics, jades, and miscellaneous objects, the Antiquities Department is responsible for the preservation, conservation, research, exhibition, and publication of such works in the collection as well as new acquisitions. The general public may also consult the department on related matters. Painting and Calligraphy DepartmentThe Painting and Calligraphy Department is responsible for holding regular exhibitions and publishing catalogues as well as research and evaluation of painting and calligraphy, tapestries, and embroideries. Updating display cases conservation and mounting, and new acquisitions are also among this departments Books and documents DepartmentThe Rare Books and documents Department is responsible for the conservation, organization, cataloguing, research, and exhibition of rare books and Ching archives as well as the acquisition and preparation of new books and periodicals for library use. Education & Exhibition DepartmentThe Education & Exhibition Department conducts activities related to Museum news, education, art programs, academic lectures, tours, traveling exhibits, visitor arrangements, and exhibition design. Publications DepartmentThe Publications Department is responsible for publishing (in several languages) a wide variety of textural and visual materials, including catalogues, books, periodicals, research studies, and reproductions; CD productions, video tapes, and high-definition CD video introductions of objects; and computer reproductions of painting and calligraphy. Registration DepartmentThe Registration Department is responsible for classifying and registering objects in the collection as well as works entrusted to, purchased by, and donated to the Museum. It also supervises regular inventory checks on Museum collections. SecretariatThe Secretariat receives, processes, and sends all official correspondence and documents of the Museum. Keeps track of administrative projects and work situations, and coordinates Museum meetings and government correspondence. Conservation DepartmentThe Conservation Department supervises research into the materials of the works in the Museum collection, conservation technology, and the prevention of further damage. It is also responsible for repairing objects as well as monitoring the conditions in storage and exhibition areas as well as reproductions. Fiscal OfficeThe Fiscal Office coordinates the planning, distribution, administration, and payment of funds for the printing for catalogues. Keeps monthly records related to financial matters. Personnel OfficeThe Personnel Office oversees various aspects of the staff, including the organization, distribution, hiring, promotion, training, and approval of personnel. Government Ethics OfficeThe Government Ethics Office ensures that the Museum procedures follow government regulations. Security DepartmentThe Security Department supervises the safety and protection of the works of art and monitors the entire Museum grounds. General Affairs OfficeThe General Affairs Office is responsible for construction projects, equipment and material purchases, the repair and management of property and dormitories, payments, assistance with government-sponsored mortgages, maintaining supplementary staff, and approval and management of related matters. Information Management CenterThe Information Management Center is responsible for the planning and development of the overall information system for the Museum, computerization of procedures, automation of office equipment, designing of facilities for Internet and image systems, and computer education. An Introduction to the National Palace MuseumProtecting and preserving the 7000-year cultural legacy of China with advanced technologies;Cooperating with private connoisseurs and ushering in exhibitions from the Mainland;Bringing the Museums collection to the global community and welcoming arts of the world to the National Treasures of and for the PeopleOn October 10, 1925, the Palace Museum was inaugurated, as an effort of the Committee for Administering the Care of the Ching Palace to enlist the attention of the public in support of their work, on the premises of the former Ching court in the Forbidden City. Since the collection has had a very long history traceable back through many dynasties, the new institution was rightfully referred to as the Palace Museum. At the same time, it also bore a far greater responsibility and mission as a national museum for China which had just become a Ching imperial collection assumed by the Palace Museum was immense in quantity and superb in quality. Some works had been commissioned by the emperors and made by the Imperial Workshop, representing the highest standards of ingenuity and technical perfection. Some had been offered as tribute by foreign dignitaries and local officials or commoners, and the exquisiteness of such rarities require no reiteration. However, what is significant, though, is that the bulk of the collection were treasures that had been passed down over the centuries through the Sung, Yuan, and Ming dynasties. For this reason, the Palace Museum not only inherited a great repository of objects dart from the preceding Ching court but also assumed the great artistic and cultural legacy of long after the Palace Museums inauguration, China fell into a period of intense turmoil, resulting in an odyssey of repeated, fraught-filled movements of the Museums collection. On September 18, 1931, the Japanese militarists instigated the Mukden Incident in northeast China, leading to the occupation of Manchuria, which posed a direct threat to nearby Peking. Resolving to protect the cultural heritage represented by the Museums collection, the National Government, under the leadership of Generalissimo Chiang Kai-shek, immediately moved the most important objets dart southward to Nanking and Shanghai to avoid the flames of war. In 1937 a branch office of the Museum was established in Nanking, providing respite for the objects in the south. Unfortunately, matters took a turn for the worse with Japans full-scale invasion of China. When the Japanese attacked from the north and from the coast, the treasures in storage in the south were rounded up again and sent through active war zones to O-mei, Lo-shan, An-hsun, and Pa-hsien in inland Szechwan and Kweichow provinces. The convoys and their precious cargoes were exposed to air attacks from above and artillery barrages and machine-gun fire from behind as they traveled along the arduous and circuitous journeys. When Japan was defeated in 1945, the treasures were transported back to Nanking. Shortly after resetting the collection in the branch office, however, they were once again forced to move with the Government in the wake of Chinas domestic insurrection engineered by the Communists, this time eastward across the straits to the island of for approximately one-fifth of the collection evacuated to southern China, the treasured objects were stored at Pei-kou in the township of Wu-feng, Taichung County, after arrival in Taiwan. In 1965, the National Palace Museum was restored in Wai-shuang-hsi in the suburbs of Taipei. With the collection installed in a secure setting, the Museums art treasures were finally opened to the public. As we reflect upon the history of the Museum, we realize that had the National Government not taken immediate action to move its collection to safe haven during and after the Sino-Japanese War, many of the treasures undoubtedly would have been looted by Japanese militarists or destroyed in the chaos of the Cultural Revolution. Indeed, those Mainland visitors - the ones from the cultural communities in particular - who have since the 1970s come to the Museum and witnessed in person its modern, optimal facilities and the kind of efforts exerted upon the care of the collection, as well as the splendid exhibitions which are available for public viewing on a daily basis, are gratified that the National Palace Museum is truly the home to the history and culture of the Chinese an Imperial Art Collection to a National MuseumThe founding of the Palace Museum was based on the structure typical of an imperial art collection, and it shared certain superficial similarities with the Musee du Louvre of France in its inheritance from the rich collection and grand palaces of the imperial past. While the collection at the time of the Museums inauguration featured a few archaic jade pieces of kuei and chang, it comprised largely works from the Hsuan-ho reign (1119-1125) of the Sung Dynasty to the Chien-lung and Chia-ching reigns (1736-1820) of the Ching Dynasty. After being evacuated to Taiwan, the collection gradually expanded as objects of historical or artistic value from other government institutions as well as objects dart returned by the defeated Japan were integrated into the Museum. And since the time of its re-opening in Taipei the scope of the Museums holdings has further been substantially enlarged through the generous donations of private connoisseurs and the implementation of an active, well-designed acquisition policy structured along the principle of quality over quantity. Geared towards filling the gaps inherent in a collection molded by imperial taste, such efforts have resulted in a collection that encompasses representative works from each and every stage in the history of Chinese civilization from the early Neolithic Age (ca. to 5000 B.C.) to the modern times and down to the Republican era (1912 to date). It is exactly in this way that the Museum has been transformed from the prototype of a museum that was imperial in nature into a world-class art collection that is truly national in character, illustrative of the development of Chinese culture coming down in continuity from one and the same in design and solid in structure, the storage area of the Museum, located in caves carved out of the hillside to the rear, not only offers a secure setting for the protection of the collection but also blends seamlessly into the surroundings and form a natural extension of the Museum building. The Museums storage space was further expanded with the addition in the designated area of one of the new buildings of advanced facilities connecting to the caves, and along with the integration came an unified approach to storing and managing the collection. To optimize conservation, technologically advanced equipment that are constantly in operation, such as temperature and humidity regulators, devices to counter fire, flooding, and earthquakes, computerized monitoring and security systems, as well as fumigating chambers to prevent deterioration by insects and other biological effects, have also been installed. With these preservation measures and the firm construction of the storage, the National Palace Museum has in effect become the sanctuary of Chinese culture, the home where the artistic legacy of China is well safeguarded.
狮身人面像英语引见
A sphinx (Ancient greek: Σφ�0�7γξ / Sphinx, sometimes Φ�0�7ξ /Phix) is a mythological figure which is depicted as a recumbent lion with a human head. It has its origins in sculpted figures of Old Kingdom Egypt, to which the ancient Greeks applied their own name for the male monster, the strangler, an archaic figure of Greek mythology. (Alternatively, Susan Wise Bauer suggests that the word is a Greek corruption of the Egyptian name shesepankh, or living image.[1]) Similar creatures appear throughout South and South-East Asia. In European decorative art, the sphinx enjoyed a major revival from the Renaissance Later, the sphinx image, something very similar to the original Egyptian concept, was exported into many other cultures, albeit often interpreted quite differently due to translations of descriptions of the originals and the evolution of the concept in relation to other cultural the role of sphinxes was as temple guardians; they were placed in association with architectural structures such as royal tombs or religious temples. The oldest known sphinx was found in Gobekli Tepe, Turkey and was dated to 9,500 B.C.[2] Perhaps the first sphinx in Egypt was one depicting Hetepheres II, of the fourth dynasty that lasted from 2723 to 2563 BC. The largest and most famous is the Great Sphinx of Giza, Arabic: �1�5�1�0�1�2 �1�9�1�8�1�1�1�2�1�8, sited at the Giza Plateau on the west bank of the Nile River and facing due east, is also from the same dynasty (29°58′31″N 31°08′15″E / 29.°N 31.1375°E / 29.; 31.1375). Although the date of its construction is uncertain, the head of the Great Sphinx now is believed to be that of the pharaoh names their builders gave to these statues is not known. At the Great Sphinx site, the inscription on a stele erected a thousand years later, by Thutmose IV in 1400 BCE, lists the names of three aspects of the local sun deity of that period, Khepera - Rê - Atum. The inclusion of these figures in tomb and temple complexes quickly became traditional and many pharaohs had their heads carved atop the guardian statues for their tombs to show their close relationship with the powerful deity, famous Egyptian sphinxes include one bearing the head of the pharaoh Hatshepsut, with her likeness carved in granite, which is now in the Metropolitan Museum of Art in New York, and the alabaster sphinx of Memphis, currently located within the open-air museum at that site. The theme was expanded to form great avenues of guardian sphinxes lining the approaches to tombs and temples as well as serving as details atop the posts of flights of stairs to very grand complexes. Nine hundred with rams heads, representing Amon, were built in Thebes, where his cult was strongest.
现代希腊城邦的建设与消灭是怎样回事？
现代罗马兴起于意大利半岛的罗马城，是上古环球构成较晚的国度，当希腊各邦兴起时，它正蒸蒸日上。
公元前9〜前8世纪，罗马地域的重要居民是维兰诺瓦文明的发明者——印欧语系的一些意大利部落。
公元前6世纪末，罗马共和国构成，开局了大规模的扩张抗争；公元前3世纪中期，罗马统治意大利半岛；公元前2世纪中期，又将西部地中海地域控制；到了公元前1世纪，地中海成为罗马的内湖，罗马建成了幅员上的帝国。
至此，共和制已转变成帝制。
从传说中的罗慕洛建城到公元前509年罗马共和国的建设，这一阶段的罗马历史被称为“王政”时代。
王政时代前期，罗马作为一个大的部落联盟，重要的治理机构是库里亚大会、元老院和勒克斯。
王政时代前期，罗马阶层的分化日益加剧，平民和氏族贵族之间的矛盾日趋尖利。
公元前509年，塔克文二世被颠覆，罗马人民推举布鲁图和柯来提努为执政官。
王政时代完结，罗马历史进人了共和国时代。
罗马共和国早期，平民和贵族出现了较为剧烈的奋斗，以至罗马共和国的国度机器逐渐获取完善，确定了公民、军队、土地三位一体的基础，为罗马的强盛和对外扩张提供了条件。
在对意大利、地中海发起抗争后，罗马继而又向东部地中海扩张，经过对这些地域的降服抗争，罗马的疆域开展到全盛时间，成为地跨欧、亚、非三洲的宏大帝国。
但在国际，对外扩张和掠取却惹起了剧烈的不满。
公元前73年，意大利外乡迸发了驰名的斯巴达起义。
斯巴达起义后，罗马社会各种矛盾日益尖利，统治阶层外部争权夺利的抗争愈演愈烈。
公元前60年，克拉苏、庞培和恺撒结成秘密政治同盟，史称“前三头同盟”。
三人瓜分了罗马国度的权势，这实质上是三人的专制统治。
公元前45年，恺撒彻底击败庞培，成为全罗马军政首领，并于第二年被元老院任命为永恒专制官。
恺撒统治时间，他对过后的罗马社会启动了一系列的革新，扩展了罗马国度的统治基础，顺应了共和制向帝制转变的历史趋向。
但他的革新同时也冒犯了元老贵族的利益，公元前44年3月15日，恺撒在元老议事厅被政敌密谋刺杀。
恺撒遇刺后，执政官安东尼、骑兵长官雷必达和恺撒的养子屋大维于公元前43年10月，地下结成政治同盟，史称“后三头同盟”。
屋大维先后于公元前40年和公元前31年将雷必达、安东尼击败，建设并坚固了团体的专制统治。
至此，罗马共和国消亡，共和制度最终被帝制取代。
