Shadowing Practice: How is stuff like this possible ๐Ÿคฏ #arthistory - Learn English Speaking with Video

ื‘ื—ืจ ืžืฆื‘ ืชืจื’ื•ืœ

ื›ืœ ืžืฆื‘ ืคื•ืชื— ื—ื“ืจ ืชืจื’ื•ืœ ื‘ืžืกืš ืžืœื.

28 ืžืฉืคื˜ื™ื
ืื ื”ืžืฉืคื˜ื™ื ืงืฆืจื™ื ืื• ืืจื•ื›ื™ื ืžื“ื™, ืœื—ืฅ ืขืœ ืขืจื•ืš ื›ื“ื™ ืœื”ืชืื™ื ืื•ืชื.
1
This artist was so good with a paintbrush she could hide a reflection in a still life, and you wouldn't even know where to spot it.
2
Do you see it?
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No?
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Well, it's right here.
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But the Flemish master Clara Peters is so much more than a reflection on the pewter lid of an earthenware jug.
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Because in a body of work that consists exclusively of still life paintings, and in a genre where analysis can pick up on little symbols and hidden secrets,
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Peters steals our attention with an insane attention to detail.
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In the very same painting she paints a decorative glass with such precision you can slide your finger across every single bump.
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She paints a piece of bread so thoroughly you can feel its hard exterior and soft, sponge-like insides.
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You can smell the cheese, taste the figs, the raisins and almonds, spread the butter with a knife.
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And speaking of a knife, oh my.
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Hanging off of the edge of the table, Peters with a paintbrush in the likeness of a surgeon shows
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us a knife with such mastery we can't only feel its weight and every intricate detail, but she shows us how light bounces out of every curve and off of every notch,
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and if that hasn't blown your head off of your shoulders, she signs the bloody painting as an engraving.
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And this isn't a one-hit wonder either, because throughout her entire body of work she does it again and again and again and again, with intricate jug after intricate jug,
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a never-ending supply of wine-filled glassware, dried fruits and birds and seashells, baked goods and fragrant flowers, reflection after reflection after reflection.
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She does it over andโ€ฆ is that a cat?
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Hum, it is a cat.
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And he too, just like us, can probably smell these fish stacked into a bowl from a mile away.
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The moist scent of dense fishy air shot into your nose as a by-product of a visual stimulation
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that only a true master could ever pull off.
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Slippery and wet, ice cold and ready to eat.
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She captures the fragile transparent shells of these prawns and the slimy insides of this oyster.
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I don't blame the cat at all for wanting in on the action.
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And to tie it all together, Peters, as only a person with a sense of humour could, says it all on the face of a fish.
26
Holy crap!
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Which is the same reasonable expression that anyone might have on the cusp of becoming a meal.
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Or, for that matter, on noticing this reflection in a still life.

ื”ื•ืจื“ ืืคืœื™ืงืฆื™ื”

ื›ืœ ืžื” ืฉืืชื” ืฆืจื™ืš ื›ื“ื™ ืœื“ื‘ืจ ื‘ืฉื˜ืฃ

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ืื•ืฆืจ ืžื™ืœื™ืื‘ื ื” ืืช ืžืื’ืจ ื”ืžื™ืœื™ื ืฉืœืš
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ืื•ืฆืจ ืžื™ืœื™ื ื•ื”ืขืจื•ืช ื”ื’ื™ื™ื” ืœืฉื™ืขื•ืจ ื”ื–ื”

ืฉื™ืขื•ืจ ื”ื“ื™ื‘ื•ืจ ื”ื–ื” ื‘ืจืžื” B2 ืžื‘ื•ืกืก ืขืœ ื”ืกืจื˜ื•ืŸ โ€œHow is stuff like this possible ๐Ÿคฏโ€. ื”ืžื™ืœื™ื ืฉื—ื•ื–ืจื•ืช ื”ื›ื™ ื”ืจื‘ื”: reflection, Peters, jug, intricate, knife. ื‘ืกืจื˜ื•ืŸ ื”ื–ื” ื™ืฉ 28 ืžืฉืคื˜ื™ื ื•-441 ืžื™ืœื™ื ืœืชืจื’ื•ืœ Shadowing. ื”ื“ื™ื‘ื•ืจ ื ืžืฉืš 2:26. ื”ื“ื•ื‘ืจ ืžื“ื‘ืจ ืžื”ืจ, ื›-181 ืžื™ืœื™ื ื‘ื“ืงื”, ืื– ืฆืคื• ืœืฆืœื™ืœื™ื ืžื—ื•ื‘ืจื™ื ื•ืžืงื•ืฆืจื™ื. ืจืง 73% ืžื”ืžื™ืœื™ื ื ืžืฆืื•ืช ื‘ื™ืŸ 3,000 ื”ืžื™ืœื™ื ื”ื ืคื•ืฆื•ืช ื‘ื™ื•ืชืจ ื‘ืื ื’ืœื™ืช, ื›ืš ืฉืื•ืฆืจ ื”ืžื™ืœื™ื ืžืืชื’ืจ.

ืื•ืฆืจ ืžื™ืœื™ื ืžืจื›ื–ื™ ื‘ืกืจื˜ื•ืŸ ื”ื–ื”

15 ื”ืžื™ืœื™ื ื”ืžืชืงื“ืžื•ืช ื‘ื™ื•ืชืจ ื‘ืกืจื˜ื•ืŸ, ืขื ื”ื”ื’ื™ื™ื” ื•ื”ืžืฉืžืขื•ืช ืฉืœื”ืŸ:

ืžื™ืœื”ื”ื’ื™ื™ื”ืžืฉืžืขื•ืช
reflection ืฉื ืขืฆื/ษนษชหˆflษ›kสƒษ™n/ื”ืฉืชืงืคื•ืช
intricate ืฉื ืชื•ืืจ/หˆษชn.tษนษช.kษ™t/ืžืกื•ื‘ืš, ืžื•ืจื›ื‘
paintbrush ืฉื ืขืฆื/หˆpeษชntหŒbษนสŒสƒ/ืžึดื›ึฐื—ื•ึนืœ, ืžึดื‘ึฐืจึถืฉึถืืช
raisin ืฉื ืขืฆื/หˆษนeษชzษ™n/ืฆื™ืžื•ืง \ ืฆึดืžึผื•ึผืง
seashell ืฉื ืขืฆื/หˆsiหŒสƒษ›l/ืฆึถื“ึถืฃ, ืงื•ึนื ึฐื›ึดื™ึธึผื”
almond ืฉื ืขืฆื/หˆษ‘(l).mษ™nd/ืฉึธืืงึตื“
oyster ืฉื ืขืฆื/หˆษ”ษช.stษš/ืฆึดื“ืคึธึผื”
sponge ืฉื ืขืฆื/spสŒndอกส’/ืกึฐืคื•ึนื’
slippery ืฉื ืชื•ืืจ/หˆslษชpษ™ษนi/ื—ึธืœึธืง, ื—ืœืงืœืง
moist ืฉื ืชื•ืืจ/mษ”ษชst/ืœึทื—
scent ืฉื ืขืฆื/sษ›nt/ืจื™ื—
humour ืฉื ืขืฆื/หˆhjuหmษš/ื”ื•ึผืžื•ึนืจ
fragile ืฉื ืชื•ืืจ/หˆfษนรฆdอกส’ษ™l/ืฉื‘ื™ืจ
bake ืคื•ืขืœ/beษชk/ืึธืคึธื”
dense ืฉื ืชื•ืืจ/หˆdษ›ns/ืขื‘ื•ืช \ ืขึธื‘ึนืช

ื”ื’ื™ื™ื” ืฉืฉื•ื•ื” ืœืฉื™ื ืœื‘ ืืœื™ื”

ื”ื“ื•ื‘ืจ ืžืฉืชืžืฉ ื‘-5 ืงื™ืฆื•ืจื™ื ื•ืฆื•ืจื•ืช ืžืงื•ืฆืจื•ืช, ื›ืžื• can't, don't, hasn't. ืืžืจื• ืื•ืชื ื‘ืฆื•ืจื” ื”ืงืฆืจื”, ื›ืคื™ ืฉืืชื ืฉื•ืžืขื™ื ืื•ืชื.

  • ื”ืฆืœื™ืœื™ื ืฉืœ โ€œthโ€: earthenware /หˆษ™หฮธ(ษ™)nwษ›ห/, thoroughly /หˆฮธสŒษน.ษ™.li/
  • ื”ืฆืœื™ืœื™ื ืฉืœ โ€œshโ€ ื•-โ€œzhโ€: reflection /ษนษชหˆflษ›kสƒษ™n/, paintbrush /หˆpeษชntหŒbษนสŒสƒ/, seashell /หˆsiหŒสƒษ›l/, stimulation /stษชm.jสŠหˆleษช.สƒษ™n/, precision /pษนษชหˆsษชส’.ษ™n/
  • ืžื™ืœื™ื ืืจื•ื›ื•ืช โ€” ืฉื™ืžื• ืœื‘ ืœื”ื˜ืขืžื”: stimulation /stษชm.jสŠหˆleษช.สƒษ™n/, decorative /หˆdษ›k.ษ™.ษนษ™.tษชv/

ืฆืœื™ืœื™ื ืฉื“ื•ื‘ืจื™ ืขื‘ืจื™ืช ืžืชืงืฉื™ื ื‘ื”ื:

  • /รฆ/ โ€” ืคืชื•ื— ื™ื•ืชืจ ืžื”-โ€œืึถโ€ ื”ืขื‘ืจื™ืช, ืœื ื›ืžื• โ€œaโ€ ื‘-โ€œcupโ€: mastery /หˆmรฆs.tษš.i/, fragile /หˆfษนรฆdอกส’ษ™l/, transparent /tษนรฆnsหˆpรฆษนษ™nt/, stack /stรฆk/
  • /r/ โ€” ื”ืœืฉื•ืŸ ืœื ื ื•ื’ืขืช ื‘ืฉื•ื ืžืงื•ื, ืœื ื”-โ€œืจโ€ ื”ื’ืจื•ื ื™ืช: reflection /ษนษชหˆflษ›kสƒษ™n/, intricate /หˆษชn.tษนษช.kษ™t/, paintbrush /หˆpeษชntหŒbษนสŒสƒ/, fragrant /หˆfษนeษช.ษกษนษ™nt/, raisin /หˆษนeษชzษ™n/
  • ืขื™ืฆื•ืจ ืงื•ืœื™ ื‘ืกื•ืฃ ืžื™ืœื” โ€” /b/, /d/, /g/, /z/, /v/ ื‘ืœื™ ืœื”ืคื•ืš ืื•ืชื ืœืื˜ื•ืžื™ื: almond /หˆษ‘(l).mษ™nd/, sponge /spสŒndอกส’/, decorative /หˆdษ›k.ษ™.ษนษ™.tษชv/, fig /fษชษก/, curve /kษšv/

ืื™ืš ืœืชืจื’ืœ ืขื ื”ืกืจื˜ื•ืŸ ื”ื–ื”

  1. ื”ืงืฉื™ื‘ื• ืœื›ืœ ื”ืกืจื˜ื•ืŸ ืคืขื ืื—ืช ื‘ืœื™ ืœื“ื‘ืจ, ื•ืจืฉืžื• ืืช ื”ืžื™ืœื™ื ืฉืืชื ืœื ืžื›ื™ืจื™ื.
  2. ื”ืชื—ื™ืœื• ื‘ืžื”ื™ืจื•ืช 0.75ร—, ืชืจื’ืœื• Shadowing ืžืฉืคื˜ ืื—ืจ ืžืฉืคื˜, ื•ื—ื–ืจื• ืœืžื”ื™ืจื•ืช ืจื’ื™ืœื” ื›ืฉื–ื” ืžืจื’ื™ืฉ ืงืœ.
  3. ื”ืงืœื™ื˜ื• ืืช ืขืฆืžื›ื ื•ื”ืฉื•ื• ืœืžืงื•ืจ, ืชื•ืš ืชืฉื•ืžืช ืœื‘ ืœืžื™ืœื™ื ื›ืžื• reflection, intricate, paintbrush.

ืžื”ื™ ื˜ื›ื ื™ืงืช ื”ืฉืื“ื•ืื™ื ื’?

ืฉืื“ื•ืื™ื ื’ ื”ื™ื ื˜ื›ื ื™ืงืช ืœืžื™ื“ืช ืฉืคื” ืžื‘ื•ืกืกืช ืžื“ืข ืฉืคื•ืชื—ื” ื‘ืžืงื•ืจ ืœื”ื›ืฉืจืช ืžืชื•ืจื’ืžื ื™ื ืžืงืฆื•ืขื™ื™ื ื•ืคื•ืคื•ืœืจื™ืช ืขืœ ื™ื“ื™ ื”ืคื•ืœื™ื’ืœื•ื˜ ื“"ืจ ืืœื›ืกื ื“ืจ ืืจื’ื•ืืœืก. ื”ืฉื™ื˜ื” ืคืฉื•ื˜ื” ืืš ืขื•ืฆืžืชื™ืช: ืืชื” ืžืงืฉื™ื‘ ืœืื•ื“ื™ื• ื‘ืื ื’ืœื™ืช ื™ืœื™ื“ื™ืช ื•ื—ื•ื–ืจ ืขืœื™ื• ื‘ืงื•ืœ ืจื ืžื™ื“ โ€” ื›ืžื• ืฆืœ ื”ืขื•ืงื‘ ืื—ืจื™ ื”ื“ื•ื‘ืจ ืขื ืขื™ื›ื•ื‘ ืฉืœ 1โ€“2 ืฉื ื™ื•ืช ื‘ืœื‘ื“. ื‘ื ื™ื’ื•ื“ ืœื”ืื–ื ื” ืคืกื™ื‘ื™ืช ืื• ืชืจื’ื™ืœื™ ื“ืงื“ื•ืง, ืฉืื“ื•ืื™ื ื’ ืžื›ืจื™ื— ืืช ื”ืžื•ื— ื•ื”ืฉืจื™ืจื™ื ื‘ืคื” ืœืขื‘ื“ ื•ืœืฉื—ื–ืจ ื“ืคื•ืกื™ ื“ื™ื‘ื•ืจ ืืžื™ืชื™ื™ื ื‘ื• ื–ืžื ื™ืช. ืžื—ืงืจื™ื ืžืจืื™ื ืฉื–ื” ืžืฉืคืจ ืžืฉืžืขื•ืชื™ืช ืืช ื“ื™ื•ืง ื”ื”ื’ื™ื™ื”, ื”ืื™ื ื˜ื•ื ืฆื™ื”, ื”ืงืฆื‘, ื”ื“ื™ื‘ื•ืจ ื”ืžื—ื•ื‘ืจ, ื”ื‘ื ืช ื”ืฉืžื™ืขื” ื•ืฉื˜ืฃ ื”ื“ื™ื‘ื•ืจ โ€” ืžื” ืฉื”ื•ืคืš ืื•ืชื• ืœืื—ืช ื”ืฉื™ื˜ื•ืช ื”ื™ืขื™ืœื•ืช ื‘ื™ื•ืชืจ ืœื”ื›ื ื” ืœIELTS Speaking ื•ืœืชืงืฉื•ืจืช ื‘ืื ื’ืœื™ืช ื‘ืขื•ืœื ื”ืืžื™ืชื™.

ื˜ื›ื ื™ืงืช Shadowing: ืงืจื ืืช ื”ืžื“ืจื™ืš ื”ืžืœื ืฉืœื‘ ืื—ืจ ืฉืœื‘ โ†’