ฝึกพูดภาษาอังกฤษด้วยเทคนิค Shadowing จากวิดีโอ: How Do Religions Use Art?: Crash Course Art History #8
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In 1931, James Hampton began receiving visions from God.
113 ประโยค
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In 1931, James Hampton began receiving visions from God.
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Hampton was a custodian working in Washington, D.C and following his visions started collecting shiny things,
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tinfoil, jelly jars, and old light bulbs.
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He called himself the Director Special Projects for the State of Eternity.
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Hampton's collection grew until he had filled a rented carriage house from top to bottom with carefully selected fragments.
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He worked relentlessly until the array of found and discarded objects became something new,
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transforming the individual pieces into a unified whole,
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a work of art and architecture as ornate and impressive as many cathedrals.
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So what I'm saying is, religious artwork is much more than old churches and paintings of baby Jesus.
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Hi, I'm Sarah Urist-Green, and this is Crash Course Art History.
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You might think that religious art is made for a few simple reasons.
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To honor a deity, proclaim a belief, or maybe inspire practitioners.
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But religious art exists for all kinds of purposes.
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Purposes that are totally diverse, both within and across different religions.
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Like some religious art is practical.
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It instructs followers about an important belief or idea.
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Take for example the artwork in the Egyptian Book of the Dead, made around 3,000 years ago.
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This book is filled with paintings that serve as a kind of map to the afterlife.
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This image from the book shows the post-death journey of a scribe named Huneper.
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He's the one in the white robe, which is not only a super strong look, but also an indication of his clean soul.
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The guide to the right of Huneper is Anubis, the god who oversees passage to the afterlife.
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He holds Huneper's life in the palm of his hand, literally.
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In ancient Egypt, life was represented by that symbol, called the Ankh.
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In the next scene, we see Anubis weighing Huneper's heart.
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If, based on how many wrongdoings he's done on Earth, his heart is heavier than the feather of truth,
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order, and justice, Hunnifer will get eaten by this creature with the crocodile head, named Amit.
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Ooh-ee, this is high stakes, Hunnifer.
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Luckily, his heart is lighter than the feather, so Hunnifer gets to meet Osiris, god of the afterlife, in this last panel.
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And we assume he lives happily ever after life.
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So we see here that the Book of the Dead doesn't just display what ancient Egyptians believed.
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It uses clear imagery to let people know exactly what to expect on the other side.
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It instructs and prepares you for what to do in this life and the next.
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But not all religious artworks are quite so step by step.
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Others are more open-ended, intended to evoke a particular feeling or state, rather than provide a set of instructions.
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Like check out this minimalist rock garden at Ryoanji, a Zen Buddhist temple built in the 15th century in Kyoto, Japan.
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The elements in the garden aren't symbols that can be directly decoded, like how the Ankh symbolized life.
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The meaning of the garden changes from person to person.
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But the feeling of peace and the experience of meditation can be shared.
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Many religious artworks aim to inspire the feeling of awe or reverence, like this lavish 9th century cover of the Lindau Gospels.
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When you pick up this impressive tome, light passes over its gold surface and through the raised jewels,
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reflecting toward the center, where Jesus hangs on the cross.
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This trick of the light was meant to evoke wonder and amazement in its readers, emphasizing the miraculous quality of Jesus' triumph over death.
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But it's complicated.
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People don't always agree on the right way to generate spiritual feelings, even when they believe in the same gods.
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Like to Catholics at the time, the use of fancy materials showed the object's spiritual significance.
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But to the Protestants, especially during the Protestant Reformation, it represented an overindulgence in worldly things.
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The Protestants vibed with art that was a little less… blingy.
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And that's just one of the many disagreements around how one should and should not create religious art.
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But there's really no end to the possibilities for making it.
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Like check out the Rothko Chapel, a meditative space in Houston, Texas that holds 14 massive works by the American painter Mark Rothko.
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The chapel isn't tied to a specific religion, but still manages to evoke spiritual qualities.
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Three canvases hung side by side make up a triptych, a common format in traditional religious art.
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The layered pigment creates an impression of depth, as if you're looking beyond this reality, perhaps into what lies beyond.
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And the shadows of clouds as light streams in from a skylight change the look of the paintings from moment to moment.
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In both this and the Lindau Gospels, we see how powerful the manipulation of light in religious art can be.
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We can't touch or hold light, but we know when it's there.
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This echoes the way that the divine is often described across many different religions and time periods,
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making light a sort of cross-cultural communication tool in religious art.
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Now, religious art is often showcased in sacred venues, places where people gather to worship and be in community.
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But art doesn't just decorate these places.
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Often, the architecture of these places is the art.
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And this has been true for a long time.
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Let's go back almost 2,000 years and and step into the Dura Europa Synagogue, a sacred Jewish space.
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Jewish practitioners entered this room to study the scrolls of the Torah, or the first five books of the Hebrew Bible.
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And the synagogue's walls were almost completely covered with detailed paintings that tell stories from the Hebrew Bible,
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including the story of the prophet Moses and the history of the Jewish people.
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They don't just decorate the space, they create it.
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Or take a look at this Iranian mosque, which was built centuries later in the early 1600s.
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Its intricate geometric designs still mesmerize visitors today.
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But they're not just there to impress.
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They stem from an important Islamic belief that God is unique in being a creator of living things, so we humans should not depict living things in our art.
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This explains why sacred Islamic art is aniconic, meaning it avoids depicting people or animals.
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Artists instead use geometric designs, architecture, and calligraphy, inspiring awe through their perfect repetition and symmetry,
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as well as their scale, and engagement of light, too.
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So in both the mosque and the synagogue, the design of the space itself communicates spiritual beliefs.
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And at the same time, it supports spiritual actions.
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Like, mosques often feature murabs, or prayer niches, which physically point followers in the direction of a sacred shrine called the Kaaba,
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considered by Muslims to be the most sacred place on earth.
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In this murab, a bright color scheme of white, blue, and turquoise represents a heavenly garden,
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with yellow and green accents framing the arched gates of paradise.
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This merging of art and space can happen on a smaller scale too, where the art isn't the building itself, but the arrangement of objects within it.
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Take for example this carving, made by an Ibibio artist in Nigeria sometime in the early to mid-20th century.
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It depicts the deity Mami Wata, a water goddess worshipped by followers of various traditional West and Central African religions.
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Her hair and command of the snake in her arms show her spiritual prowess.
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And as a goddess believed to influence things like wealth and fertility, she's frequently honored with shrines.
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This figure might be placed on an altar alongside offerings like alcohol, perfume, talcum powder, and other valuable goods.
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So the carving doesn't just represent a goddess.
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It's an essential part of rituals used to gain healing and good fortune from her.
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Okay, up to this point, we've explored a number of religious artworks that that have been preserved for generations.
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But not all artworks are designed to last.
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Sometimes, it's just the opposite.
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Like with these sand mandalas made by Tibetan Buddhist monks,
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the process of creating a mandala is a meditative practice that requires extreme precision.
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The monks design an intricate geometric framework and then tap sand through copper funnels to meticulously fill in the lines.
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And then, after all this work is complete, the mandala is brushed away to symbolize that nothing lasts forever.
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Hindus in India have a similar tradition called kolam, traditionally done with rice powder.
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Kolam is displayed in the entryway to almost every building in Tamil Nadu.
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The artists, almost always women, make the designs every morning to welcome Lakshmi, the goddess of wealth and alertness,
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and Budavi, the goddess of the earth.
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These kinds of art are gone within hours, But permanence is not the point.
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The artworks are intended to be both beautiful and fleeting, kind of like life.
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Well, unless you've read the Book of the Dead and have your afterlife all mapped out.
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At the end of the day, you don't have to practice or even completely understand a religion to appreciate the art that comes from its traditions.
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Despite differences in culture, geography, and time period, humans have been asking similar questions for a long time.
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And art has helped us articulate those questions.
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What exists beyond what we can see?
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How can we talk about, imagine, and represent the unexplainable aspects of being alive?
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And how can we make sense of the world, full as it is of suffering, love, family, and everything else?
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Religious art doesn't always answer these questions, but it can make space to contemplate them,
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whether in silent reflection or together in community.
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In our next episode, we'll explore art made about and from nature itself.
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I'll see you there.
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บริบทและภูมิหลัง
วิดีโอนี้นำเสนอโดย Sarah Urist-Green และสำรวจความสัมพันธ์ระหว่างศิลปะและศาสนา โดยนำเสนอกรณีศึกษาจากผลงานของ James Hampton ซึ่งเริ่มต้นการเก็บรวบรวมสิ่งของที่ไม่เหมือนใครเพื่อสร้างสรรค์งานศิลปะที่มีความหมายเชิงศาสนา ทำให้เราเข้าใจว่าศิลปะทางศาสนาไม่เพียงแต่เป็นรูปภาพหรือโบสถ์ แต่มีความหมายมากมายที่แตกต่างกันไปทั้งในแต่ละศาสนาและในแต่ละวัฒนธรรม ศิลปะเหล่านี้ยังมีบทบาทในการสอนและสร้างแรงบันดาลใจให้กับผู้คนในการปฏิบัติทางศาสนา
5 วลีสำคัญสำหรับการสื่อสารประจำวัน
- “He called himself the Director Special Projects for the State of Eternity.” (เขาเรียกตัวเองว่า ผู้กำกับโครงการพิเศษสำหรับรัฐแห่งความเป็นนิรันดร์)
- “This book is filled with paintings that serve as a kind of map to the afterlife.” (หนังสือนี้เต็มไปด้วยภาพวาดที่ทำหน้าที่เหมือนแผนที่ไปยังโลกหลังความตาย)
- “The meaning of the garden changes from person to person.” (ความหมายของสวนนี้เปลี่ยนแปลงไปตามบุคคล)
- “Aimed to inspire the feeling of awe or reverence.” (มุ่งหมายที่จะสร้างความรู้สึกตื่นตาตื่นใจหรือเคารพ)
- “People don’t always agree on the right way to generate spiritual feelings.” (ผู้คนไม่ค่อยเห็นด้วยกับวิธีที่ถูกต้องในการสร้างความรู้สึกทางจิตวิญญาณ)
คู่มือการฝึกพูดแบบ Shadowing ทีละขั้นตอน
การเรียนรู้ภาษาอังกฤษจากวิดีโอนี้จะช่วยให้คุณ ปรับปรุงการออกเสียงภาษาอังกฤษ และเข้าใจการใช้ภาษาที่มีความหมายในบริบทศิลปะและศาสนา ในการฝึก shadow speech ให้คุณทำตามขั้นตอนเหล่านี้:
- เริ่มจากฟังวิดีโออย่างตั้งใจในรอบแรก โดยไม่ต้องหยุด และพยายามจับใจความสำคัญของข้อความ.
- ในรอบที่สอง ให้คุณหยุดหลังจากแต่ละประโยคแล้วลองพูดตาม (shadow speak) โดยเลียนแบบเสียงและจังหวะการพูดของผู้พูด.
- ถ้าคุณพบคำหรือวลีที่ยาก ให้ใช้ฟีเจอร์ควบคุมความเร็วในวิดีโอ เพื่อให้สามารถเข้าใจได้ดีขึ้น.
- ฝึกพูดซ้ำหลาย ๆ ครั้งจนกว่าคุณจะรู้สึกมั่นใจในคำศัพท์และการออกเสียง.
- สุดท้าย ทำการบันทึกเสียงของคุณตอนพูดตาม แล้วส่งให้เพื่อนหรือครูฟังเพื่อรับข้อเสนอแนะแนวทางการปรับปรุง.
ด้วยการใช้เทคนิคแบบนี้ คุณจะสามารถ เรียนภาษาอังกฤษจากยูทูป ได้อย่างมีประสิทธิภาพและยกระดับทักษะการพูดของคุณไปอีกขั้น!
เทคนิค Shadowing คืออะไร?
Shadowing เป็นเทคนิคการเรียนรู้ภาษาที่ได้รับการรับรองทางวิทยาศาสตร์ พัฒนาขึ้นสำหรับการฝึกนักแปลมืออาชีพ วิธีการนี้เรียบง่ายแต่ทรงพลัง: คุณฟังเสียงภาษาอังกฤษจากเจ้าของภาษาและพูดตามทันที — เหมือนเงาที่ตามผู้พูดด้วยช่วงเวลาห่าง 1-2 วินาที การวิจัยแสดงว่าเทคนิคนี้ปรับปรุงความแม่นยำในการออกเสียง ทำนองเสียง จังหวะ การเชื่อมเสียง การฟังเข้าใจ และความคล่องแคล่วในการพูดได้อย่างมีนัยสำคัญ
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