infusing-70

急求铁观音的英文介绍和翻译

the pros and cons of product placement.植入式广告的优点和缺点。

As traditional means of delivering messages such as network television lose their ability to effectively communicate with those target audiences judged most desirable by advertisers, the need to find alternative vehicles for commercials becomes urgent.。

The amount of entertainment choice in the future - 500 digital channels, pay-per-view, home cinema - will render traditional advertising an information service, a sort of phone book.。

In order to reach a target area, corporations are going to have to sponsor programmes, own TV channels or, by far the cheapest option, use product placement.。

The placement of a product or brand in a major feature film can generate approximately 50 million contacts (spectators) in cinema theatres alone. Within the five yearsfollowing a films initial theatrical launch, after its video and television releases this figure can climb to an average of more than 500 million viewers. For example it is estimated that Mission: Impossible will be viewed by one billion people by the year 2000.。

Arguably PP threatens cinema as an artform, infusing a commercial drive into an artistic.Producers and Directors must now take into account the specifications of PP companieExample: “Home Alone II” rewritten at American Airlines insistence.。

Failure to adhere to PP company demands can be expensive:1990 - Black&Decker sue Fox for $150,000 after a Die Hard II scene fitting a drill ends up on cutting room floor.。

优点

赞助商的追捧，源于植入式广告具有独特的传播优势，这些优势归结为一点，就是能够形成强大的品牌渗透力。

首先，植入式广告的受众数量庞大。有报道称，只有上映2万场，上座率在70%以上的影片才能吸引到电影广告（包括贴片广告和植入式广告），这也说明植入式广告的受众数量极为可观。隐性的广告由于其出现的不规律性以及与情节的高度相关性，很少会遭到受众的抵触与拒绝。正如业内人士指出的那样，“电视频道掌握在观众手中，而当他坐进黑漆漆的电影院时，就不能不接受你的广告”，这反映出植入式广告本质上是一种强制性广告。如下图所示，植入式广告在受众广告信息接收图谱中处于较高层次--专注接收层.。

从消费行为的角度考察，植入式广告对受众消费行为产生一种光晕式影响，特别在电视电影这样声像俱全的媒介中，强烈的现场感，对消费者形成一种行为示范；如成龙片中的三菱汽车与“勇气与冒险”联系在一起,在深化品牌影响力的基础上，获得丰富的品牌联想，最终赢得广泛的认同与品牌价值的提升。这种潜移默化的影响力正是赞助商梦寐以求的。

缺点

当然，植入式广告也存在着不容忽视的弱点：

品牌的适用性范围较小，多数情况下只适用于知名品牌，这是因为受众需要在相当短暂的时间内准确识别出商品包装、品牌或产品外型。因此，品牌有较高的知名度和认知度是投入植入式广告第一道门槛。相对而言，综艺类节目更有可能利用植入式广告提高某些导入期产品或新进入品牌的知名度。

植入式广告不适于深度说服，特别不适合做直接的理性诉求或功能诉求。港产片《难得有情人》是一个很好的例子，剧中舒淇借用吴大维的阿尔卡特手机与前男友联系，不巧手机缺电，吴大维便借此介绍了该手机的优越性能，说道：“因为最近我们公司正在设计这种手机的广告，所以我比较了解它的功能，可以用普通电池替代锂电池，换上干电池--行了。”吴大维一边熟练地讲解着，一边熟练地拆装着手机电池，这种强行植入被评论为“俨然和电视直销现场一样”，这明显是对剧情的一种破坏，让观众感到生硬和不自然。

同时，一些前卫产品的功能性诉求甚至可能被受众当作影片的虚构。因此，品牌诉求一般停留在简单告知与提高特性认知度方面。基于上述原因，广告主可以考虑在同一档期发布硬性广告配合植入式广告，及时将潜在消费者的“兴趣”转化为“欲望”。

在影视剧或节目中，可供植入广告的容量有限，过度使用会引起受众反感。在现实情况下，受众倾向于把所有说服性讯息都理解为“广告”，他们对于“广告”高度敏感，一旦感觉到这是“广告”，就会条件反射性地把心灵之门关闭，最终影响到对影视剧或节目的态度。

商业效益的过分追求，必然导致植入广告的泛滥。

植入广告容易对作品造成的最大伤害是使作品本身主题涣散，又因为这些品牌多与人们日常生活息息相关，很容易唤观众醒感官刺激而带来兴奋点，作品中过多互不相关兴奋点的突兀存在，必然对作品主线原本思路造成影响，降低作品艺术价值，甚至会喧宾夺主使主题不再明显，正因如此，植入广告常常会引起观众的反感和抱怨。

一篇关于哥特建筑的中英文对照资料（5000字左右，几篇组成也行），还有追分

<pre>About Tie Guanyin tea英文版铁观音介绍 Origin of Tie Guanyin（铁观音起源） Tie Guanyin is a representatives of oolong tea,and belongs to green tea among the six major types of tea．Tie Guanyin was originally the name of a tea tree,because it is suitable for making oolong tea,its product was thus named Tie Guanyin;the SO—called Tie Guanyin is actual ly the oolong tea made from Tie Guanyin tea tree． Quality and characteristics of Tie Guanyin（铁观音的质量和特色） Tie Guanyin has excellent quality,its leaves ale thick and solid,it weighs as iron with dark and moist color,it has obvious sand green color with bright-colored red points．Its fragrance is noble-minded．long-lasting,stromg and fresh,it has a unique"lingering charm" with a sweet and fragrant aftertaste;even after 7 times infusion it still has fragrance…it can be called the king of oolong tea. The healthcare function of Tie Guanyin（铁观音的医疗保健功能） Verified by the domestic and foreign scientists,the chemical composition and mineral elements in Tie Guanyin have special functions to people''s health,the functions are roughly as follows:anti-ageing,resisting cancer,preventing artery sclerosis,preventing and curing diabetes,losing weight,preventing decayed tooth,disinfecting,preventing dyscentery,etc. Tea set for infusing Tie Guanyin（紫砂壶是泡饮铁观音的上佳茶具） When infusing Tie Guanyin,the best tea set for you is the Zi Sha(purple sand pottery)；the Zi Sha tea set made in Yixing is most suitable,it will never afect the flagrance of the tea,it can keep the color,flagrance and taste of the tea for a long time.China''s first professional tea farmers cooperatives .Along with the unique flagrance of Tie Guanyin,if you take a sip,the flagrance will fill your nostrils. Autumn fragrance and Spring water（秋季铁观音品香春季铁观音品水） Tie Guanyin iS made with precision and exquisite techniques．Its sprouts come out in the last ten days of March,and will be picked in the first ten days of May;the tea can be picked in spring,summer,mid-summer and autumn．The autumn tea has the best quality,the spring tea has the highest output．The autumn tea has strong flagrance,so it is commonly called“autumn flagrance”;the spring tea gives you mellow feeling,so it is,commonly called“spring water” The Chinese people, in their drinking of tea, place much significance on the act of "savoring." "Savoring tea" is not only a way to discern good tea from mediocre tea, but also how people take delight in their reverie and in tea-drinking itself. Snatching a bit of leisure from a busy schedule, making a kettle of strong tea, securing a serene space, and serving and drinking tea by yourself can help banish fatigue and frustration, improve your thinking ability and inspire you with enthusiasm. You may also imbibe it slowly in small sips to appreciate the subtle allure of tea-drinking, until your spirits soar up and up into a sublime aesthetic realm. Buildings, gardens, ornaments and tea sets are the elements that form the ambience for savoring tea. A tranquil, refreshing, comfortable and neat locale is certainly desirable for drinking tea. Chinese gardens are well known in the world and beautiful Chinese landscapes are too numerous to count. Teahouses tucked away in gardens and nestled beside the natural beauty of mountains and rivers are enchanting places of repose for people to rest and recreate themselves. China is a country with a time-honored civilization and a land of ceremony and decorum. Whenever guests visit, it is necessary to make and serve tea to them. Before serving tea, you may ask them for their preferences as to what kind of tea they fancy and serve them the tea in the most appropriate teacups. In the course of serving tea, the host should take careful note of how much water is remaining in the cups and in the kettle. Usually, if the tea is made in a teacup, boiling water should be added after half of the cup has been consumed; and thus the cup is kept filled so that the tea retains the same bouquet and remains pleasantly warm throughout the entire course of tea-drinking. Snacks, sweets and other dishes may be served at tea time to complement the fragrance of the tea and to allay one's hunger. 参考译文： 中国人饮茶， 注重一个"品"字。"品茶"不但是鉴别茶的优劣，也带有神思遐想和领略饮茶情趣之意。在百忙之中泡上一壶浓茶，择雅静之处，自斟自饮，可以消除疲劳、涤烦益思、振奋精神，也可以细啜慢饮，达到美的享受，使精神世界升华到高尚的艺术境界。品茶的环境一般由建筑物、园林、摆设、茶具等因素组成。饮茶要求安静、清新、舒适、干净。中国园林世界闻名，山水风景更是不可胜数。利用园林或自然山水间，搭设茶室，让人们小憩，意趣盎然。 中国是文明古国，礼仪之邦，很重礼节。凡来了客人，沏茶、敬茶的礼仪是必不可少的。当有客来访，可征求意见，选用最合来客口味的茶叶和最佳茶具待客。主人在陪伴客人饮茶时，要注意客人杯、壶中的茶水残留量，一般用茶杯泡茶，如已喝去一半，就要添加开水，随喝随添，使茶水浓度基本保持前后一致，水温适宜。在饮茶时也可适当佐以茶食、糖果、菜肴等，达到调节口味和点心之功效。 注释： 1.神思遐想：reverie。 2.领略饮茶情趣：take delight in tea-drinking。 3.在百忙之中泡上一壶浓茶……:这个句子较长，译者根据其意思的层次，把它分成了两个完整的句子来翻译，这样就有较大的自由度来遣词造句。 4.择静雅之处：securing a serene space。 5.细啜慢饮：imbibe slowly in small sips。 6.达到美的享受：即"享受到饮茶之美"。allure这里是名词，意为"迷人之处"，也可用beauty。 7.使精神世界升华到高尚的艺术境界：until your spirits soar up and up into a sublime aesthetic realm。 8.利用园林或自然山水间，搭设茶室：翻译时用了tucked away和nestled，比用built要形象、优美得多。 9.让人们小憩，意趣盎然:意思是"(茶室)是让人们休息、娱乐的迷人场所。" 10.礼仪之邦:即是"一个很讲究礼仪的地方"，"很重礼节"为重复，不译。 11.当有客来访：是"凡来了客人"的重复，可不译。根据下文的内容，加上before serving tea，使上下衔接贴切自然。 12.征求意见，选用最合来客口味的茶叶和最佳茶具待客：可理解为"询问来客他们最喜欢什么茶叶，然后用最合适的茶具给客人敬茶"。 13.主人在陪伴客人饮茶时：译为in the course of serving tea,与前面before serving tea相呼应。 14.主人在陪伴客人饮茶时……水温适宜：这句话较长，译者同样根据其意思的层次，把它分成了两个完整的句子来翻译。 15.随喝随添：and thus the cup is kept filled或者and in this way the cup is kept filled。 16.茶食：意思为"点心、小吃"。 17.达到调节口味和点心之功效："点心"为方言"点饥、充饥"的意思。 </pre> 安溪御廷铁观音批发，常年批发新鲜的各档次的安溪铁观音及本山、毛蟹、黄金桂等乌龙茶。“安溪御廷铁观音批发”与位于蓝田乡华南路106号的“华锋茶叶批发”属于联营机构，于1995年从事茶叶批发以来，本着“信誉至上，质量保证”的经营理念和坚持收购价加10%批发零售的宗旨受到各地茶友的好评。并于2002获“蓝田杯”茶王赛金奖和“青年茶叶拼配能手”等称号。http://store.taobao.com/shop/view_shop-a95a6c7c8a3b1eb6deaa97d4dd470693.htm?nekot=sLLPqsz6udvS9F%2By%2BrXY1rHP%2Bg%3D%3D1243263355206御延茶叶立足铁观音原产地--福建省安溪县，坚守“同质低价，同价优质”的经营宗旨，保证同一品种、同一档次的茶叶比当地市场价更低，质量更优，更具市场竞争力。希望为您提供正宗品质安溪铁观音！！冲3皇冠全场茶叶包EMS，购250克以上可以免费领取5个茶叶样品。限茶叶类促销：单笔订单满200元减5元，减后满200元，送“御廷苑名茶白瓷茶具一套”，免运费。掌柜推荐1：【抵制暴利共度金融危机】安溪铁观音7.6折136元贴运费回馈茶友掌柜推荐2：09春茶 尝鲜58元250克送EMS〓TH116透天香黄金桂买500克送250克掌柜推荐3：销量冠军09春茶负利润感恩回馈QA118安溪铁观音73元504克72小包+赠品。

求用英语介绍铁观音的茶文化，详细但是英语简单

【 点 评 】 公元1194年，沙特尔大教堂的建筑大师提出了新的建筑思想，对十三世纪所有的伟大建筑起到了启发作用。因为没有图库，它的立视图分为三层（应该明示三层间的关系），并且屋顶分为了四个部分，减少了相互间的交互支撑。从建筑的外部来看，通过放弃在十字形耳堂上建造五座塔的原设计方案，使教堂的建筑发生了一个新的变化。

【 点 评 】 位于肯特郡的迪尔城堡是一座著名的沿海防御堡垒建筑群，由亨利八世（Henry VIII）建于公元1539年。该建筑群专为炮兵设计，中央是一个圆柱形的大本营，外部是一圈半圆形的炮塔。整个建筑物外部是一条壕沟，与堡垒融为一体。

【 点 评 】 位于威尼斯的总督宫的正面建于公元1309至1424年，由Giovanni和Bartolomeo Buon设计。总督宫始建于公元9世纪，历经数次重建，于文艺复兴时期完工。它组成威尼斯伟大的城市规划方案的一部分，城市规划经历了连续几个世纪才最后完成。建筑物的正面总长近152米（500英尺），在较低的两层有开阔的拱廊，第三层在16世纪的一场大火后进行了重建，扩建超过了拱廊的高度。建筑物的上层贴有白色或者玫瑰色的大理石、同一华丽的窗户以及东方脊饰的花边似的城齿墙。

【 点 评 】 位于伯克利的基督教科学派第一教堂就好像同许多梅贝克（Maybeck）的作品一样已经被大火烧毁了，他从未获得过美国建筑师协会的金奖。没有其他的建筑能把他富有想象力的建筑天赋表现得如此完美！他对国内建筑设计的贡献是显著的，并且他在建筑教育领域取得的成就也是引人注目的。但是就是空间、结构、颜色和光线立刻获得了世俗的专业评论员的赞美。教堂于1910年设计，当时梅贝克48岁，它是梅贝克最有成效时期设计思想的生动体现。

只有天才和坚定不移的建筑大师才能把通常工厂中使用的材料与实用的建筑处理得如此恰当，与整个建筑和谐地统一起来。

建筑风格：法国哥特式 描述：镀金、镶宝石的内部装饰，加油拱顶减少窗花格。该建筑为路易斯国王而建造 。

【 点 评 】 国王学院礼拜堂的空旷并不足为奇，从它开放、矩形的内部空间就能够看出。至今，这座狭窄、宏伟和长长的礼拜堂在建筑史上是伟大的建筑之一。该建筑能辐射出光线，其四面墙壁的每一面上约有2/3的区域安装有彩色玻璃，几乎填满了扶壁间的所有空间。玻璃虽然没有中世纪的华美但是明亮，且有透亮或者不透明的窗格衬托。除了西部的窗户于1879年设计之外，玻璃的年代追溯到1517至1547年，且出自德裔佛兰德艺术家之手。

【 点 评 】 罗马式的中殿源自公元1122至1135年，哥特式的高坛始于公元1450至1521年。

【 点 评 】 巴黎圣母院在法国哥特式建筑的发展史上具有开拓性的意义。它高达110英尺，是第一座真正纪念碑规模的大教堂。紧凑的十字形平面、六肋拱穹、高耸的扶壁以及超大型的窗户成为后来法国大教堂的原型。

【 点 评 】 新圣母玛利亚教堂设计于十五世纪五十年代，它的正面使得这座中世纪教堂的外部更加完美。因为它的尺寸互成八度音阶的1:2的比例，人们都把它描述成为一座伟大的文艺复兴时期建筑的典型。在中世纪意大利式建筑外部的大理石面板能产生出犹如马赛克一样的离散色斑效果，而在这里产生了一种比较有韵律的、几何统一的感觉。

【 点 评 】 索尔兹伯里大教堂完全根据一个基本的设计进行建造，它是英国哥特式教堂很少有的典范。教堂的内层明显地划分为及格水平带，广泛使用波白克大理石创造鲜明的色彩搭配。

【 点 评 】 教堂由英王爱德华一世于公元1045年左右开始修建，他扩大了诺曼底人的影响力，巩固了大英帝国的地位。今天，教堂仍然作为崇拜的活动场所。

Gothic Architecture 。

The term Gothic was first used during the later Renaissance, and as a term of contempt. Says Vasari, "Then arose new architects who after the manner of their barbarous nations erected buildings in that style which we call Gothic", while Evelyn but expresses the mental attitude of his own time when he writes, "The ancient Greek and Roman architecture answered all the perfections required in a faultless and accomplished building" -- but the Goths and Vandals destroyed these and "introduced in their stead a certain fantastical and licentious manner of building: congestions of heavy, dark, melancholy, monkish piles, without any just proportion, use or beauty." For the first time, an attempt was made to destroy an instinctive and, so far as Europe was concerned, an almost universal form of art, and to substitute in its place another built up by artificial rules and premeditated theories; it was necessary, therefore, that the ground should be cleared of a once luxuriant growth that still showed signs of vitality, and to effect this the schools of Vignola, Palladio, and Wren were compelled to throw scorn on the art they were determined to discredit. As ignorant of the true habitat of the style as they were of its nature, the Italians of the Renaissance called it the "maniera Tedesca", and since to them the word Goth implied the perfection of barbarism, it is but natural that they should have applied it to a style they desired to destroy. The style ceased, for the particular type of civilization it expressed had come to an end; but the name remained, and when, early in the nineteenth century, the beginnings of a new epoch brought new apologists, the old title was taken over as the only one available, and since then constant efforts have been made to define it more exactly, to give it a new significance, or to substitute in its place a term more expressive of the idea to be conveyed. 。

The word itself, in its present application, is repugnant to any sense of exact thought; ethnically, the art so described is immediately Franco-Norman in its origins, and between the Arian Goths, on the one hand, and the Catholic Franks and Normans. on the other, lies a racial, religious, and chronological gulf. With the conquest of Italy and Sicily by Justinian (535-553) "the race and name of Ostrogoths perished for ever" (Bryce, "The Holy Roman Empire", III, 29) five centuries before the beginnings of the art that bears their name. Modern scholarship seeks deeper even than racial tendencies for the root impulses of art in any of its forms, and apart from the desirable correction of an historical anachronism it is felt that medieval art (of which Gothic architecture is but one category), since it owes its existence to influences and tendencies stronger than those of blood, demands a name that shall be exact and significant, and indicative of the more just estimation in which it now is held. 。

But little success has followed any of the attempts at definition. The effort has produced such varying results as the epithets of Vasari and Evelyn, the nebulous or sentimental paraphrases of the early nineteenth century romanticists, the narrow archeological definitions of De Caumont, and the rigid formalities of the more learned logicians and structural specialists, such as MM. Viollet le Duc, Anthyme St-Paul, and Enlart, and Professor Moore. The only scientific attempt is that of which the first was the originator, the last the most scholarly and exact exponent. Concisely stated, the contention of this school is that 。

the whole scheme of the building is determined by, and its whole strength is made to reside in a finely organized and frankly confessed framework rather than in walls. This framework, made up of piers, arches and buttresses, is freed from every unnecessary incumbrance of wall and is rendered as light in all its parts as is compatible with strength -- the stability of the building depending not upon inert massiveness, except in the outermost abutment of active parts whose opposing forces neutralize each other and produce a perfect equilibrium. It is thus a system of balanced thrusts in contradistinction to the ancient system of inert stability. Gothic architecture is such a system carried out in a finely artistic spirit (Charles H. Moore, "Development and Character of Gothic Architecture", I, 8). 。

This is an admirable statement of the fundamental structural element in Gothic architecture, but, carried away by enthusiasm for the crowning achievement of the human intellect in the domain of construction, those who have most clearly demonstrated its pre- eminence have usually fallen into the error of declaring this one quality to be the touchstone of Gothic architecture, minimizing the importance of all æsthetic considerations, and so denying the name of Gothic to everything where the system of balanced thrusts, ribbed vaulting, and concentrated loads did not consistently appear. Even Professor Moore himself says, "Wherever a framework maintained on the principle of thrust and counter-thrust is wanting, we have not Gothic" (Moore, op. cit., I, 8). The result is that all the medieval architects of Western Europe, with the exception of that produced during the space of a century and a half, and chiefly within the limits of the old Royal Domain of France, is denied the title of Gothic. Of the whole body of English architecture produced between 1066 and 1528 it is said, "The English claim to any share in the original development of Gothic, or to the consideration of the pointed architecture of the Island as properly Gothic at all, must be abandoned" (Moore, op. cit., Preface to first ed., 8), and the same is said of the contemporary architecture of Germany, Italy, and Spain. Logically applied this rule would exclude also all the timber-roofed churches and the civil and military structures erected in France contemporaneously with the cathedrals and (though this point is not pressed) even the west fronts of such admittedly Gothic edifices as the cathedrals of Paris, Amiens, and Reims. As one commentator on Gothic architecture has said, "A definition so restricted carries with it its own condemnations" (Francis Bond, "Gothic Architecture in England", I, 10). 。

A still greater argument against the acceptance of this structural definition lies in the fact that while, as Professor Moore declares, "the Gothic monument, thought wonderful as a structural organism, is even more wonderful as a work of art" (op. cit., V, 190), this great artistic element, which for more than three centuries was predominant throughout the greater part of Western Europe, existed quite independently of the supreme structural system, and varies only in minor details of racial bias and of presentation, whether it is found in France or Normandy, Spain or Italy, Germany, Flanders, or Great Britain -- this, which is in itself the manifestation of the underlying impulses and the actual accomplishments of the era it connotes, is treated as an accessory to a structural evolution, and is left without a name except the perfunctory title of "Pointed", which is even less descriptive than the word Gothic itself. 。

The structural definition has failed of general acceptance, for the temper of the time is increasingly impatient of materialistic definitions, and there is a demand for broader interpretations that shall take cognizance of underlying impulses rather than of material manifestations. The fact is recognized that around and beyond the structural aspects of Gothic architecture lie other qualities of equal importance and greater comprehensiveness, and, if the word is still to be used in the general sense in which it always has been employed, viz., as denoting the definite architectural expression of certain peoples acting under definite impulses and within definite limitations of time, a completely evolved structural principle cannot be used as the sole test of orthodoxy, if it excludes the great body of work executed within that period, and which in all other respects has complete uniformity and a consistent significance. 。

It may be said of Gothic architecture that it is an impulse and a tendency rather than a perfectly rounded accomplishment; aesthetically, it never achieved perfection in any given monument, or group of monuments, nor were its possibilities ever fully worked out except in the category of structural science. Here alone, finality was achieved by the cathedral-builders of the Ile-de-France, but this fact cannot give to their work exclusive claim to the name of Gothic. The art of any given time is the expression of certain racial qualifications modified by inheritance, tradition, and environment, and working themselves out under the control of religious and secular impulses. When these elements are sound and vital, combined in the right proportions, and operating for a sufficient length of time, the result is a definite style in some one or more of the arts. Such a style is Gothic architecture, and it is to this style, regarded in its most inclusive aspect, that the term Gothic is applied by general consent, and in this sense the word is used here. 。

Gothic architecture and Gothic art are the æsthetic expression of that epoch of European history when paganism had been extinguished, the traditions of classical civilization destroyed, the hordes of barbarian invaders beaten back, or Christianized and assimilated; and when the Catholic Church had established itself not only as the sole spiritual power, supreme and almost unquestioned in authority, but also as the arbiter of the destinies of sovereigns and of peoples. During the first five centuries of the Christian Era the Church had been fighting for life, first against a dying imperialism, then against barbarian invasions. The removal of the temporal authority to Constantinople had continued the traditions of civilization where Greek, Roman, and Asiatic elements were fused in a curious alembic one result of which was an architectural style that later, and modified by many peoples, was to serve as the foundation-stone of the Catholic architecture of the West. Here, in the meantime, the condition had become one of complete chaos, but the end of the Dark Ages was at hand, and during the entire period of the sixth century events were occurring which could only have issue in the redemption of the West. The part played in the development of this new civilization by the Order of St. Benedict and by Pope St. Gregory the Great cannot be over estimated: through the former the Catholic Faith became a more living and personal attribute of the people, and began as well to force its way across the frontiers of barbarism, while by its means the long-lost ideals of law and order were in a measure re-established. As for St. Gregory the Great, he may almost be considered the foundation-stone of the new epoch. The redemption of Europe was completed during the four centuries following his death, and largely at the hands of the monks of Cluny and Pope St. Gregory VII (1073-1085), who freed the Church from secular dominion. With the twelfth century were to come the Cistercian reformation, the revivifying and purification of the episcopate and the secular clergy by the canons regular, the development of the great schools founded in the preceding century, the communes, the military orders, and the Crusades; while the thirteenth century, with the aid of Pope Innocent III, Philip Augustus, St. Louis, and the Franciscans and Dominicans, was to raise to the highest point of achievement the spiritual and material potentialities developed in the immediate past. 。

This is the epoch of Gothic architecture. As we analyse the agencies that together were to make possible a civilization that could blossom only in some pre-eminent art, we find that they fall into certain definite categories. Ethnically the northern blood of the Lombards, Franks, and Norsemen was to furnish the physical vitality of the new epoch. Political the Holy Roman Empire, the Capetian sovereigns of the Franks, and the Dukes of Normandy were to restore that sense of nationality without which creative civilization is impossible, while the papacy, working through the irresistible influence of the monastic orders gave the underlying impulse. Normandy in the eleventh century was simply Cluny in action, and during this period the structural elements in Gothic architecture were brought into being. The twelfth century was that of the Cistercians, Carthusians, and Augustinians, the former infusing into all Europe a religious enthusiasm that clamoured for artistic expression, while by their antagonism to the over-rich art of the elder Benedictines, they turned attention from decoration to plan and form, and construction. The Cluniac and the Cistercian reforms through their own members and the other orders which they brought into being were the mobile and efficient arm of a reforming papacy, and from the day on which St. Benedict promulgated his rule, they became a visible manifestation of law and order. With the thirteenth century, the episcopate and the secular clergy joined in the labour of adequately expressing a united and unquestioned religious faith, and we may say, therefore, that the civilization of the Middle Ages was what the Catholic Faith organized and invincible had made it. We may, therefore, with good reason, substitute for the undescriptive title "Gothic" the name "The Catholic Style" as being exact and reasonably inclusive. 。

The beginnings of the art that signalized the triumph of Catholic Christianity are to be found in Normandy. Certain elements may be traced back to the Carolingian builders, the Lombards in Italy and the Copts and Syrians of the fourth century, and so to the Greeks of Byzantium. They are but elements however, germs that did not develop until infused with the red blood of the Norsemen and quickened by the spirit of the Cluniac reform. The style developed in Normandy during the eleventh century contained the major part of these elemental norms, which were to be still further fused and co-ordinated by the Franks, raised to final perfection, and transfigured by a spirit which was that of the entire medieval world. Marvellous as was this achievement, that of the Normans was even more remarkable, for in the style they handed on to the Franks was inherent every essential potentiality. At this moment Normandy was the focus of northern vitality and almost, for the moment, the religious centre of Europe. The founding of monasteries was very like a mania and the result a remarkable revival of learning; the Abbeys of Bec, Fécamps, and Jumièges became famous throughout all Europe, drawing to themselves students from every part of the continent; even Cluny herself had in this to take second place. It was a very vigorous and a very widespread civilization, and architectural expression became imperative. Convinced that 。

she was playing a part and a leading part in the civilization of Europe . . . Normandy perceived and imitated the architectural progress of nations even far removed from her own borders. At this time there was no other country in Europe that for architectural attainment could compare with Lombardy. Therefore it was to Lombardy that the Normans turned for inspiration for their own buildings. They adopted what was vital in the Lombard style, combined this with what they had already learned from their French neighbours, and added besides a large element of their own national character (Arthur Kingsley Porter, "Mediaeval Architecture", VI, 243, 244).。

Origin of Tie Guanyin（铁观音起源）

Tie Guanyin is a representatives ofoolong tea,and belongs to green tea among the six major types oftea．Tie Guanyin was originally the name of a tea tree,because it issuitable for making oolong tea,its product was thus named TieGuanyin;the SO—called Tie Guanyin is actual ly the oolong tea madefrom Tie Guanyin tea tree．。

Quality and characteristicsof Tie Guanyin（铁观音的质量和特色）

Tie Guanyin has excellent quality,itsleaves ale thick and solid,it weighs as iron with dark and moistcolor,it has obvious sand green color with bright-colored redpoints．Its fragrance isnoble-minded．long-lasting,stromg and fresh,it hasa unique"lingering charm" with a sweet and fragrant aftertaste;evenafter 7 times infusion it still has fragrance…it can be called theking of oolong tea.。

The healthcare function ofTie Guanyin（铁观音的医疗保健功能）

Verified by the domestic and foreignscientists,the chemical composition and mineral elements in TieGuanyin have special functions to people's health,the functions areroughly as follows:anti-ageing,resisting cancer,preventing arterysclerosis,preventing and curing diabetes,losing weight,preventingdecayed tooth,disinfecting,preventing dyscentery,etc.。

Tea set for infusing TieGuanyin（紫砂壶是泡饮铁观音的上佳茶具）

When infusing Tie Guanyin,the best teaset for you is the Zi Sha(purple sand pottery)；the Zi Sha tea setmade in Yixing is most suitable,it will never afect the flagranceof the tea,it can keep the color,flagrance and taste of the tea fora long time.China's first professional tea farmers cooperatives(www.dxmtea.com).Alongwith the unique flagrance of Tie Guanyin,if you take a sip,theflagrance will fill your nostrils.。

Autumn fragrance and Springwater（秋季铁观音品香春季铁观音品水）

Tie Guanyin iS made with precision andexquisite techniques．Its sprouts come out in the last ten days ofMarch,and will be picked in the first ten days of May;the tea canbe picked in spring,summer,mid-summer and autumn．The autumn tea hasthe best quality,the spring tea has the highest output．The autumntea has strong flagrance,so it is commonly called“autumnflagrance”;the spring tea gives you mellow feeling,so itis,commonly called“spring water”(From:www.dxmtea.com)。

来源：http://www.dxmtea.com/captions.asp?id=514。

原文地址：http://www.qianchusai.com/infusing-70.html