谁能帮我翻译一下这段英文?
Sean scully and the art of painting
Arthur C. Danto
A question of some moment in Renaissance thought was whether sculpture was inferior, equal or superior to painting. The texts in which the issue was mooted made a comparison, paragons, of the characteristic qualities of the two arts. Leonardo da Vinci argued for the supremacy of painting. Sculpting was a dirty, noisy, earthy activity. The sculptor was an artisan—think of the fact that sentencing someone to “hard labor” has meant condemning them to break rocks. The painter, by contrast, was an artist, and the subtext of the paragon is the social ascent of the painter from the status of an artisan to that of humanist scholar—a poet, say, or a philosopher. Painters in their studios are elegantly garbed while sculptors are covered head to foot with stone dust. Seated before the easel, exerting no greater physical effort than is required to hold a small brush, the painter can listen to poets reciting sonnets, or scholars reading aloud from the classics, or singers and musicians filling he space with sweet harmonies.
The spirit of the paragon is nowhere better expressed than in Jan Vermeer’s The art of painting c.1666-73(Kunsthistorisches Museum, Vienna, fig.5). An artist wearing a beret and handsomely dressed in slashed velvet is painting the Muse of History. His model, crowned with laurel, holds a horn of polished brass and a copy of Thucydides. Light pours into the studio, illuminating a large ornamental map on the facing wall. Imagine what would happen to so rich a map—or to the opulent oriental hangings—if they were in a sculptor’s studio instead! The painter’s costume, incidentally, belongs to an earlier century. So Vermeer situates the painter at the intersection of historical time and geographical space, since the place where he is painting is shown on the map. He is clearly a person of refinement and learning.
The history of art is full of paragon-style disputations: between craft and art, for example, or figuration and abstraction. But paragon also come into play when the structure of society begins to give way, making it possible for a previously disenfranchised group to move upward—or when an enfranchised group finds its status challenged, as with men by women in the 1970s. Renaissance sculptors more or less accepted the arguments from the other side, and they aspired to find modes of expression panels with very low relief rather than free standing figures. At a certain point, at least in the history of art, the terms of the contest are altered so profoundly that the roles are actually reversed. In the present art world, painting is very much on the defiance. And if there is anything to certain reports from the gender front, men have lost their sense of place by comparison with women, whose consciousness has been raised and their various superiorities celebrated.
阿瑟丹托
一个问题，一些时刻，在文艺复兴时期的思想是，是否雕塑是劣势，等于或优于绘画。文本在该问题提出了比较，典范，特点，素质的这两个艺术。达芬奇辩称，为至高无上的绘画。造型是一个肮脏，嘈杂，泥土的活动。雕刻家是一个工匠-认为这一事实，即判刑有人“苦役”的意思，谴责他们打破岩石。画家，相反，是一位艺术家，和subtext的典范，是社会上升的画家从的地位，成为工匠，这一人文学者诗人，说，还是一位哲学家。画家在他们的工作室是优雅的瑞拉，而雕刻家所涵盖头脚石粉尘。坐下之前，画架，没有施加更大的努力，身体比须持有一个小刷子，画家可以听诗人朗诵十四行诗，或学者朗读从经典，或歌手和音乐家的加油站，他的空间与甜和声。
精神的典范，是行不通的更好的表达比在1月维米尔的绘画艺术c.1666 - 73 （ kunsthistorisches博物馆，维也纳，图5 ） 。艺术家身穿贝雷帽和可观的穿着在削减鹿茸是画缪斯的历史。他的模型，与加冕桂冠，拥有非洲之角的抛光黄铜和副本，修昔底德。鉴于注入到录音室，启发性大型观赏地图上所面临的墙。可以想象会发生什么事这么丰富的地图，或向华丽的东方绞刑-如果他们在一个雕塑家的工作室，而是！画家的服装，顺带一提，属于较早的世纪。因此，维米尔situates画家在历史的交汇点时间和地域空间，因为地方他是绘画是显示在地图上。他显然是一个人的完善和学习。
艺术史是充满典范式的disputations ：之间的工艺及艺术，例如，或比喻和抽象。但典范，也发挥时，社会结构开始退让，从而有可能为先前被剥夺公民权的集团提出向上或当一个enfranchised组认为它的地位受到质疑，作为与男性，妇女在20世纪70年代。文艺复兴时期雕刻家更多或更少接受的论点，从其他方面，和他们渴望找到方式表达事务委员会与非常低的救济，而非免费常委会的数字。在某一个点，至少在艺术史，条款竞赛改变，使深刻的角色，其实是扭转。在目前的艺术世界，绘画是非常对的蔑视。如果有什么是某些报告从性别方面，男性已经失去意识的地方，比较的妇女，她们的意识已经提高，以及他们的各种优势，庆祝。
