眼睛起针眼-教师年度小结

Bauhaus manifesto 1919
The complete building is the final aim of the visual arts. Their noblest function was once the
decoration of buildings. Today they exist in isolation, from which they all can be rescued only
through the conscious, cooperative effort of all craftsmen. Architects, painters, and sculptors must
recognize anew the composite character of a building as an entity. Only then will their work be
imbued with the architectonic spirit that it lost when it became a
were unable to achieve this unity and, after all, how could they, since art cannot be taught? They
must be absorbed once more by the workshop.

鲍豪斯建筑学派宣言1919完全大厦是视觉艺术
的最后的目标。 他们最高尚的作用曾经是大厦的装饰。 今天他们存在于隔离，可以通过所
有工匠神志清楚，合作成果他们全都仅被抢救。 建筑师、画家和雕刻家必须重新认可大厦
的综合字符作为个体。 然后只愿他们的工作灌输以它丢失的建筑精神，当它成为了“沙龙
艺术”。 因为艺术不可能被教，老艺术学校怎么无法达到这团结和，终究能他们？ 必须由
车间更加吸收他们。
This world of designers and decorators, who only draw and paint, must finally become one of
builders again. If the young person who feels within him the urge to create again, as in former
times, begins his career by learning a handicraft, the unproductive artist will, in the future, no
longer remain condemned to the creation of mediocre art, because his
skill will redound the benefit of the handicrafts, in which he will be able to produce things of
excellence.

这个世界的设计师和装修，只绘制和油漆，必须最后的建设 者之一再次成为。如
果年轻的人在他的感觉再次，创建前时代的冲动通过学习工艺品开始他的职业生涯， 非生产
性的艺术家，在将来，不再仍注定平庸的艺术，因为他的技术将增进效益的手工艺品，其中
他将能够生产出卓越的东西。
Architects, sculptors, painters, we must all turn to the crafts! Art is not a is no
essential difference between the artist and the artist is an exalted craftsman. In rare
moments of inspiration, moments beyond the control of his will, the grace of heaven may cause
his work to blossom into art. But proficiency in his craft is essential to every artist. Therein lies a
source of creative imagination.

建筑师、 雕塑家、 画家，我们必须转向工艺品 ！艺术不是< br>一种职业。没有本质的区别，艺术家和工匠之间。这位艺术家是崇高的工匠。在罕见的瞬间
的灵感 ，将超出他的控制范围的时刻，天堂的恩典，可能会导致他开花到艺术的工作。但在
他的工艺水平非常重 要，每一位艺术家。这就是想象力的一个创造性的来源。
Let us create a new guild of craftsmen, without the class distinctions that raise an arrogant barrier
between craftsman and artist. Together let us conceive and create the new
building of the future, which will embrace architecture and sculpture and painting in one unity and
which will rise one day toward heaven from the hands of a million workers, like the crystal
symbol of a new faith.
WALTER GROPIUS
The National Bauhaus at $$2 grew out of the merger of the former $$2 $$2 $$2 of Graphic Arts and the
$$2 $$2 $$2 of Arts and Crafts,with the addition of a new department for architecture.
Objectives of the Bauhaus. 让 我们创建工匠，没有提高傲慢自大的屏障，工匠和艺术家之间
的等级划分的新的会馆。让我们一起设想， 创建新大楼的未来，这会拥抱建筑和雕塑与绘画
在一个统一和这将增加向天一天从手中万名工人，像水晶 符号的一种新的信仰。
瓦尔特 · 格罗佩斯
国家豪斯在 $$2 产生的合并前的 2 元 2 元图形艺术的 2 元和美元 2 元 2 元 2 艺术和
工艺品，加上的一个新部门的体系结构。包豪斯的目标。

The Bauhaus strives to reunite arts and crafts – sculpture, painting, applied art, and handicrafts –
as the permanent elements of a new architecture.
The ultimate, though distant aim of the Bauhaus is the Einheitskunstwerk (Uniform Work of Art)
– the great construction that recognizes no boundaries between monumental and decorative art.
The Bauhaus wants to educate architects, painters and sculptors of all sorts to become qualified
craftsmen or independent creative artists. It also aspires to establish a study group of leading
artists who will be able to design buildings in their entirety – from rough brickwork to completion,
including embellishments and furnishings that reflect a similar spirit and unity.

包豪斯致力为团
聚工艺品 — — 雕塑、 绘画、 应用的艺术和手工艺品 — — 为永久元素的一种新的体系
结构。最终，虽然远目标的包豪斯是 Einheitskunstwerk （统一艺术作品） — — 伟大的建
设，承认没有纪念性和装饰艺术之间的边界。包豪斯希望能教导建筑师、 画家和雕塑家的各种成为合资格的技工或独立创作艺术家。它还渴望建立领先的艺术家，就能设计建筑物的
全部 — — 从粗糙的砖砌完成，包括修饰和家具，反映了一个类似的精神和团结的一个研
究小组。
Principles of the Bauhaus.
Art in itself is beyond all methods; it cannot be taught. However, one can teach a trade. Architects,
painters, sculptors are artisans in the true sense of the word, therefore the thorough mechanical
training of all such students in workshops is an indispensable foundation for all creative activities.
(Their own workshops should be completed radually,and apprenticeships should be entered into
with outside workshops.) The school is the servant of the workshop.
One day the two will merge into one. Therefore there are no teachers and pupils at the Bauhaus,
but masters, journeymen, and apprentices.

包豪斯的原则。艺术本身是超越所有的方法 ；它是
不能教的。然而，人能教的贸易。建筑师、 画家、 雕塑家词的真正意义上的工匠，因此所有这类学生在工作坊中彻底的机械训练是不可或缺的基础，所有的创造性活动。（自己的作
坊应该是 已完成的 radually，和与外部讲习班应签订学徒）。学校就在车间的仆人。一天两
个合并为一 。因此没有教师和学生包豪斯，但大师、 就及学徒。
Teaching methods at the Bauhaus.
The manner of teaching arises from the nature of the workshop: organic form developed from
mechanical knowledge; elimination of all rigidity; emphasis on creativity;freedom of individuality,
but strict scholarship.
Masters and journeymen are examined according to the regulations of the guilds by masters of the
Bauhaus or outside masters from the trade guilds. Students participate in the projects of the
masters.

在包豪斯的教学方法。源自讲习班的性质的教学方式： 从机械知识 ； 发展有机
形式消除对所有刚性 ；强调创造力 ； 自由的个性，但严格的奖学金。大 师就大师的包豪
斯或境外贸易行会从大师审查的行会化规定。学生参加大师的项目。
There is common planning of extensive building projects – popular and cultural buildings – with
utopian aims. Allmasters and students collaborate on these projects, aiming for eventual harmony
of all elements and parts pertaining to the construction. There is continuous contact with the
country's leading experts on trade and industry, as well as with the public, through exhibitions and
other events.

有广泛的建筑工程项目 — — 流行和文化建筑 — — 乌托邦的目的是共同
规划。Allmasters 和学生合作研究这些项目，目的为最终的所有元素和 部分有关建设和谐。
有连续的接触与贸易及工业，该国的领先专家，以及与市民，通过展览和其他活动。
New experiments arecarried on to solve the problem of exhibiting two- and threedimensional art
in an architectonic frame. Finally, friendly relations are fostered between masters and students

outside of the work by means of theater parties, lectures, poetry readings, concerts, and fancy
dress balls.

到新实验 arecarried 解决展示两和三维艺术建筑框架中的问题。最后，剧院缔约
方、 讲座、 诗歌朗诵、 音乐会、 和化装球的手段的辅导员与学生以外的工作促进了友好
关系。
Scope of instructions at the Bauhaus.
Teaching at the Bauhaus embraces all practical and scientific fields of creative production:
architecture, painting, sculpture, and related ts are taught a trade as well as
drawing and painting, and also scientific theory. 指示包豪斯的范围。在包豪斯教学拥抱所有的
实践和科学领域的创意制作： 建筑、 绘画、 雕塑和相关的工艺品。贸易以及绘图和绘画，
和也科学理论教导学生。
1. Workshops – be it Bauhaus workshops or others, where students are obligated by contracts –
comprise:

研讨会 — — 是包豪斯讲习班或其他人，那里的学生有义务由合同 — — 包括：
A. Sculptors, stonemasons, stucco workers, wood sculptors, potters, plasterers;

雕塑家、 石匠、
粉刷工人、 木材雕塑家、 陶艺家、 平水 ；
B. Blacksmiths, locksmiths, founders;铁匠，锁匠，奠基底的人，
C. Carpenters;木匠
D. Scene painters, glass painters, mosaic workers, enamel workers现场的画家、 玻璃画家、 马
赛克工人牙釉质工人;
E. Etchers, wood engravers, lithographers, printers of fine art, engravers;

Etchers、 木材徽派、 凹
版印刷机、 徽派美术打印机
F. Weavers. The foundation of the Bauhaus teaching is instruction in a trade. Each student has to
learn a trade织工。包豪斯教学的基础是贸易中的指令。每个学生都要学习贸易.
2. Instructions in drawing and painting include:绘画的指令包括：
A. Free sketching from memory and imagination;从想象和记忆中自由草绘。
B. Drawing and painting of heads, life models, and animals;

绘图和绘画的元首、 生命模型和
动物
C. Drawing and painting of landscapes, figures, plants, and stilI life;

山水、 人物、 植物与 stilI
生命的绘画
D. Compositions;布置
E. Execution of mural paintings, plaques, and decorated chests;

壁画、 斑块和装饰的胸前的执
行
G. Lettering;雕刻字
H. Construction and projection drawing; Design of exteriors, gardens and interior architecture;
Design of furniture and commodities.

建设与投影图 ；外景、 园林、 室内建筑 ；
J设计家具和大宗商品的设计。
3. Instructions in the scientific and theoretical arts include:
. Art history – emphasizing not a history of styles but the understanding of historical working
methods and techniques;
. Science of materials;
Anatomy – with live models;
. Physical and chemical theory of colors;
. Scientific methods of painting;
. Fundamentals of bookkeeping, drawing-up of contracts, contracts for the building of houses;

科
学的理论艺术中的指令包括：。艺术史 — — 强调不样式的历史，但历史的工作方法和技

术 ； 理解。科学的材料 ；解剖 — — 活模型 ；。颜色的 ； 物理和化学的理论。绘画 ；
的科学方法。簿记，编制的合同，合同的房屋建筑的基本原理
G. Single lectures on subjects of general interest in the fields of art and science. Workdistribution
Plan单个讲座的艺术和科学领域的普遍兴趣的科目。Workdistribution 计划
The teaching is divided into three sections:
instruction for apprentices;
instruction for journeymen; and
instruction for junior masters.

教学分为三个部分： 指令的学徒 ；指导就 ；初中教师教学
The details of education within the framework of the general program and the workdistribution
plan, which has to be newly set up for each semester, are left to the judgement of the individual
masters.

教育框架内的一般程序及 workdistribution 计划，有新设置每个学期的细节留待个
别大师的判断。
In order to provide the students with the most multifaceted, extensive technical and artistic
education, the work-distribution plan is so arranged that each prospective architect,painter, or
sculptor may also participate in some of the other courses.
Enrollment and Tuition. Space permitting, any person whose basic training is considered sufficient
by the master counsel is admitted regardless of age or sex. The annual tuition fee is 180 marks
(with the increased earnings of the Bauhaus, this should be gradually eliminated). In addition a
single admission fee of twenty marks has to be paid.
Foreigners pay double. Inquiries are to be made to the Secretariat of the National Bauhaus at $$2.
April 1919. The Administration of the National Bauhaus at $$2. 为了提供最多方面的、 广泛的
技术和艺术教育的学生，工作分配计划是如此安排每个准建筑师、 画家、 或雕塑家也可参加一些其他课程。招生和学费。不管的年龄和性别被承认空间允许的话，其基本训练认为是
足够的主 大律师的任何人。每年的学费是 180 标记 （与包豪斯的收入增加，这应逐步取消）。
另外的二十 标记的单个入场费已支付。外国人缴交双倍。查询，须向国家秘书处豪斯在 2 美
元。1919 年 4 月。包豪斯在 2 美元的国家的政府当局。