巴西的基督救世主雕像是标志性的。它坐落在科尔科瓦多山顶上,俯瞰着里约热内卢市,是一座世界闻名的雕像。 Cristo Redentor是Rio的耶稣基督雕像的本地名称,尽管讲英语的人称之为Christ Redeemer雕像或救世主基督。更多世俗的雕像学生简称为Corcovado雕像或Corcovado基督。无论名称如何,它都是引人注目的建筑设计和建筑。 2007年,基督救世主雕像被评为世界新七大奇迹之一 – 击败了纽约港的自由女神像,这只是21个入围者中的一个。这幅巴西雕像不是那么古老,而且比自由女神小,但它的存在感是无处不在的 – 即使自由女神在纽约市的街道上很快被遗忘,整个南美城市的救世主基督也无所不在。 Cristo Redentor只有125英尺高(38米,包括基座)。雕像,包括基座内的小教堂,花了五年时间建造,于1931年10月12日落成,所以它甚至不是一个非常古老的雕像。那么,为什么我们关心基督的救赎者雕像呢?至少有五个很好的理由。基督采用人的形式,以人的比例设计,但超人或超人的大小。从远处看,雕像是天空中的十字架。近距离,雕像的大小压倒了人形。这种比例的二元性是人类灵魂的迷人和谦卑。古人希腊人知道设计中比例和规模的力量。莱昂纳多达芬奇可能已经推广了Vetruvian Man人物的“神圣几何”,在圆圈和正方形中伸展双臂,但是建筑师Marcus Vitruvius(公元前81年 – 公元15年)注意到并记录了人形的比例 – 方式在耶稣基督诞生之前回来。基督教拉丁十字架的象征意义是深刻的,但其简单的设计可以追溯到古希腊。

澳洲阿德莱德大学建筑学Essay代写:宗教雕像

The statue of Christ the Redeemer in Brazil is iconic. Located on the top of Corcovado, overlooking Rio de Janeiro, it is a world famous statue. Cristo Redentor is the local name for Rio’s statue of Jesus Christ, although English speakers call it the Christ Redeemer statue or Christ the Redeemer. More secular statues of students are referred to as Corcovado statues or Corcovado Christ. Regardless of the name, it is a striking architectural design and architecture. In 2007, the Christ the Redeemer statue was named one of the seven new wonders of the world – defeating the Statue of Liberty in New York Harbor, which is just one of the 21 finalists. This Brazilian statue is not so old and smaller than the Statue of Liberty, but its presence is ubiquitous – even though the Statue of Liberty is quickly forgotten on the streets of New York City, Christ the Savior of the entire South American city is omnipresent. The Cristo Redentor is only 125 feet high (38 meters, including the base). The statue, including the chapel in the pedestal, took five years to build and was completed on October 12, 1931, so it was not even a very old statue. So why do we care about the statue of Christ the Redeemer? There are at least five good reasons. Christ is in the form of man, designed in proportion to man, but the size of Superman or Superman. From a distance, the statue is the cross in the sky. At close range, the size of the statue overwhelmed the human form. The duality of this ratio is the fascination and humility of the human soul. The ancient Greeks knew the power of proportion and scale in design. Leonardo Da Vinci may have promoted the “sacred geometry” of the Vetrevian Man character, stretching his arms in circles and squares, but the architect Marcus Vitruvius (81 BC – AD 15) noticed and recorded the human form The proportion – the way back before the birth of Jesus Christ. The symbolic meaning of the Christian Latin cross is profound, but its simple design dates back to ancient Greece.

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