| 释义 |
baroque, a. and n.|bəˈrəʊk|
[a. F. baroque adj., ad. Pg. barroco, Sp. barrueco, rough or imperfect pearl; of uncertain origin.
In earlier Sp., Minsheu 1623 has ‘berruca, berruga a wart’ (evidently L. verruca), also ‘berrueco a hillocke, a wart,’ ‘berrocál a place full of hillocks’; mod.Pg. has besides barroco ‘rough or Scotch pearl,’ barroca ‘a gutter made by a water-flood’ Vieyra, ‘uneven stony ground’ (Diez), which native etymologists refer to Arab. burāq, pl. of burqah ‘hard earth mixed with stones, pebbly place’ (Freytag). Diez has also suggested confusion of the ending with roca, rocca rock: the forms in o, ue, cannot come directly from L. verrūca. Littré's suggestion that the word is identical with the logical term baroko seems to rest on no historical evidence; yet form-association with that may have influenced the later Eng. and Fr. use.]
A. adj. Irregularly shaped; whimsical, grotesque, odd. (‘Originally a jeweller's term, soon much extended in sense.’ Brachet.) Applied spec. to a florid style of architectural decoration which arose in Italy in the late Renaissance and became prevalent in Europe during the 18th century. Also absol. as n. and transf. in reference to other arts.
This term and rococo are not infrequently used without distinction for styles of ornament characterized by profusion, oddity of combinations, or abnormal features generally.
1765H. Fuseli tr Winkelmann's Refl. Painting & Sculpt. of Greeks 122 This style in decorations got the epithet of Barroque taste, derived from a word signifying pearls and teeth of unequal size. 1846Athenæum 17 Jan. 58/2 Sometimes baroque, Mr. Browning is never ignoble: pushing versification to the extremity of all rational allowances, and sometimes beyond it, with a hardihood of rhythm and cadence little short of Hudibrastic. 1851Sir F. Palgrave Norm. & Eng. I. Introd. 44 Which rendered every name and thing connected with the mediæval periods baroque or absurd. 1867Howells Ital. Journ. 77 The building..coldly classic or frantically baroque. 1877Baedeker's Central Italy & Rome (ed. 5) p. lix, The authors of the degenerated Renaissance known as Baroque were really Vignola (1507–73) and Fontana's nephew Carlo Maderna (1556–1639)... An undoubted vigour in the disposition of detail, a feeling for vastness and pomp, together with an internal decoration which spared neither colour nor costly material to secure an effect of dazzling splendour: such are the distinguishing attributes of the Baroque style. 1882A. Beresford-Hope Brandreths I. i. 3 Studded with baroque pearls. 1921B. F. Fletcher Hist. Archit. (ed. 6) i. 546 In the fullness of time the Renaissance..passed into the Baroque, which at the beginning of the seventeenth century gave expression once again to the human side in architecture, for it was a spontaneous breaking away from orthodoxy in plan, design, and treatment. 1928Times Lit. Suppl. 15 Mar. 188/2 French-Canadian art..is being recognized..as a baroque style which is other than the European baroques. 1938W. S. Maugham Summing Up 28 The sonorous periods and the baroque massiveness of Jacobean language. 1938Mod. Lang. Notes Oct. 547 The period of literature..described as ‘baroque’ ends about 1690, when German baroque architecture..is beginning to develop. 1949Times Lit. Suppl. 10 June 376/4 The word ‘baroque’..has come to be accepted as a convenient portmanteau term which covers the music composed between 1580 and 1750 and the plastic arts of an era which begins and ends slightly earlier. 1953O. de Mourgues (title) Metaphysical, Baroque and Précieux Poetry. 1953J. N. Summerson Archit. Brit. 1530 to 1830 iii. 125 (heading) Wren and the Baroque (1660–1710). Ibid. xvii. 172 At Blenheim the English Baroque culminates. Ibid. 178 Its spirit is the emotional spirit of English Baroque, and it was that which touched Burlington's antipathies. 1954L. D. Ettlinger in Listener 2 Dec. 954/1 The robustness of the Baroque gives way [in the 18th cent.] to the gentler graces of Rococo. 1957T. S. Eliot On Poetry & Poets 167 The conjunction of Christian and classical imagery [in Lycidas] is in accord with a baroque taste which did not please the eighteenth century.
B. n. Grotesque or whimsical ornamentation.
1879Baring-Gould Germany II. 358 French baroque was too much under Palladian influence to be other than formal. |