英語視頻暢談歐美人文風(fēng)情29：杜奇歐:《端坐寶座的圣母與圣嬰及六位天使》

You know, the Florentines get all the credit. And it's important to remember that there was another major city in the 1300s that was also in Tuscany that was another independent republic. And this is the Republic of Siena, with the capital city of Siena. And there was an enormously important and influential painter there whose name was Duccio. And so let's look at one of his most important paintings, The Rucellai Madonna.

你知道，佛羅倫斯畫派得到所有的功勞。很重要的是要記得還有個在1300年代同樣也在托斯卡尼另一個獨立共和國的另一個大城市。這是錫耶那共和國，還有錫耶那首都。這里有個名為杜奇歐的極其重要、極具影響力的畫家。所以來看看他最重要的畫作之一：《端坐寶座的圣母與圣嬰及六位天使》。

We're looking at a painting of the Madonna holding the Christ Child surrounded by 3 angels on either side and 12 feet high. It's a very large painting.

我們正看著圣母抱著圣嬰兩側(cè)各環(huán)繞三個天使、有12英尺高(約3.6公尺)的畫作。這是非常巨大的畫作。

Yeah, it's a huge painting. In fact, the Virgin Mary herself is twice the height, if not larger, than a human being. It's an altarpiece that's meant to be seen at a great distance within a huge church.

是的，這是很巨大的畫作。事實上，圣母瑪利亞她自己，如果沒比兩倍還大的話，最少也有人類的兩倍高。這是一幅刻意要在大教堂里隔著遠(yuǎn)距離觀賞的祭壇裝飾品。

And there's so many decorative patterns here on the throne. In the spaces in between the posts that make up the throne, we see reds and blues. And then we've got more patterning in the drapery behind the throne.

在圣座上這里有許多裝飾圖樣。在組成圣座的柱子間的空間，我們看到紅色和藍(lán)色。接著我們在圣座后的布簾上得到更多圖樣。

The characteristics that you're referencing are seen by our historians to be the definition of Sienese art of this time—highly decorative, highly patterned, and with a subtlety of color that we don't often see in the Florentine.

你提到的特色被我們的歷史學(xué)家視為當(dāng)時錫耶那藝術(shù)的定義--高度裝飾、高度以圖樣點綴、還有我們在佛羅倫斯畫派中不常見到的色彩微妙之處。

First of all, Mary's whole body is in this lovely ultramarine blue, which was a very expensive paint. But the angels, you see purples, and greens, and pinks, and blues.

首先，圣母的全身著以這個可人的深藍(lán)色，在當(dāng)時是一種非常昂貴的顏料。但那些天使，你看到紫色、綠色、粉紅色、和藍(lán)色。

And they're subtle and prismatic in a way that we don't so much see in the flatter colors of the Florentine style.

他們很微妙又光彩奪目，在某種程度上我們看不到太多在佛羅倫斯畫派風(fēng)格中那些比實物更吸引人的顏色。

It's hard to see that Mary's sitting in her throne. The throne itself is so flat.

很難看出圣母正坐在她的圣座上。那圣座本身如此平坦。

It's almost the background against which she's seen. There's so much details and so much decorative patterning in the throne, especially in the cloth that drapes the throne, that its structure gets lost, because pattern, of course, does emphasize the two-dimensional.

那幾乎是她被觀賞時倚靠著的那背景。在那圣座上有如此多細(xì)節(jié)、如此多裝飾圖樣，尤其是垂掛在寶座的那布料上，其結(jié)構(gòu)消失了，因為當(dāng)然那圖樣確實強調(diào)了那平面性。

You know, when I look at Sienese art, especially the Rucellai Madonna, I tend to think of an artist who is so in love with the ability to create beauty. That pattern and form tend to trump the overall representation and the emphasis on any kind of naturalism or any physicality.

你知道，當(dāng)我看著錫耶那藝術(shù)，特別是《端坐寶座的圣母與圣嬰及六位天使》，我很容易會想到一個如此深愛創(chuàng)造美感能力的藝術(shù)家。那圖樣和形式很容易勝過任何種類的自然主義與物質(zhì)性的整體表現(xiàn)和重要性。

For instance, look at the Byzantine-influenced hands of Mary. Look how long those fingers are. It's almost as if the artist has gotten lost in the length of those fingers as they wrap around Christ's waist.

舉例來說，看看那受到拜占庭影響的圣母之手?？纯茨切┦种割^有多長。幾乎就像那藝術(shù)家迷失了那些手指的長度，當(dāng)它們環(huán)抱著圣嬰的腰時。

They're very beautiful, those hands. I'm thinking also about the amount of gold here. We see the disappearance of all of that gold through the 1300s into the 1400s. Here, the painting's value is largely in that ultramarine paint that was expensive and in the use of gold. And what happens during the Renaissance is that the artist himself is valued. The artist's skill becomes more valued. Not that Duccio's skill wasn't valued, but the value was also heavily in the materials that were used, that were often dictated by the patron.

它們非常美麗，那些手。我同樣也在想這里黃金的份量。我們在1300年代到1400年代間看到所有那種金色消失。在這里，這畫作的價值大部分在于那昂貴的深藍(lán)顏料和黃金的用量。在文藝復(fù)興期間發(fā)生的是藝術(shù)家本身為人所重視。藝術(shù)家的技術(shù)變得更加為人重視。不是說杜奇歐的技術(shù)沒被重視，而是那份重視程度極大部分也在于使用的材料、通常由贊助者指定的材料。

Now, the ultramarine blue that you're referencing was actually made of the semi-precious stone lapis lazuli. And during the Renaissance, the only mines that were available for lapis were in Afghanistan, still a remote place for us in the 21st century. One can only imagine how exotic and rare and difficult importing from Afghanistan would have been in the 1200s.

現(xiàn)在，你提到的深藍(lán)顏料事實上是由次等貴重的寶石青金石所制成的。在文藝復(fù)興期間，唯一能取得青金石的礦山在阿富汗，對二十一世紀(jì)的我們來說仍是很遙遠(yuǎn)的地方。可想而知在1200年代從阿富汗進口會是多么奇特、罕見、和困難。

And here we have an enormous quantity of that color being used.

這里我們看到很大量的那顏色被使用。

This is, in some ways, ostentatious. In some ways, this is a painting that is broadcasting its value, its wealth, its importance. What's so interesting is this was a commission for the main altar in Santa Maria Novella in Florence, although it's by a Sienese artist. And Santa Maria Novella is the main Dominican church, that is, one of the mendicant orders, this order of begging monks that had renounced worldly possessions. So there's this interesting kind of tension.

這是，就某方面來說，很豪華的。就某方面來說，這是一幅散播其價值、其財富、其重要性的畫作。如此有趣的是這是給予佛羅倫斯新圣母瑪利亞教堂主祭臺的委托畫作，雖然它是由一個錫耶那藝術(shù)家繪制的。新圣母瑪利亞教堂是最重要的道明會教堂，也就是托缽修道會之一，這個拋棄塵世財物的行乞修道士的教團。所以有這種有趣的沖突。

We mentioned that this is called the Rucellai Madonna and that's a later title. This painting was later moved away from the main altar in Santa Maria Novella and into the Rucellai Chapel, that is, the private chapel that was controlled by the Florentine family, the Rucellai.

我們提到這幅畫稱作《端坐寶座的圣母與圣嬰及六位天使》，那是稍后的畫名。這幅畫后來從新圣母瑪利亞教堂的主祭臺被移走，放到魯奇拉禮拜堂里，也就是由佛羅倫斯魯奇拉家族所管理的私人小禮拜堂。