文明（2018）

Civilisations S01E07

Part 1 Feb. 24, 2021, 4:17 p.m.

Think of the Gothic cathedral
一想到哥特教堂
and you think of the austerity of stone.
你就会想到石头的朴实稳重
Rows of saints and angels ushering the righteous into heaven
成排的圣者及天使引领正直的人进入天堂
and thrusting the damned into the jaws of hell.
放逐恶人坠入地狱
But in some cathedral towns,
但在一些天主教城镇
what the flocks of the faithful actually saw
信徒们在走进他们的大教堂时
as they approached the doors of their great church...
真正引入眼帘的
..Was this.
是这样的景象
A miracle.
一个奇迹
Stone transformed by being painted
石像变换一新
all the colours of the rainbow.
被"涂"上彩虹般的色彩
用现代灯光手段复♥制♥
由法国电力公♥司♥依据十三世纪雕像原本的颜色
The teeming cast of the Gospel story robed in scarlet,
圣经故事中的人物们穿着红色
gold and the azure blue of heaven.
金色与天堂般湛蓝色的长袍
"Let there be light," The Creator had said.
神说:"要有光"
And so when you walked through those heavenly gates,
所以当你步入这些天堂之门的时候
you were not plunged into darkness,
你不是坠入黑暗
you were lifted into the dazzling light of God.
而是高升沐浴神的耀眼光辉
When a pilgrim came through the doors
当有朝圣者前来
of the medieval Gothic cathedral,
走进中世纪天主教哥特教堂时
a miracle immediately happened.
奇迹马上就会发生
The laws of gravity were suspended.
万有引力定律在此失效
Everything, the whole of your sensibilities,
你的所有感官
were transported upwards.
所有的一切都在上升
Everything is about light.
一切都逐光而去
The light of the Gospel,
福音的光辉
the light of the divine force of the Creator,
造物主神圣力量的光辉
so that the whole of the architectural design was meant to
所以整个建筑的设计
optimise that flood of heavenly coloured light.
都在突出那天堂般缤纷明亮的光辉
Shining down on you in Chartres Cathedral
在沙特尔主教座堂
were the stories of the Bible.
照耀着你的是圣经故事
You didn't need to be literate to be drawn into the sacred epic
在炫目的色彩冲击下你不需要精通文学
by the blaze of colour.
也能被领入那神圣的史诗
Included in the story were the people themselves.
故事中描绘的都是人
The wheelwrights and the water carriers,
车匠挑水人
the butchers and bakers with their boule of bread.
屠夫面包烘培师和那成堆的面包
Now, medieval man believed that jewels, rubies, sapphires,
中世纪人相信那些宝石比如红宝石
topazes, had the power not just to concentrate brilliance
蓝宝石和黄宝石不仅能聚集光辉
but actually emit light, and they had another power too.
也能放射光芒具有别的力量
They could transport you from your earthly existence
它们能把人从尘世
into that extraordinary immaterial world of heaven.
带往非物质的天堂世界
So that all this stained glass were meant to be immense
所以这些彩色玻璃是为了
expanses of jewel-like radiance.
放大并且扩展这宝石般的光辉
So when you were in here,
当你身处教堂
you got a glimpse of paradise.
便能一窥天堂的模样
Visions of paradise
这一天堂的美景
through instinctive, joy-giving colour,
通过直冲眼帘的美好色彩
easily accessible to everyone,
就这样简单地呈现在所有人眼前
was not exclusive to the Christian Church.
但这并不是基♥督♥教独有的
For centuries, colour as the symbol of the divine
几个世纪来全球的文明都一致认为
was an idea common to different civilisations across the globe.
色彩就是神圣的象征
But at the birth of the modern age,
然而在现代初期
when religion began to lose its grip on mass belief,
宗教逐渐不再牢牢掌控人们的信仰
then a new generation of artists would reinvent
一些新世代的艺术家们就重新发明了
the idea of divine illumination.
新的理念来描绘神圣光辉
But when the smoke of chimneys and the fog of war
但当烟囱的灰烟及战争的阴霾
threatened to cast everything into the dark,
威胁着要让一切坠入黑暗
was it even possible to deliver a glimpse of salvation
人们还能否通过耀眼鲜活的色彩
in glowing, living colour?
来传递救赎的讯息呢
第七集
文明
西蒙·沙玛为您呈现
光辉
In the centuries following Chartres,
沙特尔之后的几个世纪里
there was one place in Europe where the luminous Gothic
在欧洲还有一座城市
lived on most radiantly.
灿烂的哥特教堂仍辉煌屹立
That was Venice,
那就是威尼斯
floating on the shimmering surface of its lagoon.
这座飘荡在闪耀湖水上的城市
The city had grown rich by facing east.
因与东方的交流频繁而越来越富有
First to the Byzantine Empire, whose glittering mosaics
先是从拜占庭帝国带来了炫目的马赛克
and iridescent silks it had plundered and copied.
掠夺和复♥制♥来的彩色丝绸
And then to the Islamic world, whose woven rugs,
然后从伊♥斯♥兰♥世界引进欧洲的是
jewels and precious pigments it had brought to Europe.
羊毛毯珠宝和珍贵颜料
Here, surrounded by the luxuries of their world,
在这里遍布世界的奇珍异宝
the Venetians made the case for an art built with blocks
威尼斯人有力地证明了色彩对艺术的重要性
of colour that challenge the more sober ideals
挑战了佛罗伦萨的文艺复兴
of the Renaissance in Florence.
所宣扬的朴素理念
For Renaissance theorists, it was the idea
对于文艺复兴的理论家来说
which made art a lofty, noble practice,
这一理念使艺术更崇高更高贵
and you got the idea from drawing classical models,
它源自临摹古典模型
especially sculpture.
特别是临摹雕塑
That drawn idea then dictated composition
这种理念决定了之后的艺术创作
and it was what distinguished
它将高雅艺术
high art from the low, decorative stuff -
与珠宝织物房♥屋与身体装饰品等
jewellery, textiles, ornaments for the house and body.
低端装饰区分开来
And according to this theory of design,
根据这一设计理论
drawing always came first.
绘画总是第一步
And then you filled in those shapes with colour.
然后再将这些线条填上色彩
Well, the champions of colour said,
当然善用色彩的人会这样说
they would say that, wouldn't they?
他们当然会这样说了
Because they are all Florentines and Romans
因为他们都是沉迷于古代废墟的
obsessed with antique ruins,
佛罗伦萨人和罗马人
and for them, colour is just cheap and cheerful.
对他们来说颜料既廉价又振奋人心
It's the gaudy entertainment for the masses.
那是百姓们艳俗的消遣之物
But we are Venetians
但我们是威尼斯人
and we know that colour can model composition
我们知道色彩同素描线条一样
quite as effectively as the drawn line.
能有效地勾勒出作品的形象
They reproach us for being too much in love
他们斥责我们说我们太过执迷于
with fabric and with jewellery.
织物和珠宝
Not only do we not apologise for that, we embrace it,
对此我们不仅不感到惭愧反而引以为荣
because perhaps at the heart of what we do
因为或许我们艺术创作的核心要义
is the translation of gem-like radiance
就是将珠宝的溢彩流光
into brilliance on canvas.
转变成画布上的精勾细勒
The first great colourist to set Venetian art on this path
第一位将威尼斯艺术推上这条色彩之路
and to do it with a dazzling luminousness of oils on wood
并将绚烂多姿的油彩绘上了木头的色彩画家
was Giovanni Bellini.
就是乔凡尼·贝利尼
In his masterpiece, The Sacred Conversation,
在贝利尼位于圣匝加利亚教堂的名作
in the church of San Zaccaria,
《神圣的对话》中
Bellini shows he can do Renaissance perspective to perfection
他完美展现了文艺复兴的艺术视角
圣匝加利亚教堂祭坛画
乔凡尼·贝利尼
but it's the intensity of the saturated colours
但真正传达出贝利尼思想的
that delivers what Bellini really wants,
则是强烈而饱满的色彩
harmony experienced physically,
所达到的一种和谐体验
so that the figures, even these very still ones,
即便是这些静止不动的人物
seem naturally alive.
看来也是栩栩如生
Bellini has thought about how different colour tones
贝利尼曾思考过不同的色调
work with each other.
如何相互辉映
St Peter's golden ochre on the left
左边圣彼得的金赭石色
balanced with St Jerome's vermilion on the right.
与右边圣哲罗姆的朱红色相平衡
St Catherine's rose and green
圣凯瑟琳的玫红和绿色
with St Lucy's vision of blue and gold.
则与圣露西的蓝色与金色相平衡
And in the centre,
而在画面中心
the Virgin and Child swathed in ultramarine,
圣母和圣童则被深蓝色所围绕
a pigment so precious
这种颜料非常珍贵
that it was most often reserved for the Madonna.
通常都会省下来用于绘制圣母像
If Bellini's colour music pulls you into a devotional trance,
如果说贝利尼的色彩乐章令人不禁心生神往
his pupil Titian would use that same glow of colour to flatter
那他的学生提香则用同样的色彩技巧
the self-admiring world of the elite.
来讨好自我感觉良好的贵族社会
《绗缝袖子的男人》 1510
提香
Painted when Titian was in his 20s,
此画创作于提香二十多岁时
this isn't just a portrait of a Venetian noble,
这不仅仅是一幅威尼斯贵族的肖像画
but a painterly mission statement.
更是画家的宗旨宣言