文明（2018）

Civilisations S01E08

Part 2 Feb. 24, 2021, 4:17 p.m.

their imagined fantasy of what that culture was.
他们对这一文化的过往进行了丰富的想象
Soon artists began to travel throughout the Islamic world
不久后艺术家们开始在伊♥斯♥兰♥世界中巡游
to paint the exotic places and people they encountered.
画下他们遇到的异域风情
《阿尔及利亚女人》 1834年
欧仁·德拉克罗瓦
This is the painting
就是这幅画
that inspired an entire genre of 19th century European art -
开启了十九世纪欧洲艺术的一个全新流派
Orientalism.
东方主义
It's the work of the French artist Eugene Delacroix
这幅画由法国画家欧仁·德拉克罗瓦
who painted it in the 1830s,
绘于十九世纪三十年代
after he'd actually gone on a visit to Algeria,
此前他真的去阿尔及利亚游览了一番
which had recently been conquered and colonised by France.
不久前阿尔及利亚刚被法国攻占成为殖民地
And this is the first real serious attempt
这是第一次有画家认真尝试
to portray ordinary life in the Islamic world.
描绘伊♥斯♥兰♥世界的普通生活
But like many of the Orientalist paintings that were to follow,
但与之后出现的许多东方主义画作一样
not everything about this is what it seems.
画中所现并非完全真实
Now, Delacroix claimed to have based the composition
现在德拉克罗瓦声称此画源于
on a visit he'd made to an Arab household in Algeria,
他对阿尔及利亚一家阿♥拉♥伯人家的造访
but it would've been extremely unusual for a male stranger
但让一位陌生男子接触到家中女眷
to be given access to the women of an Arab household,
对阿♥拉♥伯家庭来说是极不寻常的事
so there's every chance that these women are in fact Jewish.
所以几乎可以断定这些女人其实是犹太人
And there are other elements of this painting
这幅画中还有其他
which were either fabricated or embroidered by Delacroix.
由德拉克罗伪造或修饰的元素
So the painting was completed in Paris using exotic costumes,
这幅画是在巴黎完成的只是换上了异域服饰
and the models are Parisian models.
模特也都是巴黎人
And this figure of the black servant or perhaps black slave
这个可能是奴隶的黑人奴仆角色
was of Delacroix's invention.
就是德拉克罗瓦虚构的
So what seems like a real scene is in fact a Parisian revelry
所以这看似真实的场景其实只是一场巴黎欢宴
of a supposed exotic sensuous world that didn't exist in Europe.
其所谓的异域风情在欧洲并不存在
Yet in Delacroix's gifted hands,
然而在德拉克罗瓦的妙笔之下
there is a subtlety of shade and colour
画中细微精妙的阴影和色彩
that was rarely achieved by the generation of Orientalist painters he inspired.
是受他启发的这一代东方主义画家极难企及的
Many Orientalists invented scenes
许多东方主义画家创作出的场景
that revelled in the decadence and despotism
充满奢华颓废专♥制♥独♥裁♥的氛围
that Europeans considered to be oriental qualities.
欧洲人认为这是东方世界的特质
《宫女》 1861年
马里亚诺福图
Concubines languishing in hidden harems,
姬妾在藏娇的陋屋里凋零
《奴隶市场》 1866年
让-里奥·杰洛姆
naked female slaves for sale in busy markets.
裸体女奴在繁忙的集市上出♥售♥
Orientalist themes became so popular
东方主义主题大受欢迎
that Ingres, master of the classical nude,
以至安格尔古典裸体艺术大♥师♥
set one of his greatest works
最杰出的一幅作品
in an imagined women's bathhouse,
画的就是一间想象的女澡堂
even though he'd never been to the Middle East.
即使他从未涉足过中东地区
《土耳其浴女》 1863年
让·奥古斯特·多米尼克·安格尔
These were European fantasies, and they suggest a desire
这些都是欧洲人的想象表达了一种渴望
to escape the turmoil of life in industrial Europe.
想要逃离欧洲工业时代的混乱生活
As the Industrial Revolution gathered pace,
随着第一次工业革命迅速发展
Europe's cities began to change beyond all recognition.
欧洲的城市开始变得面目全非
To begin with,
最开始
few saw the emerging factory landscapes
没多少人觉得新冒出的工厂
as a worthy subject for art.
值得被描绘下来
达德利伍斯特郡
约瑟夫·玛罗德·威廉·特纳
But the British painter Turner did.
但英国画家特纳就是这么想的
In his view of Dudley, in England's industrial heartland,
为画他眼中的达德利这块英格兰的工业腹地
he juxtaposed the old town on the hill,
他将旧城镇排列在山丘旁
its ruined castle and church steeple,
那残破的城♥堡♥和教堂尖塔
symbols of tradition and faith...
象征着传统与信仰
with the blazing furnaces and busy canals of the modern age.
旁边是现代燃烧的炉子与繁忙的运河
The great thinker and art critic John Ruskin
伟大的思想家和艺术评论家约翰·罗斯金
saw in the picture an indictment
在这幅画中看到了一种控诉
of how the old way of life
控诉着过去的生活方式
was being destroyed by the factory and the machine.
是如何被工厂和机器摧毁的
Because as manufacturing cities mushroomed in size,
因为随着制♥造♥业城市的迅速扩张
they became a social disaster
它们成为了一种社会灾难
overcrowded and rife with poverty and disease.
充斥着贫穷和疾病
This was the human cost of mechanisation.
这就是机械化让人类付出的代价
In America,
在美国
the frontiers of progress pushed inexorably westwards,
发展边界不断向西扩张
into territory as yet unspoiled by industry.
一直到还未被工业污染的地域
The United States was a young country,
美国是一个年轻的国家
forged, like France,
和法国一样
out of revolutionary and Enlightenment idealism.
形成于革命家和启蒙运动理想主义
To its pioneers, the entire American wilderness,
对于其先驱者来说整片美洲荒野
from East to West, seemed like virgin territory.
从东到西就像是贞女地
《舒伦山景》 1838年
托马斯·科尔
Artists translated these vast landscapes onto canvas
艺术家将这些风景展现在画布上
and filled them with divine light.
画中满是神光
They conveyed the idea that God himself blessed not only the land
他们传递的观念是上帝不仅保佑这片土地
but also the new nation being forged from it.
也保佑着这片土地上新生的国家
《卡兹奇山谷》 1858年
哈丽特·卡尼·皮尔
The great pioneer of American landscape art
美国风景画艺术的伟大先驱
was the British-born Thomas Cole.
是在英国出生的托马斯·科尔
《卡兹奇山瀑布》 1826年
托马斯·科尔
Thomas Cole regarded the American landscape
托马斯·科尔将美国风景视为
as being what he himself called "the undefiled work of gods".
他所说的"神的纯粹之作"
In this young country
这个年轻的国家
that just didn't have what Europeans recognised as a history,
没有欧洲人认可的历史
mountains and canyons and waterfalls were to replace
山川峡谷和瀑布代替了
the classical ruins so beloved of European landscape artists.
欧洲风景艺术家热爱的经典遗迹
In America, natural history was to stand in for history itself.
在美国自然历史代替了历史本身
In his landscapes,
在科尔的风景画中
Cole often included America's indigenous peoples.
美国土著经常出现
《'最后的莫西干人'之场景》 1826年
托马斯·科尔
But they are invariably dwarfed by the vastness of the scene,
但和广阔的风景相比他们总是相形见绌
as though they themselves
好像他们只是
are merely features of the natural world.
自然世界的景观特征
《尼亚加拉瀑布远景》 1830年
托马斯·科尔
The embodiment of the Enlightenment idea of the noble savage -
启蒙运动思想的化身高尚的野蛮人
an idealised, uncorrupted people,
理想化未受玷污的人们
living a pure life, connected to nature.
过着单纯的生活与自然共处
《印第安小路》 1847年
托马斯·科尔
But underpinning Cole's work
但支撑科尔作品的
was a fear that the American wilderness and its inhabitants
是担心美国的荒野和土著人
would inevitably be tamed, even destroyed,
会在新帝国形成的过程中
in the process of creating a new nation.
不可避免地被驯服甚至毁灭
《帝国兴衰》 1836年
托马斯·科尔
In his masterpiece, an allegory of civilisation in five paintings,
在他的代表作五幅讽喻文明的画作之中
Cole fused landscape with an imagined history,
科尔在风景画中融入了想象历史
to challenge mainstream ideas about America's future.
挑战关于美国未来的主流观点
These five paintings tell an epic story,
这五幅画讲述了一个史诗故事
the story of the rise and fall of a great civilisation.
伟大文明的兴盛与衰落
And they're influenced by a historical theory
它们受到一个历史理论的影响
that saw the past as an endless cycle of rises and falls,
该理论认为过去就是兴衰的无尽循环
and that was popular in the 19th century.
这一理论盛行于十九世纪
It begins with what Thomas Cole called the Savage State.
这一系列始于托马斯·科尔的《蛮荒时代》画作
This is a primordial Earth.
这是原始社会
There's a hunter chasing a stag across the landscape.
画中猎人在追赶雄鹿
In the background is his village,
背景是他的村庄
which is a cluster of animal-skin tents,
由几个兽皮帐篷组成
which look almost exactly like the tepees of the Plain's Indians.
几乎和大平原印第安人的圆锥形帐篷一样
And this supposedly savage state was the level of civilisation
这个所谓的蛮荒时代所处的文明阶段
that many Americans thought
是很多美国人认为的
that the Native Americans have reached before the arrival of Europeans.
美洲土著在欧洲人到来前达到的水平
But it's the next stage, the Arcadian, the Pastoral State,
但下一阶段的《田园生活》
that in many ways is Thomas Cole's ideal.
则是托马斯·科尔的完美理想
In this painting, mankind has discovered agriculture.
在这幅画中人类探索出了农业
There's a farmer ploughing his field,
农民在犁地
there's a shepherd with his flock.
牧羊人在放羊
And because food is now plentiful,
因为食物充足
the men and the women of this society
这一社会中的男人和女人