文明（2018）

Civilisations S01E08

Part 3 Feb. 24, 2021, 4:17 p.m.

have the chance to discover the arts.
拥有了探索艺术的机会
There's music and there's dancing, there's poetry.
音乐舞蹈还有诗歌♥
But there's also a hint
但其中也暗示了
of the direction of travel in which this society is moving,
社会正在转变的前进方向
because on the beach is a longboat being constructed,
因为沙滩上有一艘正在建造的大艇
and the hint there is the men of this society
暗示着这个时代的男人
are going to go out into the world and forge an empire.
要走出去创造一个帝国
And centuries later, in the centrepiece,
几个世纪后在中间
literally the centrepiece of this series of paintings,
就在这一系列画作的中间
is The Consummation Of Empire.
是《辉煌成就》
This is mankind's greatest achievements.
它展示了人类的伟大成就
There's classical architecture, there's great civic statues.
有古典建筑有伟大的城市雕像
This is a society with fleets of ships
这一社会有舰队
engaged in trade and in war.
参与商业和战争
It's also a civilisation that has given birth to democracy.
也是在这一文明中诞生了民♥主♥
And that's not led to a flowering of Republican values,
但这并没有走向共和理念的繁荣
that democracy has been corrupted,
托马斯·科尔告诉我们
Thomas Cole is telling us, by the emperor,
民♥主♥被国王破坏了
the figure who's marching into his great city
就是画中正走向他辉煌城市的人
ahead of a column of horses and elephants.
城市就在马象列队的前面
This is a demagogue
就是这位政♥治♥煽动家
who has sowed the seeds of the fall of his civilisation.
播种了其文明衰落的种子
The fourth painting, Destruction,
第四幅画《毁灭》
is the moment of the fall of an empire.
描述了帝国毁灭的时刻
The city is being invaded.
城市被入侵了
We don't know who this army is,
我们不知道军队来自何方
they could be these forces of a stronger,
他们可能是来自更强大繁荣的
more morally virile Empire.
帝国的军事力量
They could be the slaves of this empire,
也可能是这个帝国的奴隶
who have risen up in revolution,
揭竿而起
or they could be, this could be a civil war.
又可能是一场内战
All of those eventualities are hinted at here.
所有的可能性都有暗示
But what is clear is that this society has brought its fall down
但很明显这个社会的崩坏
upon its own head, because of its own moral corruption.
是因为自身的堕落因为道德的腐♥败♥
What is missing from this city is nature.
这座城市中缺少的是自然
All the trees have been expunged.
所有的树都消失了
And in the final painting, centuries have passed.
在最后一幅画中数个世纪过去了
This is Desolation.
这幅是《荒芜》
From thousands of people,
从成千上万的人
we have a scene completely empty of human beings.
到现在画面中空无一人
Nature has recolonised.
自然再度占领大地
Course Of Empire isn't really about the classical world.
《帝国兴衰》不是在描绘古代世界
These paintings aren't about Rome in the fifth century.
这些画不是在描绘五世纪的罗马
They're about the United States of America
它们是在说十九世纪中叶的
in the middle of the 19th.
美♥利♥坚♥合众国
Because Thomas Cole was one of many figures
由于托马斯·科尔是当时相信
who believed his society stood at the crossroads.
美国社会正处在十字路口的众多人之一
It would either stay true to its original founding principles,
要么坚持原来的建国准则
or become a commercial, industrial, urbanised society,
要么变成商业化工业化城市化的社会
and one that would expand on a continental scale.
扩张至整个大♥陆♥
And perhaps not surprisingly,
也许不令人惊讶的是
Thomas Cole, the painter of landscapes,
托马斯·科尔风景画家
the painter of nature,
自然画家
also profoundly believed
也在内心深处相信
that any society that lost touch with nature
任何与自然失去联♥系♥的社会
also lost its moral compass.
都会失去道德的指南针
But many did not believe, like Cole,
但很多像科尔这样的人
in the cyclical nature of history.
都不相信历史是循环往复的
In fact, by the mid 19th century,
事实上在十九世纪中叶
most white Americans believed they had what became known
大多数美国白人都相信一套
as a "Manifest Destiny"
被称为"昭昭天命"的理论
to take what they saw as their superior civilisation
将他们自视为更先进的文明
to the furthest edge of the continent.
带到大♥陆♥最边缘
From the 1830s it became official US policy
自十九世纪三十年代以来
to drive Native Americans
这变成了美国的官方政策
from their traditional lands
驱使印第安人远离故土
and into poorer, harsher environments.
到更贫穷更艰苦的环境中去
Those who resisted were deliberately starved,
那些坚持不动的人被故意挨饿
hounded out or massacred.
被煽动挑唆或屠♥杀♥
One artist more than any other
比起其他人有一位艺术家
made it his life's work to record those disappearing cultures...
穷尽一生记录这些消失的文化
George Catlin.
那就是乔治·卡特林
Over the course of five trips
经过五次旅行他到达了
to what was then the Western Frontier,
后来成为西部边境的地方
Catlin met and painted the portraits
卡特林遇到许多土著男女
of hundreds of Native American men and women.
并为他们画了肖像
《爱荷华巫医》 1845年
西农提亚
《爱荷华部落首领》 1845年
白云[印第安先知/首领]
Together they formed a unique collection
这些画在一起形成了一组独特的作品
《血手之妻》1832年
双胞胎
that Catlin called The Indian Gallery.
卡特林称之为"印第安人画廊"
He would tour them around the country and later around the world.
他在美国而后在全世界巡展这些画
George Catlin was by no means indifferent to the sufferings of
乔治·卡特林与这些画中人物
the people whose faces appear in these paintings.
遭受着同样的磨难
And unlike some artists,
不像某些艺术家
he went out of his way to accurately name his sitters.
他独树一帜地给画中人命名
These are individuals, they're not types.
这些都是个人不是一个群体
《部落首领》 1832年
包围者
And through his art, Catlin demonstrated to anyone
通过他的画作卡特林向所有
who cared to look that there were numerous
愿意欣赏的人展示在印第安人中
《血族首领》 1832年
公水牛背
different distinct Native American nations,
有很多完全不同的部落
all of them with their own traditions and cultures
都有自己的传统和文化
and all of them under threat,
但都面临灭顶之灾
as the United States pushed ever westwards.
因为美国正大规模进行西进运动
But Catlin didn't produce these paintings in order to
但卡特林创作这些画不是
take part in some campaign to save the Native Americans,
像我们可能会想的那样是为了
as we might like to think.
参与拯救印第安人的政♥治♥活动
Catlin accepted that these people were, as he said,
卡特林自己曾说过他认为这些人是
"Doomed and must perish".
"命中注定灭亡的"
Catlin's portraits have undoubtedly preserved
卡特林的肖像画无疑为后人
a rich cultural record for posterity.
保留了一份珍贵的人文记录
Yet for many Native Americans,
然而对于很多印第安人来说这都是对
they are troubling, romanticised images of the vanishing Indian,
正在消亡的印第安人让人不安且浪漫化的描绘
that Catlin put on display for white fee-paying audiences.
是卡特林展示给付了钱的白人观众看的
After all, there is another perspective -
毕竟另外一个视角就是
the art of the Native Americans themselves.
印第安人自身的艺术
Because even the nomadic Plains Indians recorded key events
即便是平原上的游牧印第安民族
on their portable belongings.
也会在随身物品上记录重要事件
It was a traditional art form that began to show
这种传统的艺术形式开始展现
the influence of European contact.
他们与欧洲人接触所受的影响
This image, painted onto an animal hide,
这张被画在树皮上的图
was produced by people of the Cheyenne nation.
由夏安族族人绘制
It's a depiction of the Battle of Little Bighorn in 1876 -
描述了1876年的小巨角战役
one of the few major Native American victories
这是所谓"印第安战争"中为数不多的
in the so-called Indian Wars.
印第安人的大胜
And through artefacts like this,
通过像这样的人工制品
the Native Americans recorded their plight
印第安人用自己的艺术传统
in their own artistic traditions,
记录了他们的困境
and there are, inevitably,
当然不可避免的是
many more images of defeat than victory.
描绘失败的比描绘胜利的要多很多
This is the work of people who were the victims,
这幅作品中描绘了牺牲者
not the beneficiaries, of Manifest Destiny.
他们并不是昭昭天命的受益者
This is art from the other side of the Frontier,
这是来自西部边境另一边的艺术
art that records how the West was lost.
是记录了西部是如何失陷的艺术
While George Catlin was trying to preserve the culture
当乔治·卡特林试图在画布上
of Native Americans on canvas,
保存印第安人的文化时
on the far side of the world
远在世界的一边
another artist would take a very different view
另一位艺术家却以很不一样的眼光
of the indigenous people he met on the frontiers of empire.
来看待他在帝国边境遇到的原住民