文明（2018）

Civilisations S01E08

Part 7 Feb. 24, 2021, 4:17 p.m.

the cultural artefacts
所谓的原始人的
of the so-called primitive peoples to be art.
文化产物称得上是艺术
Yet they were fascinated by these objects
然而他们却为这些东西
and by the fashionable ideas about race and savagery
以及其中影射出的关于种族和野蛮的
that were projected onto them.
时髦想法所着迷
Pablo Picasso deeply admired Gauguin's explorations
巴勃罗·毕加索非常欣赏
of non-European art.
高更对非欧洲艺术的探索
But, unlike Gauguin,
但是与高更不同
Picasso was never interested in escaping from the modern world.
毕加索对于如何从现代世界逃离并不感兴趣
For him, primitive art would be a catalyst,
对他而言原始艺术是一种催化剂
inspiring him to shatter the conventions of the past.
激励着他粉碎过去的传统
In 1907, Picasso visited the Trocadero in Paris,
1907年毕加索来到了巴黎的特罗卡迪罗
where he came face-to-face with a display of objects and masks
在那里他看到了来自太平洋岛屿
from the Pacific Islands and Africa.
以及非洲的物件和面具
The exact date of that visit to the Trocadero is unknown,
他去特罗卡迪罗的具体日期无人知晓
but then the whole affair has become shrouded in mythology,
但是接着这整件事都笼罩上了神秘的色彩
most of it of Picasso's own making.
其中大部分是毕加索自己造成的
But it is thought that this mask might have been one of the ones
但是这个面具被认为可能是当时毕加索看到的
that Picasso saw.
其中一个
It was made by the Fang people of Gabon,
这是由加蓬的芳人所制♥作♥的
but it seems that Picasso had no real deep interest
但是看起来毕加索对于它的文化意义
in its cultural meaning or its ritual function.
或礼仪功能并没有很大的兴趣
What he was interested in was their potential for his art.
他所感兴趣的是它们为他的艺术所带来的灵感
And that visit to the Trocadero
特罗卡迪罗的这趟旅程
has become one of the most famous moments
变成了现代艺术史中
in the story of modern art,
最著名的时刻之一
because it was at that moment that Picasso found -
因为正是在那个时刻毕加索发现
and from outside of Europe -
在欧洲之外
the inspiration and the expressive power
也有能够为他的绘画带来改变
that would transform his paintings
并为现代艺术带来革新的
and revolutionise modern art.
灵感和表现力
Picasso described the masks he'd seen as weapons.
毕加索将他看到的面具比作武器
They had the power, whether supernatural or psychological,
它们拥有能够驱除恶灵的能力
to exorcise unwanted spirits.
不论是由于超自然原因还是心理作用
Picasso tried to incorporate this new power into his work,
毕加索试图将这股新的能量融入他自己的作品
and created one of art's masterpieces.
并创作了一幅艺术巨作
《亚维农的少女》 1907年
巴勃罗·毕加索
The curtain is drawn back on a brothel scene.
画上画的是一个妓院的场景
We see five naked prostitutes waiting for clients.
我们可以看到五个裸体妓♥女♥在等待顾客
And though there was a long-established tradition
尽管西方艺术中一直都有
of female nudes in Western art,
画女子裸体的传统
these are unlike any nudes ever seen before.
这幅画中的裸体却和之前看到的都不相同
What made this picture particularly shocking and revolutionary
这幅画尤为震撼和革新的地方在于
were the images Picasso combined within it.
毕加索所结合的那些形象
The faces of the three women to the left
左边三个女人的脸
are believed to be derived
被认为来源于
from archaic Iberian sculpture.
古伊比利亚雕塑
But the two women on the right, their fractured, irregular,
而右边的两个女人她们断裂的不规则的
distorted faces are based on the art of Africa,
扭曲的脸则源于非洲艺术
on tribal African masks
源于毕加索在巴黎看到的
that Picasso had encountered in Paris.
非洲部落的面具
Now, there's a long debate about the extent to which Picasso
毕加索到底在多大程度上受到非洲艺术的影响
was influenced by African art,
一直饱受争议
and he muddied the waters considerably by making a series
而他通过一系列自相矛盾的言论
of completely contradictory statements.
愈发地混淆了试听
But you can see that Picasso,
但是你可以看到毕加索
consciously and subconsciously,
不管是有意识地还是无意识地
by using African art,
通过非洲艺术
was bringing into his paintings ideas about Africa
将当时在欧洲流行的关于非洲的想法
that were current in Europe at the time.
带入他的画作之中
He was a product of his time, like anybody else,
和其他任何人一样他也是时代的产物
and he lived in an age when Africa was the focus
在他生活的时代
of huge amounts of speculation and debate
人们聚焦非洲大量地猜测和争论
about the meaning of savagery and civilisation,
野蛮和文明的意义
of us and them, ideas about race,
关于我们和他们对于种族的想法
ideas about exoticism, ideas about eroticism.
对于异国情调的想法对于色情的想法
So by placing the faces
所以通过把非洲面具
of African masks onto prostitutes,
画在妓♥女♥脸上
Picasso was detonating two powerful sets of ideas
毕加索触发了两套有力的观念
about race and savagery,
对于种族和野蛮
civilisation, empire,
文明和帝国的观念
with older ideas about female sexuality and prostitution.
以及对于女性和卖♥♥淫的旧观念
In one painting, Picasso had turned Western ideas about art
在一幅画中毕加索将西方对于艺术的观念
on their head.
画在了她们头上
He sought to express
他想要表达的
not simply aesthetic beauty, but frightening,
不仅仅是美学上的美丽还有可怕的
primal feelings about sex, violence and even death.
关于性暴♥力♥ 甚至是死亡的原始感觉
And that worked partly because of the masks' associations
这样的手法之所以能够成功部分是因为
in the minds of those who first saw this painting
那些第一次看到这幅画的人会在脑海中
with civilisations they considered primitive.
将面具和他们所认为的原始文明联♥系♥起来
It was the apparent threat of these objects
正是这些东西显而易见的威胁感
that made them so shocking,
使它们看上去如此令人震惊
and the perceived barbarism of the cultures that produced them,
而我们感受到的其背后文化的野蛮感
which reinforced the assumed superiority of European culture.
增强了人们对于欧洲文化所谓优越性的认同
And so, when Europe went to war in July in 1914,
于是当欧洲在1914年7月开战的时候
few ordinary people questioned the prevailing view
普通人鲜少质疑
of Western civilisation as sophisticated, rational and humane.
西方文明是成熟理性且人性的这一普遍观点
Yet the horror that was unleashed by new weapons
而那些能够致使人类遭受
that could slaughter human beings on an unprecedented scale
史无前例规模毁灭的新武器所造成的恐慌
was a product of the same Industrial Revolution
和铁路与埃菲尔铁塔
that had forged the railways and built the Eiffel Tower.
却都是同一场工业革命的产物
Now it seemed Europeans were reduced
似乎欧洲人已经堕落成
to the same irrational barbarism...
同样的无理野蛮状态了
..that they'd convinced themselves was the hallmark
而他们曾确信这种状态仅仅是其他那些
of other, supposedly primitive, peoples.
所谓原始民族才具有的特质
In the German trenches of the First World War
在第一次世界大战的德军战壕中
was an artist who perhaps more than any other
出现了一位或许比其他任何人都更深刻地
created a graphic visual record of the new barbarism.
用画作对这一新野蛮状态进行记录的艺术家
Otto Dix was one of the millions of young European men
1914年一战爆发时奥托·迪克斯是
who enthusiastically rushed to enlist
数百万名热忱地应征入伍的
at the outbreak of fighting in 1914,
欧洲男青年中的其中一位
and he went on to spend three years
他随后又继续在战壕的
in the mud and the slime of the trenches,
烂泥浑水中待了三年时间
serving on both the Western and the Eastern fronts.
在西线和东线都参过战
At one point, he served in a machine gun unit,
有一段时间他在一支机♥枪♥部队里服役
wielding the ultimate industrial weapon,
使用的是终极工业武器
the literal fusion of the gun and the machine.
名副其实的枪与机器的融合
And throughout all of this,
在整个服役期间
Otto Dix produced sketches, hundreds of them,
奥托·迪克斯创作了数百幅作品
that graphically recorded what these new weapons did
它们以图画的形式记录了这些新型武器
to the flesh and the bone of his doomed generation.
对他这不幸的一代人造成了哪些深入骨髓的伤害
Dix drew the broken faces, the mud and the misery.
迪克斯描绘了那些破损的脸庞污泥和痛苦
He chronicled how industrial warfare
他记录下了工业战争是如何将
had transformed the soldier from warrior to victim.
一位士兵从勇士转变成受害者的
It is perhaps fitting that it was a German artist
或许也只有德国艺术家
who most clearly captured the horror of industrial warfare.
才能最清晰地记录工业战争的可怕
After all, Germany did not have the consolation of victory
毕竟德国并未得到胜利的慰藉
behind which to conceal the inhumanity that had been unleashed.
无法用其掩盖战争所引发的人性丧失
Her war cemeteries, like the art of Otto Dix,
德国的烈士陵园和奥托·迪克斯的艺术一样
are austere, frank and bleak.
是朴素直白而荒凉的
In Dix's work, a new type of mask
在迪克斯的作品中一种新的面具
took root in European art - the gas mask...
在欧洲艺术中扎了根防毒面具
The icon of total war,
它是绝对战争的象征物
otherworldly, hypermodern.
是超世俗的超现代的
This was the face of Europe's own home-grown barbarism.
这就是欧洲本土野蛮主义的嘴脸
But these masked faces, haunting and visceral though they are,
这些戴了面具的脸虽然很可怕且挥之不去
were in a sense merely preparatory sketches
但在某种程度上它们只是奥托·迪克斯
for Otto Dix's definitive statement on war
在为日后对战争及欧洲进步的后果
and on where European progress had led.
作出明确宣言作铺垫罢了
《战争》三联画 1932年
奥托·迪克斯