国家美术馆（2014）

继续 让我听见你们的声音
Keep it up! Make some noise!
我现在在伦敦 要在这待一段
I’m in London now, for a couple of weeks.
乌木画框 当然 是很有意思的
Ebony frame so, of course, interesting.
世界第一 我想讲解下我认为波纹模具
World first, I want to explain where I think the ripple moulding
从何而来 这些模具叫做波纹模具
comes from. These mouldings are called ripple mouldings.
这有波纹的图样
There’s a wave pattern.
非常有趣的是 它们其实是唯一的 嗯 装饰
Very interesting, they’re really the only, um, ornament,
画框装饰 不能最终追溯回古代
frame ornament that does not ultimately come from antiquity.
它是一种非传统装饰
It is a non-classical ornament
我觉得它是来自于 因为乌木 嗯
and I think it came about because of the way the ebony is…um…
雕刻乌木的方法 因为你不能像
worked with, because when you work with ebony it is not,
雕刻其他木材一样雕刻乌木 你要用刮子
um, carved or planed like other woods, it is scraped
按照正确的角度去刮乌木
with a scraper at right angles to the wood. Like…
就像这东西
Something like this,
金属刮片刮下一片乌木
the metal scraper that is scraped across a piece of wood
然后渐渐增加深度 但是刮乌木的过程是非常精细的
and lowered, incrementally, but the process of scraping is very,
力度要 要
um, the forces are quite, it’s quite, um…
因为乌木非常的硬 所以刮乌木是很困难的
The wood is very hard and it’s, it’s…it is quite difficult.
你只能每次刮下一小点儿来 而且在这个过程中
You only scrape a tiny bit off each time and in the process,
然后你用的刮片往往会颤动
the whole apparatus that you use tends to vibrate and what you have
直刮时就会留下波纹 这块木头刚被直刮完
is a ripple effect on the straight, this was just done straightened.
我不知道你们能不能在灯光下看到这波纹
I’m not sure if you can see it in the light,
但是你们一定可以摸到它
but you can certainly feel it.
这波纹是自然出现的 这个波纹
It’s a ripple that is voluntary, that is a ripple
当你直着刮的时候 它就那么出现了
that just happens when you try to scrape it straight
然后你就打磨它 把它弄直
and then you just sand it out and straighten it out
但是我认为这种波纹是从这种意外产生的波纹衍生出的
but I think that this type of ripple out of this accidental ripple,
然后在处理好之后 留下了被碾过的上升和下降的痕迹
and then this is done, run over a track that goes up and down,
是刀子向上向下走 或者木头向上向下
the knife goes up and down or the wood goes up
在它被刮的同时
and down as it’s scraped along.
通常我是反对阐明画框的制♥作♥方法的
Normally I’m against illuminating the way frames are made
因为不知何故这看起来并不重要
because it somehow doesn’t seem important.
如果你去伦勃朗的画展 不会有人告诉你
If you go to a Rembrandt exhibition, no-one is going to tell you how
画布是怎样处理的 颜料是怎样做出来的 以及其它
the canvas is prepared and the paints are made and all these
技术上的点滴
technical bits.
但是我认为乌木画框挺有趣的 我认为
But I find it interesting with the ebony frame, that I think it is
它是意外的产物 一个制♥作♥画框中的发现
accidental, and a discovery from the making of the frames.
哦 已经八点四十五分了 现在这有足够的空间盛下所有人
Oh, it’s 8.45 already. There’s plenty of room for you all now.
那我开始讲了
And it’s time for me to begin.
我正在讲的是这有着奇怪名字的画 潘神的凯♥旋♥
I’m talking about the strangely named Triumph of Pan.
普桑重构了这些非常高深的古代艺术元素
Poussin has reconstructed these really recondite elements of ancient
这是一种对他的画风的解读
art, that is one explanation for his way of painting.
他可能认为古代绘画古代与雕塑更加接近
He may have thought that painting in antiquity was closer to
恰恰因为非常多的雕塑作品存留了下来
sculpture, precisely because so much more sculpture had survived
他也就只能按照那种方式来重现古画
and he could only reconstruct ancient painting in that way,
不过令人好奇的是 有那么多关于古代的东西
but it’s curious that so many of the things that attract him
能够吸引到他 但是他在这幅奇奇怪怪画中
about the ancient world and which he puts into this strange,
表现出来的东西是如此不自然
strange painting are actually unnaturalistic.
比如说 他了解潘神的古代雕像
So he knows, for example, that ancient statues of Pan,
因为出于对潘神的崇拜
as indeed is the case of figures in worship,
崇拜者的脸上都涂上一种特殊的颜料
their faces were actually coated with special substances to make them
使他们看起来更生动或者说恰恰表现出一种供奉潘神的样子
seem more animated or just as a type of offering.
因此 这个红色的使用是神来之笔
So the red colour is very extraordinary
但是雕塑的其他部分看起来像用抛光过的黄铜制成
but what makes it extraordinary of course is that the rest
这才是让这红色显得如此出彩的原因
of the sculpture appears to be made of polished brass.
这就意味着普桑在作画时想着 也许 古时候
It means that Poussin has actually thought, “Maybe, in antiquity,
雕塑家们并不使雕塑生绿锈
“they did not patinate their sculptures”
并且他非常了解
and he was very learned
也和几乎所有在当时研究古代雕塑的
and in touch with all the most erudite students
饱学之士一直保持联♥系♥
of antiquity in his day,
我说的这些事情中有一些
some of these things I’ve been mentioning aren’t actually
在现代艺术史学者对这幅画的评论中
mentioned even by modern art historical
都没有涉及
commentators on it on this painting
不过他们非常感兴趣的
but they would be of great interest to, and these subjects are of
而这些主题对如今的考古学家来说是很有意思的 是彩色的脸之类的
great interest – the colouring faces and so on – to archaeologists today.
但是我觉得仅是这样对这幅画的解读还不够详尽
But I don’t think it’s quite adequate as an explanation of this picture,
因为此时普桑恰恰对古代非常痴迷
that Poussin has just become that much more obsessed by the antique.
我认为了解这幅画文体特征的线索在于
I think the clue to the stylistic character of this work
当时普桑肯定知道
lies in…um, the fact that Poussin must have known
他正在画的这幅画
that he was painting pictures
将被挂在蒙塔格纳的画作旁边
which would hang beside old paintings by Montagna.
蒙塔格纳和普桑是两位
Montagna and Poussin are the two European artists
主攻于将雕塑的元素融入画作的
who are most interested in
欧洲艺术家
trying to put something sculptural into painting.
这种所谓的 平行作品 也就是画家之间的竞争
And this becomes particularly interesting in the context
就变得非常有趣了
of this so-called “paragone” – the contest between the arts.
对我们来说弄懂一幅画或者一个雕塑是不是最好的作品
Tedious to us to try and work out whether painting or sculpture
是非常无聊的 但是通过这样做 这种争论的格局形成
is the greatest art, but within that, the structure of that argument,
会使人们非常聪明地思考 绘画究竟能做什么
people thought very intelligently about what COULD painting do
雕塑不能做到的事情 然后你可以确定地说
that sculpture couldn’t do. And you could always say of sculpture
雕塑作品的动作是定格的 雕塑也不能很好地描述一个空间
that movement is frozen, that space can’t really be represented.
那么一个画家在画中模仿雕塑的这个特点
How odd to find a painter actually deliberately imitating
是多么令人奇怪的事情啊
those precise qualities in sculpture in their painting.
这就有点与其他人都在做的事背道而驰
It’s a kind of reversal of what everyone else was doing.
而且我认为这种反转也是为了那些
And I think it’s a reversal which is done for
非常非常喜欢钻研艺术的
people who think about art in a very, very sophisticated way,
喜欢颠倒优先顺序和他人价值的
people who like turning on its head the priorities and values
以及那些不仅学识渊博
of other people, as well as the people who are not only learned,
还喜欢展示自己所学的人 总之
but like to exhibit their learning. In short,
这幅画是非常非常杰出的
this picture is very, very elitist.
让这幅画变得容易理解是非常难的 当然 这么做是非常值得的
Making it accessible is quite hard work. It’s worth doing, of course,
但这项工作真的很难 因为 我认为
but it’s really hard work, because it was painted, I think,
它不仅是画给那些博学并想变得比他人更渊博
not just as a subject which was for very, very learned people
且展示给他人看的人看的
who liked to be more learned than other people, and show it,
这种形式的画作更是想 呈现给那些尖端的人
but also its style is painted for an extremely sophisticated
很可能只是非常小的一部分观众的
and probably very small public.
国家美术馆能收藏这幅画 让我非常激动
I’m really thrilled we have it in the National Gallery.
个人而言 我不知道自己是否喜欢这幅画
I personally don’t know whether I like it or not,
但我能肯定
but I certainly think
这是国家美术馆最令人称奇的画作之一
it’s one of the most fascinating paintings in the National Gallery.
它真的非常 非常杰出 谢谢大家
It’s very, very extraordinary. Thank you very much.
维米尔画作的一部分吸引力
Part of the appeal of Vermeer’s paintings
就像十七世纪其他类似的画作一样
and other paintings like them in the 17th century
是画家们在画中创造了一个理想化的世界 一幅理想蓝图
is that they create an ideal world, an ideal image,
这是非常有吸引力的
that is…seductive, and absolutely, um…
当然了 这也是非常美丽的
pleasant to look at.
你会沉浸于这幅画的美丽
You’re drawn into the beauty of it.
我觉得不光是二十一世纪的我们
I think it’s not just us in the 21st century
受到这幅画的震撼
that the painting has that impact on.
十七世纪的人们也会如同我们一样
I think it was exactly the same in the 17th century.
当然 一部分原因是维米尔作画的方式
Part of that, of course, is in the way in which Vermeer paints.
他有一种非常独特的手法
He has an absolutely unique style
这种手法不知何故在写实和抽象中找到了平衡
that somehow finds a balance between realism and abstraction.
从远处看 哪怕仅从稍远一点的地方看
From a distance, even short distance,
你会惊异于这幅画写实的程度
you’re struck by how realistic this is.
你会想 哇哦 那个画中的女人
You think, “Oh, wow, that woman,
我好想走近一点去认识她
“I want to step closer and get to know her.”
但你走近了之后 就像印象派画作一样
But as you get closer, just like Impressionist paintings,
那种写实感消融转化成了抽象感
that sense of realism dissolves into abstraction.
然后就一直保持着难懂的抽象感
And it remains forever elusive,
再一次 在画中展现了他营造的
again creating a barrier between our world and this idea world
理想世界与现实世界间的屏障
represented in the paintings.
我认为维米尔是故意这么做的
I think that is intentional on Vermeer’s part,
他注重并且保持着
to, um, emphasise and to maintain
他在画中营造所世界的完美
the perfection of the world that he’s created.
并且 就像很多♥维♥米尔的画作一样
It’s also, as so many of Vermeer’s paintings,
这幅画也非常的朦胧
a very, um, ambiguous painting.
因为对女性的限制
Because of the woman’s restraint,
因为绝对的规律性
because of the absolute regularity
以及几近紧缩的组合
and almost austerity of the composition,