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艺术与建筑:约翰尼斯·弗美尔 – 译学馆
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艺术与建筑:约翰尼斯·弗美尔

ART/ARCHITECTURE - Johannes Vermeer

Art/Architecture
艺术与建筑
Johannes Vermeer
约翰内斯·弗美尔
The wrong things in our world are glamorous:
世上了无价值的东西光彩夺目
fast cars, tomato throwing contests, actors –
比如跑车 扔番茄比赛和影星们
instead of the right things:
有意义的事情反倒不那么辉煌:
going to bed early, long walks, observing the sky at dusk, kindness…
早睡 长途徒步 欣赏黄昏时的天空以及良善
It’s not that nothing at all is glamorous,
其实 并非不存在本身辉煌的事物
it’s just that we need to direct our admiration and excitement more wisely
我们应当更明智地运用自己的钦慕和激情
we need to turn it upon the things which genuinely deserve prestige.
应当把它们放到真正值得崇敬的事物上
Artists can help us.
艺术家能帮我们这样做
One of the fundamental things art can do for us is turn the spotlight of glamour
艺术的基本职能之一便是将公众的注意力
in the best and most helpful directions.
转向最有益也最有用的事物
Artists identify things that
艺术家能发现并识别出
we tend to overlook but which, ideally, we should care about deeply.
我们本应深深关切却素来忽视的事物
Serving women, bread, and milk were not
在弗美尔创作此画的17世纪50年代
especially exciting in the late 1650s, when Johannes Vermeer painted this picture. [The Milkmaid, 1657-8].
女仆 面包和牛奶并不是什么激动人心的事物
She wasn’t a celebrity,he isn’t showing us somebody who was already highly admired.
她不是什么名人 他所描绘的也不是大众仰慕的人物
Yet Vermeer saw in the serving woman pouring milk
但弗美尔在女仆身上看到了某种特质
something that he feel is of prolonged
他认为它值得被长久地仔细研究和赞赏钦慕
He thought something really important was going on
他认为这有着真正重要的意义
By worldly standards, it’s a pretty humble situation.
按当时世俗的标准 这不是什么高雅景象
But the care with which she works is moving.
但她倒牛奶时的认真神态令人动容
Vermeer is impressed by the idea that our true needs might be really rather simple.
弗美尔相信 人的本质追求实际上既简单又朴素
Bread and milk are really rather satisfying.
面包和牛奶确实叫人满足
The light coming through the window is beautiful.
从窗户射进来的光线很美
And a plain white wall can be a major source of delight.
单单一堵白墙也可以成为快乐的源泉
Vermeer is redistributing glamour by raising the prestige of things he depicts.
通过提高所绘事物的声望 弗美尔重新分配了“辉煌”
And he’s trying to get us to feel the same way.
他也试图让我们感受到这一点
The milk maid is a kind of propaganda
《倒牛奶的女仆》对家庭生活式愉悦进行了宣传
(or advert) for homely pleasures.
也可说是为其做了广告
Or consider the painstakingly skilful and
想想看花边制造工的细心与纯熟的技巧
commercial business of lace-making [The Lacemaker, 1669-1671]:
以及花边制造商业吧
Vermeer paints the self-employed businesswoman with the usual devotion and care
弗美尔以通常用来描绘战争英雄和政治领袖的
that would be given to a military hero or a great political leader.
奉献精神和谨慎态度来描绘这些自营产业的女商人
Vermeer was his himself unremarkable in many ways.
弗美尔在许多方面毫不起眼
He was born in 1632 in the small but beautiful city of Delft,
他于1632年在小而美丽的城市代尔夫特出生
where his father was a modestly successful art dealer-cum-innkeeper.
他父亲是当地一个小有成就的画商兼旅馆老板
He stayed there most of his life.
他大半生都居住在那里
He never travelled away from Delft after his marriage at age 20.
他在20岁时结了婚 此后从未离开过代尔夫特
He hardly even left his pleasant home.
他甚至很少离开他那舒适的家
He and his wife, Catharina, had 11 surviving children
他和他妻子卡特琳娜有11个存活的孩子
and he did much of his painting from the rooms on the upper floor. (Modeled after Catharina)
他的大部分画都是在楼上的房间创作的
Vermeer was a slow painter, partially because he was not only a painter.
弗美尔作画挺慢 部分原因是他不仅仅是个画家
He continued the family businesses of art dealing and innkeeping
他继续操持着售画和旅店的家族生意
and he also became head of the local guild of painters.
他同时还是当地画家行会的领袖
In contemporary terms, his career was not a huge success.
即使在那个时代 他的成功也称不上“巨大”
He wasn’t especially famous, and he didn’t make a lot of money.
他并不是特别出名 也没有赚到大笔的钱
He was in fact an exemplary member of what was,in those days,
他实际上是当时新兴阶层
a newly important kind of person: the middle-class individual.
中产阶级个人的杰出代表
Vermeer was in his teens when Holland, or technically, the seven provinces,
当荷兰(严格来说是联省共和国)独立
became an independent state – the first ‘bourgeois republic’ in the world.
成为首个资产阶级共和国时 弗美尔正处在青少年时代
In contrast to the semi-feudal aristocratic nations that surrounded it,
与周围半封建的贵族制国家形成对照的是
Holland gave honour and political power to people who were not at the pinnacle of society:
荷兰将荣誉和政治权力授予非上层阶级民众
to merchants, administrators, prosperous artisans and entrepreneurs.
包括商人 行政长官 熟练技工和企业家
It was the first country in the world to be recognisably modern.
荷兰被认为是世界上第一个现代国家
In this era, a great insight of Christianity
一种可轻易地从相关神学体系中剥离的
– one which is easily detachable from the surrounding theology –
基督教伟大思想在那个时代
became increasingly relevant: that everybody’s inner life is important,
逐渐发挥着重大作用:每个人的内心生活都十分重要
even if on the outside they do not seem particularly distinguished.
尽管表面上他们不特别引人注目
Vermeer paints ‘The Girl with the Pearl Earring’ with the same kind of consideration.
怀着这种思想 弗美尔创作了《戴珍珠耳环的少女》
[The Girl with the Pearl Earring, 1665] She isn’t anybody famous or important
她既不是社会名流 也不是重要人物
She isn’t rich.
她并不富裕
The earring that she wears is nice, but it is a minor trinket by the eye of the fashionable world.
她戴的耳环还算漂亮 但在上流社会人士看来不值一提
It is the one pricey thing she owns.
这却是她所拥有的唯一昂贵物件
Yet she’s not in need of justice – she’s not downtrodden or badly treated.
她不需要别人为她主持正义 她既未受压迫又未被虐待
She is (for want of a better term) ordinary.
准确来说 她很平凡
Yet she is, like everyone, not in the least ordinary.
她也跟大家一样 不是平凡中最平凡的那个
she is uniquely, profoundly, and mysteriously, herself.
她是那个独特 完全而神秘的自己
The picture which best sums up Vermeer’s philosophy, The Little Street,
画作《小街》最好地诠释了弗美尔的思想
has become one of the most famous works of art in the world.
它是世界上最著名的绘画之一
It has pride of place in Amsterdam’s great Rijksmuseum,
它是阿姆斯特丹国家博物馆的代表藏品
it is insured for perhaps half a billion euros
博物馆给它投了大约五亿欧元的保险
and is the subject of a mountain of learned articles.
还有大量的学术文章以它为研究主题
Yet the painting is pointedly out of synch with its status.
这幅画本身与它的名声极不协调
Because, above all else, it wants to show us that the ordinary can be very special.
尤其是因为它试图向我们展示平凡生活的特殊之处
The picture says that looking after a simple but beautiful home,
这幅图景告诉我们 照看一个朴素但美丽的家
cleaning the yard, watching the children, darning cloth
清扫院子 注视孩子 织补衣服
– and doing these things faithfully and without despair –
诚心诚意且平和放松地做这些事
is life’s real duty.
是生活的真正意义
It is an anti-heroic picture:
这是一幅反英雄的画
a weapon against false images of glamour.
它是一把对抗虚假的辉煌画面的武器
It refuses to accept that true glamour depends on
它不接受只有干出英勇事业和取得较高地位
amazing feats of courage or on the attainment of status.
才能算上辉煌的说法
It argues that doing the modest things, that are expected of all of us, is enough.
它主张说 完成那些人人都有望做到的事情就已足够
Vermeer did not live long.
弗美尔并不长寿
He died in 1675, still only in his early forties.
1675年 他才四十出头就去世了
But he had communicated a crucial – and hugely sane – idea:
但他向我们传达了一个至关重要而理智清醒的认识:
much of what matters to us is not exciting, urgent, dramatic or special things.
重要的事大都不那么激动人心和紧迫 引人注目或特殊
Most of life is taken up with things that are routine, modest, humble,
我们生活的绝大部分都被毫不起眼的日常小事占据
and (to be honest) a touch dull.
老实说 是触手可及的无聊杂事
Our culture should focus on getting us to appreciate
我们的文化应当致力于教会我们欣赏
the average, the ordinary and the everyday.
平凡的 普通的和日常的生活
When Vermeer painted his hometown he didn’t choose a special day,
弗美尔描绘他的家乡时 他并没有选择一个特殊日子
the sky is neither very overcast nor especially sunny.
天空既不十分阴暗 也不特别晴朗
[View of Delft, 1660-1] Nothing is happening. There are no celebrities around.
没有重要事件发生 周围没有著名人士
Yet it is, as he has taught us to recognise,
但他教会我们意识到
(it is)all very special indeed.
这一切都是真正独一无二的

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视频概述

介绍了荷兰黄金时代最伟大的画家弗美尔的主要画作如《倒牛奶的女仆》《戴珍珠耳环的少女》《小街》以及主要思想:真正辉煌的不是上层阶级的高雅生活,而是每个人平平凡凡的日常。

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视频来源

https://www.youtube.com/watch?v=9kfeWpLry3U

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