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波提切利《维纳斯的诞生》

Great Art Explained: Botticelli's Birth of Venus

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《维纳斯的诞生》桑德罗·波提切利 1485
Sandro Botticelli’s poetic sense of beauty
桑德罗·波提切利富有诗意的美感
captivated the Florentine court,
吸引了佛罗伦萨宫廷
but it was his subject matter which distinguished him from other artists.
但使他脱颖而出的却是他的艺术主题
He was one of the first Western artists since Classical times,
他是古典时期以来第一批描绘
to depict non-religious scenes.
非宗教场景的西方艺术家之一
The idea that art could be for pleasureand not just to serve God,
艺术不仅服务宗教也可以为了娱乐的观点
was new and radical.
新颖且激进
When Botticelli revealed his latest painting in Florence in 1485,
1485年波提切利在佛罗伦萨发表新作
he also revealed a dramatic shift in western art.
同时也展示了西方艺术的巨变
Botticelli’s inclusion of a near-life-sized female nude
波提切利画里真人比例的女性裸体
was unprecedented in Western art.
在西方艺术史上从未出现过
This wasn’t Eve being expelled from the Garden of Eden,
他画的不是被驱赶出伊甸园的夏娃
shamed by her nudity.
因赤裸而感到羞耻
It wasn’t the naked hordes sent to Hell in Dante’s Inferno.
也不是但丁《地狱》中被放逐到地狱的裸体罪人
In fact this wasn’t nudity as a symbol of shame at all
实际上他所画的裸体根本不是羞耻的象征
—or even sin—or wickedness.
更不是罪恶或邪恶的象征
This was a celebration of the naked human form;
这是对裸体的颂扬
this was a celebration of sex.
是对性的礼赞
《名作解释》
1. 文艺复兴早期
Renaissance translates as “Rebirth”
文艺复兴意为“重生”
and although dates are debatable,
虽然时间饱含争议
we can start in Florence around the 14th century,
但我们可以从14世纪左右的佛罗伦萨谈起
when a renewed interest in ancient Greco-Roman culture
此时人们重燃起对古希腊罗马文化的兴趣
led to an intellectual and artistic rebirth,
这带来了知识和艺术的新生
a rise in Humanist philosophy,
人文主义哲学的兴起
and radical changes in ideas about religion, politics and science.
以及宗教 政治 科学观念的颠覆
Ideas that would turn art on its head.
这些想法将使艺术发生翻天覆地的变化
New ways of thinking spread throughout Europe
受古典文化的启发
inspired by ancient cultures that focused less on religion
那些更少关注宗教 更多关注人类潜能的新思想
and more on the possible achievements of mankind.
传遍了整个欧洲
It was regarded as the beginning of the “individual”,
这被视为“个人”的开端
the end of the Middle Ages, and the start of modernity.
中世纪的尾声和现代的起点
In this period artists relied entirely on wealthy patrons.
这一时期 艺术家完全依靠富有的赞助人生活
Luckily for us the Medici banking family were the wealthiest of them all.
幸运的是 美第奇银行家族是其中最富有的
Botticelli’s patron was Lorenzo de’ Medici,
波提切利的赞助人是洛伦佐·德·美第奇
who dominated Florence’s political and cultural life.
他统御佛罗伦萨政界和文化界
He was a cultured, intelligent man,who spoke Latin and Greek.
他文雅聪慧 通晓拉丁语和希腊语
He was also a Humanist.
也是一位人文主义者
Renaissance Humanism was not anti-Christian or atheistic,
那时的人文主义不是反基督教或无神论
it was a revival of moral philosophy,
它其实是对道德哲学的复兴
a move to purify and renew Christianity,
对基督教进行净化和更新的行动
Rather than the “collective”, emphasis was placed on free will
比起“集体” 人文主义更强调自由意志
the value of individual human beings and their capacities.
人类的个体价值和他们的能力
Without this new way of thinking,
如果没有这种新的思维方式
it is doubtful we would have had artists like
很难说还会不会出现波提切利
Botticelli, Michelangelo and da Vinci.
米开朗基罗和达芬奇这样的艺术家
Humanism would radicalize art, artists and subject matter.
人文主义改变了艺术 艺术家和艺术题材
Botticelli would bridge the gap between Medieval Gothic art
波提切利使得新兴的人文主义
and the emerging Humanism.
与中世纪哥特艺术相连结
We can see the different styles in these two images.
在这两幅画中我们可以看到不同的风格
The first is late Gothic, the period that preceded the Renaissance.
第一幅是早于文艺复兴的晚期哥特式画作
It is heavily stylised and flat,
手法严重程序化 人物扁平
flesh tones are pallid,expressions are vacant and it is unemotional.
肤色苍白 神情空洞 毫无感情
The second, a work that inspired the young Botticelli,
第二幅启发了年轻的波提切利
shows three-dimensionality,
它显示出三维立体感
the figures are more human, more fleshy.
画中人物更人性化 更鲜活
Mary is a mother not just a saint,
玛利亚不仅是圣人 还是一位母亲
and Jesus is a realistic child.
而耶稣是一个栩栩如生的婴孩
It is an image we can relate to and empathise with.
这幅画能让我们理解和共情
It wasn’t just style though,
宗教艺术不仅是一种风格
religious art had dominated the medieval period
它还主导了整个中世纪
and the Renaissance gave artists like Botticelli
而文艺复兴给了波提切利等艺术家
freedom to explore new subject matters
探索新题材的自由
albeit within a Christian framework.
尽管仍在基督教框架之内
2.维纳斯的诞生
The island where Aphrodite—the Greek goddess of love
希腊爱神阿佛洛狄忒
was born out of sea spray on this very beach.
就在这片海滩上的海浪中诞生
The story of the goddess of love and beauty starts with a castration.
爱与美之女神的故事始于一次阉割事件
The god Saturn castrated his father Uranus
农神萨图恩把他父亲乌拉诺斯阉割了
and then threw his genitals into the sea.
并把他的生殖器扔进了大海
Out of the seafoam
在海水的泡沫中
an unbelievable beauty emerges fully formed—Venus.
一位绝世美人——维纳斯化成人形诞生了
The first thing to say is that the painting does not represent venus’s “actual birth”
首先说明 这幅画描绘的并不是她真正的诞生
but rather the next part of the story,
而是故事接下来的部分
when Venus arrives on the island of Cyprus on a shell.
维纳斯乘着贝壳来到了塞浦路斯岛
If we take the characters one by one,
我们来依次辨认这些人物
the male figure on the far left is Zephyr, warm spring winds.
最左边的男性是泽非罗斯 即春风之神
He is blowing Venus ashore.
他正把维纳斯往岸上吹
Zephyr is locked in an embrace with his wife Chloris,
他紧紧抱着的是他的妻子克罗斯
who herself is blowing gentle breaths.
克罗斯也在吹出和风
Roses fall around them—each with a golden heart.
金蕊玫瑰落在他们身旁
According to legend rose’s first grew at Venus’s birth.
传说玫瑰是在维纳斯出生时才第一次生长
We have seen both these characters before in the earlier mythological Venus painting
我们在波提切利更早的维纳斯神话画作《春》里
by Botticelli, “Primavera”,
已经看到过这两个人物形象
Zephyr raped Chloris and married her,
泽非罗斯强暴克罗斯后娶了她
and then turned her into Flora, the goddess of flowers.
然后把她变成了花神芙罗拉
A woman welcomes Venus with a red cloth covered in daisies.
一个女人拿着有雏菊花纹的红布迎接维纳斯
She is likely to be one of the “Horae”
她很可能是时序女神之一
or personifications of the seasons,
也就是四季的化身
summer in this case, as her dress is decorated with cornflowers and primroses,
在这里是夏天 因为裙子上有矢车菊和樱草花
and at her feet are anemones. All summer flowers.
脚下是银莲花 这些都是夏花
Hora wears a rose girdle and has a necklace of myrtle,
夏之女神系着玫瑰腰带 戴着桃金娘项链
a plant sacred to the goddess Venus,
桃金娘是维纳斯的一种神圣的植物
an aphrodisiac, and a symbol of love.
是春药 也是爱的象征
Then there is Venus herself,
接下来是维纳斯是本人
known as Aphrodite to the ancient Greeks.
也是古希腊著名女神阿佛洛狄忒
Botticelli has painted her twice before,
此前波提切利已经画过她两次了
for “Primavera” and “Venus and Mars”.
分别是《春》和《维纳斯和战神》
This time she is naked:
这次她是赤裸的
The first full female nude of a non-biblical character.
是第一个不在圣经中的裸体女性人物
Botticelli was probably inspired by an ancient marble statue
他的灵感大概来自美第奇家族收藏的
in the Medici’s collection,
一座古代大理石雕像
now known as the “Medici Venus”,
即如今著名的《美第奇维纳斯》
the first ever female nude sculpture in classical art.
那是古典艺术史上第一个裸体女性雕像
Her modest pose is known as “Venus Pudica”,
她羞怯的动作被称为“含羞维纳斯”
a stance where a nude female uses her right hand to cover her breast,
即裸体女性用右手遮住胸部
while her left hand tries to hide her pubic area.
用左手遮住私处
It is a pose that makes voyeurs of us all.
正是这个动作让我们所有人都像偷窥者
The word “Pudica” in latin not only means “genitalia”,
拉丁语里“Pudica”不仅代表“生殖器”
but also translates as “Shame”.
还被译为“羞耻”
We just don’t see this coy sexually suggestive pose with male statues,
不管是在古代还是文艺复兴时期
either in antiquity or during the Renaissance.
我们在男性雕塑上都看不到忸怩的性暗示动作
Naked men were associated with active heroism,
裸体男性总是和积极的英雄主义联系在一起
but women were passive sexual objects.
而裸体女性却是被动的性客体
In many ways the statue was a blueprint for a pose
多方面来说 这个雕塑是一个姿势的蓝图
that would have a cultural and artistic impact
将在接下来的2500年里
felt across western art for the subsequent two and a half thousand years.
对西方艺术产生文化和艺术的影响
The influence of sculpture on Renaissance painting
文艺复兴时期雕塑对绘画的总体影响
in general cannot be stressed enough.
再怎么强调也不为过
Venus is not only in a statue-like pose,
维纳斯不仅摆出了雕塑式姿势
but she has alabaster skin.
还拥有光洁的皮肤
She is unreal, an idealised figure not bound by natural laws.
她是不真实的 一个不受自然法则约束的理想化人物
Botticelli painted a dark line around the contours of her body
波提切利在她身周画了深色线条
making it easier to see her pale body against the equally pale background,
使人在同样白的背景下更容易看到她洁白的身体
and emphasizing the marble-like quality of her flesh.
突出她的肉体那大理石般的质感
Venus’s figure is elongated in the Gothic style,
维纳斯的身体按哥特式风格被拉长了
she appears graceful but she is not quite central
她看起来很优雅 但她并不在中心位置
and her weight isn’t evenly distributed.
而且她重心不稳
The shell would tip over if she placed her full weight
如果她像画里那样把重心放在边缘
on the edge like she does,
贝壳就会翻倒
but this is not the real world.
但这不是现实世界
It has been said that Venus has what is called “The Gothic sway”,
有人称维纳斯的姿势为“哥特式摆动”
a pre-Renaissance variation on the Contrapposto pose,
那是文艺复兴以前“对立式平衡”姿势的变体
which places the weight of the body on the forward stationary leg,
即把重心放在正对前方且静止不动的那条腿上
creating an elegant curved pose
形成一种优雅的弯曲造型
often seen in Madonna figures, a theme we will come back to.
这在圣母像中很常见 我们之后会回顾这个主题
The wind deities are in an impossible convoluted embrace
风神处在一种不现实的交缠拥抱姿态
and like all the characters,
他们像其他人物一样
appear weightless with very little depth.
看起来没有重量 也没有深度
They are all in the foreground, all on the same pictorial plane,
他们都在前景中 在同一图像平面
which creates an intense theatricality,
营造出一种强烈的戏剧感
and none of the figures cast shadows.
而且所有人物都没有形成阴影
This is not a mistake but heightened realism.
这并不是错误 而是加强的现实主义
If we compare this earlier painting by Botticelli
如果把波提切利早期的这幅作品
to The Birth of Venus,
和《维纳斯的诞生》相比
we see true realism—
我们能看到真正的现实主义
depth, shadowing and action taking place on different pictorial planes.
景深 阴影 和发生在不同图像平面的动作
As far as the devoutly Christian Botticelli was concerned
在虔诚的基督徒波提切利看来
his religious paintings were “actual reality”, history even,
他的宗教画作是“真正的现实” 甚至就是历史
and he painted them as such.
他就是如此作画的
Whereas with his mythological works,
然而对于他的神话作品
he is letting the viewer know “stylistically” that
他让观众从作品的风格中了解到
what they are looking at is a product of imagination.
他们看到的是想象的产物
What we are seeing here, is movement and energy not seen before.
我们在这里看到的是从未见过的运动与能量
Venus, pushed by the wind is about to step off her shell onto the shore.
维纳斯被风推动着将要离开贝壳上岸
Her hair is blowing in the wind;
风吹拂她的头发
the Hora rushes forward with a billowing cloak;
夏之女神冲上前来 手中的斗篷在风中鼓起
roses fly through the air;
玫瑰在空中飞舞
the orange trees rustle and drapery flaps around the bodies.
橘子树沙沙作响 衣服在身周摆动
It is a movement and energy found on ancient Roman reliefs.
这是古罗马浮雕上发现的运动和能量
Then there is the background.
接下来看背景
In contrast with all the flowers that surround the four characters,
与围绕在四个人物周围的花朵相比
the little bays we see along the shore are pretty barren.
岸边的小海湾显得格外荒凉
The suggestion is that once Venus steps ashore,the land will blossom.
这表示一旦维纳斯上岸 陆地就会开花
Botticelli is not interested in replicating nature, but rather in creating a dreamscape.
波提切利不愿意复制自然 而喜欢创造幻境
The contrast between the green of the sea and the paleness of venus is wonderful.
海的碧绿与维纳斯的洁白形成一种反差美
The waves are mere gestures—a flick of the wrist.
水波的涟漪 好似手腕轻轻一抖
The flowering orange grove references the sacred garden of Hesperides in Greek myth.
开花的橘林参考了希腊神话里神圣的金苹果园
The detailing is exquisite, every blossom is tipped with real gold.
细节设计精妙 每朵花蕊都用真金点缀
which is used throughout the painting for highlights.
全画同样使用了真金来提亮
Botticelli trained as a goldsmith before he took up painting
在成为画家前 波提切利曾受过金匠训练
and his strong outlines and ornamented decorative elements reflect that.
从作品清晰的轮廓和精美的装饰元素中可见一斑
There is a peculiar detail in the painting which is these bulrushes.
画里有个奇怪的细节 就是这些芦苇
Out of place as they don’t grow in salt water.
它们不在咸水里生长 不该出现在这里
It is almost certainly a subtle phallic reference
所以这极有可能隐晦地象征着阴茎
to the discarded member of Uranus that created Venus.
也就是创造了维纳斯的乌拉诺斯被丢弃的部位
An in-joke for those clever Florentines.
那是聪明的佛罗伦萨人的内部笑话
3. 基督教维纳斯
When botticelli painted The Birth of Venus,
波提切利画《维纳斯的诞生》时
approximately 10 percent of western paintings were non-religious,
大约10%的西方画作是非宗教题材
and of that 10 percent the vast majority were portraits.
且那10%的大部分是肖像画
Mythological paintings were a whole new art form,
神话画在当时是个新形式
so it makes sense that a devout Christian like Botticelli
所以不难理解像波提切利这样虔诚的基督徒
would incorporate familiar references.
会在画作中加入熟悉的元素
Botticelli knew the philosopher and priest Marcilio Ficino
波提切利结识了马尔西利奥·费奇诺
whose mission was to combine ancient philosophy with Christianity.
一个志在融合古典哲学和基督教的哲学家兼牧师
His idea of a “Celestial Venus”
他认为维纳斯是“天界女神”
as opposed to the pagan goddess,
反对把她视为异教女神
had her as a stand-in for charity and love.
并把她视为慈悲和爱的化身
I don’t think it is a disguised Christian allegory,
我认为这并非一个伪基督寓言
but in art history terms there are familiar references that are worth examining.
但在艺术史上 有很多值得考究的作品
If we look at this standard composition of the Baptism of Christ,
看看这幅《耶稣受洗》中的标准构图
you can see what I mean.
你就能明白我的意思
Ghiberti’s work had a semi-naked figure in the middle,
吉贝尔蒂的作品中间是一个半裸人物
two flying angels on the left,
左边有两个飞翔的天使
and John the baptist with an outstretched hand.
还有伸出手的施洗者约翰
In this baptism we see the same almost nude,
在受洗图中 我们看到近乎相同的形象
motionless figure in the centre,
中间是裸体的 静止不动的人物
a pair on the left hand side and once again
左边有两个配角
John the Baptist echoing the Hora.
另外 施洗者约翰对应着夏之女神
Then we can look at this painting of the Virgin Mary, Botticelli painted a couple of years later.
现在看波提切利几年后画的这幅圣母像
It has a comparable composition,
它也出现了类似的构图
the two women are strikingly similar,
这两个女人惊人地相似
and it would appear that he used the same model.
看起来就像是他用了同一个模特
Mary, like Venus, is dominated by the scallop shell.
圣母和维纳斯一样被贝壳控制
In christian symbolism it represents “Baptism” and “Resurrection”.
这在基督教义里象征着“洗礼”和“复活”
In pagan symbolism
在异教教义里
the shell is a representation of fertility or female sexual organs.
贝壳象征着生育能力或女性性器官
It is entirely possible that
所以很有可能
Botticelli was depicting Venus as
波提切利把维纳斯描绘成
an emblem of sacred or divine love.
神的象征或神圣的爱
A familiar Renaissance trope.
这是文艺复兴的常见主题
Part of Botticelli’s genius
他的天才之处在于
was to take a pagan story, a nude female,
他画的是异教故事和裸体女性
and make them acceptable to contemporary Christian thinking.
却能被当时的基督教思想接受
4. 技法
In this period paintings were generally done on wooden panels,
这一时期的大部分画是木板画
but this is on canvas,
但这幅是在画布上画的
suggesting the painting was almost certainly made for a country villa, rather than a townhouse.
这意味着委托人住在乡间别墅而非城市
Canvas was cheaper, easier to transport and was considered less formal.
画布更便宜 运输更简单 但不够正式
It was originally painted on two separate canvases
这幅画原本画在两块分开的画布上
which were then stitched together.
然后缝合在一起
Botticelli used the egg tempera technique for The Birth of Venus,
《维纳斯的诞生》是用蛋彩技法创作的
a primary method of painting until after 1500
这在1500年之前一直是主要画法
when it was superseded by oil painting.
之后被油画取代
First you break an egg yolk into a container,
首先打碎一个鸡蛋并把蛋黄放进容器里
then you add some water to make it easier to use,
然后加点水方便之后使用
you dilute your pigment with water, and add it to the egg yolk.
加水稀释色素 然后把它放进蛋黄里
Different quantities for different applications.
用途不同用量不同
For the body of Venus, Botticelli used a very thin layer of tempura,
波提切利用一层薄蛋彩给维纳斯的身体上色
giving more luminosity and a pronounced radiant appearance.
这样亮度更高 外观更有光泽
Tempura was perfect for Botticelli’s paintings,
蛋彩以线条和形状的精美质感著称
which are known for their elegant qualities of line and shape.
很适合波提切利的画作
Rather than shading wet-on-wet which you cannot do with tempura,
不像不能用蛋彩的湿画法
you can see how the golden colour of Venus’s hair
你能看到维纳斯的金发
is achieved by light and dark rhythmic lines to suggest texture.
如何通过明暗相间的线条显示出它的质地
He also added pure gold highlights.
他还加了纯金高光
Here you can see he used delicate cross hatching
你能看到他在这里使用了精细的交叉影线
rather than the blending you would get with oil painting.
而不是油画里的晕染技法
Tempura is a difficult technique,
蛋彩技法很难
but centuries later artists still use it.
但艺术家们几百年后仍在使用它
So why?
为什么?
Because it has a graphic quality and a luminosity you don’t get in oil,
因为它的图像质感和光泽度是油画所不具备的
and unlike oil paint it will not yellow or fade.
而且也不像油画那样会发黄褪色
The egg dries to form a solid protective coat,
蛋液干了会形成一层坚硬的保护膜
so colour remains clear bright and pure over time.
所以岁月流逝 色彩却依旧明亮干净
5. 委托
We don’t know for sure who commissioned the Birth of Venus
我们不知道是谁委托了《维纳斯的诞生》的创作
but it was probably the de-facto ruler of Florence, Lorenzo de’ Medici
但很可能是佛罗伦萨实际掌权者洛伦佐·美第奇
and destined for the Medici villa Castello.
为美第奇家族的别墅庄园预定的
Primavera was commissioned by Lorenzo
《春》是洛伦佐委托创作的
as a wedding gift for his cousin, also called Lorenzo,
作为新婚礼物送给同名的侄子
and in 1550 the art historian Giorgio Vasari
1550年艺术史学家乔尔乔·瓦萨里
saw both paintings at the villa,
在别墅里看到了这两幅画
so it’s a strong possibility
所以很有可能
the Birth of Venus was commissioned as a companion piece
《维纳斯的诞生》是和《春》这幅新婚礼物
to Primavera—a wedding gift.
一起被委托的
The paintings show two very different aspects of Venus
这两幅画展示了两种风格迥异的维纳斯
but both are in line with Renaissance thinking.
但都符合文艺复兴时期的思想
The aforementioned philosopher and theologian Marcilio Ficino
之前提到的马尔西利奥·费奇诺
described Venus’s “Dual nature”
把维纳斯的“双重性”解释为
as both the celestial goddess that inspired intellectual love,
激发理性之爱的天上女神
and the earthly goddess that celebrated the power of procreation.
和赞颂生育能力的尘世女神
And I think “procreation” is the key to this painting.
且我认为“生育”是这幅画的要旨
Noble families like the Medici didn’t marry for love.
美第奇这种贵族家庭结婚不是为了爱情
They married for power,
而是为了权力
accelerated by important arranged marriages.
重要的包办婚姻加速了他们的婚姻进程
The function of women was their ability to procreate,
女人的职责是生育
and the new bride’s arrival into the Medici bed chamber
新娘嫁入美第奇家族
is paralleled by the arrival of Venus on Cyprus,
就像维纳斯到达塞浦路斯
who will bring life to a barren island.
给荒岛带来了生命
So in a way
因此从某种意义上说
the birth of venus is an image celebrating “Sex”,
《维纳斯的诞生》是一幅赞美“性”的画作
but not in an erotic or sensual way.
但并非以色情肉欲的方式
I’ve always been struck by how venus is strangely “asexual”
我常震惊于她那不可思议的“无性别感”
and her nudity is clinical.
她的裸体是冷淡的
And maybe that’s because she represents sex as a necessary function.
这或许是因为她把性表现成了必要的功能
Sex for procreation, the ultimate goal in a dynastic marriage.
在王室婚姻里 性的最终归宿是生育
6.虚荣之火
On february the 7th, 1497
1497年2月7日
a huge bonfire was lit in the centre of Florence.
佛罗伦萨市中心燃起了熊熊篝火
Books on poetry and classical texts were burned,
诗歌 典籍 画作 雕塑 化妆镜和乐器
along with paintings, sculptures, mirrors and musical instruments.
全被焚毁
Anything considered frivolous was burned.
任何被视为轻浮的东西都被焚毁了
Florence had fallen under the spell of the extraordinary
佛罗伦萨在多明我会教士
Dominican friar Geronimo Savonarola,
吉罗拉莫·萨沃纳罗拉的诅咒下衰落了
whose “fire and brimstone” sermons mesmerized thousands in the city.
他的布道“地狱之火”吸引了上千市民
After a 60-year reign,
在长达60年的统治后
the powerful Medici family had been driven out of Florence by a mere priest.
权贵美第奇家族被区区一个教士逐出了佛罗伦萨
One who was determined to
教士下定决心
rid the city of the Medici’s “sinful” influence.
要让这座城市摆脱这个家族的“罪恶”影响
One of Savonarola’s most enthusiastic followers was Botticelli,
波提切利是萨沃纳罗拉最狂热的信徒之一
who according to some, willingly threw some of his own paintings into the bonfire.
据说他自愿把自己的一些画作扔进了大火
We are fortunate that his greatest mythological works survived,
幸运的是他最伟大的神话作品留存下来了
only because they were held at the Villa de Castello,
仅是因为它们被保存在别墅城堡
beyond the reach of both Savonarola’s followers and Botticelli himself.
萨沃纳罗拉的信徒和波提切利自己都进不去
After Savonarola’s death,
萨沃纳罗拉死后
Botticelli was increasingly seen as old-fashioned and irrelevant.
波提切利越来越被视为无关紧要的守旧派
Commissions dried up,
没有人再委托他画画
and it was the beginning of a sad decline into obscurity.
这是他悲哀地沦为无名之辈的开始
He was at the height of his powers when he painted The Birth of Venus,
他创作《维纳斯的诞生》时正处于巅峰
but by the time of his death in 1510, he was all but forgotten.
而1510年离世时 已完全被世人遗忘
The Medici’s had moved on to a new generation of artists.
美第奇家族后来转向了新一代艺术家
With The Birth of Venus,
凭借着《维纳斯的诞生》
Botticelli really did produce a work of art that was revolutionary,
波提切利确实创造出了一幅极具革命性的
a work that changed the course of art history,
改变了艺术史进程的
and one that still looks intensely modern to 21st century eyes.
即使用21世纪的眼光看都非常现代的画作
In fact The Birth of Venus is as influential now
实际上《维纳斯的诞生》现在还像五百年前一样
as it was five centuries ago.
极具影响力
It is one of the most recognisable images in the world.
它是世界上最具辨识度的图像之一
The ancient Gods may have given birth to Venus,
或许是古代众神孕育了维纳斯
but Botticelli gave her life.
但波提切利给了她生命

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译制信息
视频概述

文艺复兴时期意大利画家波提切利的作品《维纳斯的诞生》赏析。

听录译者

收集自网络

翻译译者

星辰

审核员

审核员DJS

视频来源

https://www.youtube.com/watch?v=DtaVAml0WcQ

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