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Elizabeth Lev: The unheard story of the Sistine Chapel
伊丽莎白·列弗: 西斯廷教堂里未知的故事
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西斯廷教堂是世界上最标志性的建筑之一，但是可能很多人都不知道它的故事。在这场精心准备的演讲中，艺术史学家伊丽莎白·列弗带我们欣赏了教堂著名的穹顶画作并介绍了米开朗基罗是如何超脱当时宗教画像进行全新的艺术创作的。直到五百年后，西斯廷教堂仍然像一面镜子一样让我们扪心自问：“我是谁？我在这浮浮众生中扮演什么角色？”
Elizabeth Lev - Art historian
Elizabeth Lev's experience studying and teaching art has led her to believe that when we encounter something beautiful, we are made vulnerable and opened to the truth. Full bio
Elizabeth Lev's experience studying and teaching art has led her to believe that when we encounter something beautiful, we are made vulnerable and opened to the truth. Full bio
Double-click the English transcript below to play the video.
00:12
Imagine you're in Rome,
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想象你在罗马，
00:14
and you've made your way
to the Vatican Museums.
to the Vatican Museums.
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你来到了梵蒂冈博物馆
00:18
And you've been shuffling
down long corridors,
down long corridors,
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你走过无数的长廊，
00:21
past statues, frescoes,
lots and lots of stuff.
lots and lots of stuff.
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经过雕塑，壁画，
和好多好多艺术品
和好多好多艺术品
00:26
You're heading towards the Sistine Chapel.
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你正在前往西斯廷教堂。
00:28
At last -- a long corridor,
a stair and a door.
a stair and a door.
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终于，一条长廊，
一段阶梯，和一扇门。
一段阶梯，和一扇门。
00:34
You're at the threshold
of the Sistine Chapel.
of the Sistine Chapel.
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你在西斯廷教堂的入口。
00:37
So what are you expecting?
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你觉得你会看见什么？
00:38
Soaring domes? Choirs of angels?
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高耸的圆顶？欢歌的天使？
00:41
We don't really have any of that there.
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这些在西斯廷教堂都不存在。
00:44
Instead, you may ask yourself,
what do we have?
what do we have?
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反之，你可能会问，我们有什么？
00:48
Well, curtains up on the Sistine Chapel.
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当西斯廷教堂的幕布拉开。
00:50
And I mean literally, you're surrounded
by painted curtains,
by painted curtains,
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我的意思是，
你真的是被着色的幕布环绕，
你真的是被着色的幕布环绕，
00:53
the original decoration of this chapel.
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这是这座教堂最初的装饰。
00:56
Churches used tapestries not just
to keep out cold during long masses,
to keep out cold during long masses,
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教堂用壁毯不仅仅
是为了在长时间聚会时防寒,
是为了在长时间聚会时防寒,
01:00
but as a way to represent
the great theater of life.
the great theater of life.
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它们也象征着我们的戏剧人生。
01:04
The human drama in which each one of us
plays a part is a great story,
plays a part is a great story,
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我们每个人都参与的人类的戏剧
是一个宏大的故事
是一个宏大的故事
01:09
a story that encompasses the whole world
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一个包罗万象的故事。
01:12
and that came to unfold
in the three stages
in the three stages
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而这个故事在
绘画西斯廷教堂的三个阶段
绘画西斯廷教堂的三个阶段
01:15
of the painting in the Sistine Chapel.
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都有所呈现。
01:18
Now, this building started out
as a space for a small group
as a space for a small group
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最开始，这个建筑只被一小群
01:21
of wealthy, educated Christian priests.
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富有并且受过教育的基督教牧师使用。
01:24
They prayed there.
They elected their pope there.
They elected their pope there.
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他们在那里祷告，
在那里选举教皇。
在那里选举教皇。
01:27
Five hundred years ago,
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五百年前，
01:28
it was the ultimate
ecclesiastical man cave.
ecclesiastical man cave.
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它是神职人员的首要洞庭。
01:31
So, you may ask, how can it be
that today it attracts and delights
that today it attracts and delights
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那么，你也许会问，它如今怎么能
01:37
five million people a year,
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一年就吸引五百万
01:40
from all different backgrounds?
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来自世界各地的人呢？
01:42
Because in that compressed space,
there was a creative explosion,
there was a creative explosion,
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因为那狭小空间里创意被
01:46
ignited by the electric excitement
of new geopolitical frontiers,
of new geopolitical frontiers,
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新地理政治前沿瞬间的激情所点燃，
01:51
which set on fire the ancient
missionary tradition of the Church
missionary tradition of the Church
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教堂古老的传教传统
熊熊燃烧创意的火焰，
熊熊燃烧创意的火焰，
01:56
and produced one of the greatest
works of art in history.
works of art in history.
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创造出历史上
最伟大的艺术作品之一。
最伟大的艺术作品之一。
02:00
Now, this development took place
as a great evolution,
as a great evolution,
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这是一个巨大的变革，
02:04
moving from the beginning of a few elite,
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从最开始的少数精英参与，
02:07
and eventually able to speak
to audiences of people
to audiences of people
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到最后能够与世界各地的观众
02:10
that come from all over the world.
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进行交流。
02:13
This evolution took place in three stages,
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这样的变革经历了三个阶段
02:16
each one linked
to a historical circumstance.
to a historical circumstance.
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每个阶段都和不同的历史环境有关。
02:19
The first one was rather limited in scope.
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第一阶段的改变受到事业的局限
02:21
It reflected the rather
parochial perspective.
parochial perspective.
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它反映的更多是地方的观点。
02:24
The second one took place after
worldviews were dramatically altered
worldviews were dramatically altered
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第二阶段发生在人们的世界观
被显著地改变之后，
被显著地改变之后，
02:28
after Columbus's historical voyage;
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在哥伦布著名的航行之后。
02:31
and the third,
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第三阶段，
02:32
when the Age of Discovery
was well under way
was well under way
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是在探索发现时代早已开始后，
02:35
and the Church rose to the challenge
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在教堂开始应对
02:38
of going global.
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面向全球的挑战时。
02:40
The original decoration of this church
reflected a smaller world.
reflected a smaller world.
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这个教堂最开始的装饰
反映的是一个小世界
反映的是一个小世界
02:44
There were busy scenes
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到处都是繁忙的景象
02:45
that told the stories of the lives
of Jesus and Moses,
of Jesus and Moses,
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处处讲述着耶稣和摩西的故事
02:49
reflecting the development
of the Jewish and Christian people.
of the Jewish and Christian people.
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展现犹太教和基督教的发展。
02:53
The man who commissioned this,
Pope Sixtus IV,
Pope Sixtus IV,
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花钱定制这画的人
是教皇席斯特六世，
是教皇席斯特六世，
02:56
assembled a dream team of Florentine art,
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他组建了一个
弗洛伦萨艺术的梦之队，
弗洛伦萨艺术的梦之队，
02:59
including men like Sandro Botticelli
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包括桑德罗·波提且利，
03:02
and the man who would become
Michelangelo's future painting teacher,
Michelangelo's future painting teacher,
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和后来成为
米开朗基罗绘画老师的人，
米开朗基罗绘画老师的人，
03:05
Ghirlandaio.
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基尔兰达约。
03:07
These men, they blanketed the walls
with a frieze of pure color,
with a frieze of pure color,
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这些人，他们在雕带上先覆盖纯色
03:12
and in these stories you'll notice
familiar landscapes,
familiar landscapes,
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之所以这些故事中
你能看见熟悉的风景
你能看见熟悉的风景
03:16
the artists using Roman monuments
or a Tuscan landscape
or a Tuscan landscape
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是因为艺术家们用了罗马的纪念碑，
或是托斯卡纳的风光
或是托斯卡纳的风光
03:20
to render a faraway story,
something much more familiar.
something much more familiar.
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用熟悉的背景让
一个遥远的故事更为大家所接受。
一个遥远的故事更为大家所接受。
03:23
With the addition of images
of the Pope's friends and family,
of the Pope's friends and family,
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再加上教皇朋友和家人的头像，
03:27
this was a perfect decoration
for a small court
for a small court
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这样的装饰对于一个
欧洲大陆里的一个小庭院来说
欧洲大陆里的一个小庭院来说
03:29
limited to the European continent.
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堪称完美。
03:32
But in 1492, the New World was discovered,
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但是在1492年，
新大陆被发现了，
新大陆被发现了，
03:37
horizons were expanding,
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地平线在扩张，
03:39
and this little 133 by 46-foot
microcosm had to expand as well.
microcosm had to expand as well.
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这个小小的133×46英尺的
小宇宙也必须要扩张。
小宇宙也必须要扩张。
03:45
And it did,
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它成功了。
03:46
thanks to a creative genius,
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这要感谢一个有创意的天才，
03:48
a visionary and an awesome story.
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一个幻想家和一个棒极的故事。
03:52
Now, the creative genius
was Michelangelo Buonarroti,
was Michelangelo Buonarroti,
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这个创意天才是
米开朗基罗·波纳罗蒂，
米开朗基罗·波纳罗蒂，
03:54
33 years old when he was tapped
to decorate 12,000 square feet of ceiling,
to decorate 12,000 square feet of ceiling,
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被要求装饰12000尺的屋顶时，
米开朗基罗已经33岁了
米开朗基罗已经33岁了
03:59
and the deck was stacked against him --
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而且面临着重重困难
04:01
he had trained in painting
but had left to pursue sculpture.
but had left to pursue sculpture.
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他为了雕刻离开了学习多年的绘画，
04:04
There were angry patrons in Florence
because he had left a stack
because he had left a stack
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还留了一系列未完成的作品，
04:07
of incomplete commissions,
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这在佛罗伦萨惹怒了许多顾客,
04:09
lured to Rome by the prospect
of a great sculptural project,
of a great sculptural project,
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他被一个宏大的
雕塑工程吸引到罗马，
雕塑工程吸引到罗马，
04:12
and that project had fallen through.
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可那工程却失败了。
04:15
And he had been left with a commission
to paint 12 apostles
to paint 12 apostles
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剩下给他的项目
是为西斯廷教堂屋顶的
是为西斯廷教堂屋顶的
04:18
against a decorative background
in the Sistine Chapel ceiling,
in the Sistine Chapel ceiling,
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装饰背景画上十二信徒，
04:21
which would look like
every other ceiling in Italy.
every other ceiling in Italy.
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这样的屋顶装饰在意大利遍地都是。
04:25
But genius rose to the challenge.
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不过天才接受了挑战。
04:27
In an age when a man dared
to sail across the Atlantic Ocean,
to sail across the Atlantic Ocean,
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在有人敢于横跨大西洋的时代，
04:30
Michelangelo dared to chart
new artistic waters.
new artistic waters.
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米开朗基罗勇敢地
开辟了艺术新海域。
开辟了艺术新海域。
04:35
He, too, would tell a story --
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他描述了一个没有信徒故事
04:37
no Apostles -- but a story
of great beginnings,
of great beginnings,
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这是一个讲述伟大的开始的故事，
04:40
the story of Genesis.
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创世纪的故事。
04:43
Not really an easy sell,
stories on a ceiling.
stories on a ceiling.
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在天花板上画故事，
这听起来并不是一个好主意
这听起来并不是一个好主意
04:46
How would you be able to read
a busy scene from 62 feet below?
a busy scene from 62 feet below?
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你怎么能读一个
62尺高屋顶上的故事呢？
62尺高屋顶上的故事呢？
04:50
The painting technique that had been
handed on for 200 years
handed on for 200 years
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在弗罗伦萨手手相传了
200年绘画技术
200年绘画技术
04:53
in Florentine studios was not equipped
for this kind of a narrative.
for this kind of a narrative.
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并不足够完成这样的描绘。
04:57
But Michelangelo wasn't really a painter,
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不过米开朗基罗并不算一个画家，
05:00
and so he played to his strengths.
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他展现了他的独到的能力。
05:02
Instead of being accustomed
to filling space with busyness,
to filling space with busyness,
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他用了锤子和凿子来雕刻一块大理石
05:06
he took a hammer and chisel
and hacked away at a piece of marble
and hacked away at a piece of marble
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在大理石内部创造人物，
05:10
to reveal the figure within.
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而不是习惯性的把空间填满。
05:12
Michelangelo was an essentialist;
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米开朗基罗是一个本质主义；
05:14
he would tell his story
in massive, dynamic bodies.
in massive, dynamic bodies.
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他要用大量的，动态的身体
来讲他的故事。
来讲他的故事。
05:19
This plan was embraced
by the larger-than-life Pope Julius II,
by the larger-than-life Pope Julius II,
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这个计划
被与众不同的教皇儒略二世支持，
被与众不同的教皇儒略二世支持，
05:24
a man who was unafraid
of Michelangelo's brazen genius.
of Michelangelo's brazen genius.
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他是一个可以理解米开朗基罗
惊世骇俗的才能的人。
惊世骇俗的才能的人。
05:27
He was nephew to Pope Sixtus IV,
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他是教皇西克斯图斯四世的侄子，
05:29
and he had been steeped in art
for 30 years and he knew its power.
for 30 years and he knew its power.
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在艺术中浸泡了30年的他
知道艺术的力量。
知道艺术的力量。
05:33
And history has handed down the moniker
of the Warrior Pope,
of the Warrior Pope,
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历史上的他被人称作"战士教皇"，
05:36
but this man's legacy to the Vatican --
it wasn't fortresses and artillery,
it wasn't fortresses and artillery,
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不过他在梵蒂冈留下的
不是堡垒和大炮，
不是堡垒和大炮，
05:40
it was art.
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而是艺术。
05:42
He left us the Raphael Rooms,
the Sistine Chapel.
the Sistine Chapel.
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他给我们留下了
拉斐尔厅，西斯廷教堂,
拉斐尔厅，西斯廷教堂,
05:44
He left St. Peter's Basilica
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他留下了圣彼得大教堂,
05:46
as well as an extraordinary collection
of Greco-Roman sculptures --
of Greco-Roman sculptures --
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还有非凡的希腊罗马雕塑收藏
05:52
decidedly un-Christian works
that would become the seedbed
that would become the seedbed
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这些非基督教作品后来成为了
05:56
of the world's first modern museum,
the Vatican Museums.
the Vatican Museums.
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世界上第一个现代博物馆，
梵蒂冈博物馆的发源。
梵蒂冈博物馆的发源。
06:00
Julius was a man
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在教皇儒略
06:02
who envisioned a Vatican
that would be eternally relevant
that would be eternally relevant
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设想的蓝图中，
梵蒂冈永不过时
梵蒂冈永不过时
06:06
through grandeur and through beauty,
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它的庄严和美丽永远吸引着众人
06:08
and he was right.
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他是对的。
06:09
The encounter between these two giants,
Michelangelo and Julius II,
Michelangelo and Julius II,
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米开朗基罗和教皇儒略二世，
这两个伟人的相遇
这两个伟人的相遇
06:14
that's what gave us the Sistine Chapel.
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成就了我们如今的西斯廷教堂。
06:17
Michelangelo was so committed
to this project,
to this project,
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米开朗基罗对这个工程的热忱
06:20
that he succeeded in getting the job done
in three and a half years,
in three and a half years,
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让他成功地在三年半内
完成了这个工程。
完成了这个工程。
06:24
using a skeleton crew and spending
most of the time, hours on end,
most of the time, hours on end,
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只有最少的工具，
他花费大部分时间，
他花费大部分时间，
06:29
reaching up above his head
to paint the stories on the ceiling.
to paint the stories on the ceiling.
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连续数小时，伸手在他头上的屋顶作画。
06:33
So let's look at this ceiling
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我们来看看这个屋顶，
06:35
and see storytelling gone global.
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看看这个传遍世界的故事。
06:38
No more familiar artistic references
to the world around you.
to the world around you.
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没有平常世界中熟悉的艺术原型
06:42
There's just space
and structure and energy;
and structure and energy;
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剩下的只有空间，结构与活力;
06:47
a monumental painted framework
which opens onto nine panels,
which opens onto nine panels,
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一个史诗级的画作结构
分别通往九个板块 ，
分别通往九个板块 ，
06:52
more driven by sculptural form
than painterly color.
than painterly color.
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它们由雕刻的形态而不是色彩进行区分。
06:56
And we stand in the far end
by the entrance,
by the entrance,
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当我们站在入口的一角，
06:59
far from the altar and from the gated
enclosure intended for the clergy
enclosure intended for the clergy
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这里远离圣餐台
和被围住的只供牧师使用的区域。
和被围住的只供牧师使用的区域。
07:03
and we peer into the distance,
looking for a beginning.
looking for a beginning.
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我们向远处眺望，寻找着一个开始。
07:09
And whether in scientific inquiry
or in biblical tradition,
or in biblical tradition,
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不管是在科学探索中
还是在圣经传统里，
还是在圣经传统里，
07:13
we think in terms of a primal spark.
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我们都已经习惯于从头开始思考。
07:16
Michelangelo gave us an initial energy
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当他为我们区分光明与黑暗时，
07:18
when he gave us the separation
of light and dark,
of light and dark,
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米开朗基罗给了我们最初的力量。
07:21
a churning figure blurry in the distance,
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一个在远处模糊的，翻腾的身影
07:24
compressed into a tight space.
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被压缩进了一片狭小的空间。
07:27
The next figure looms larger,
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下一个人物显得更大，
07:29
and you see a figure hurtling
from one side to the next.
from one side to the next.
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你还能看见一个身影
从一边疾驰到另一边。
从一边疾驰到另一边。
07:33
He leaves in his wake
the sun, the moon, vegetation.
the sun, the moon, vegetation.
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在他之后出现了太阳，月亮和植物。
07:38
Michelangelo didn't focus
on the stuff that was being created,
on the stuff that was being created,
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不像其他艺术家
米开朗基罗并没有
米开朗基罗并没有
07:42
unlike all the other artists.
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关注那些被创造的事物，
07:44
He focused on the act of creation.
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他着重于创造这行为本身。
07:47
And then the movement stops,
like a caesura in poetry
like a caesura in poetry
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接着动作都戛然而止，
像诗歌中的停顿，
像诗歌中的停顿，
07:52
and the creator hovers.
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只有创造者在徘徊。
07:53
So what's he doing?
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所以他在做什么？
07:54
Is he creating land? Is he creating sea?
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他在创造陆地？还是海洋？
07:57
Or is he looking back over his handiwork,
the universe and his treasures,
the universe and his treasures,
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或是在欣赏他的作品，
欣赏这个宇宙和他的宝藏，
欣赏这个宇宙和他的宝藏，
08:02
just like Michelangelo must have,
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就如当时的米开朗基罗一样，
08:04
looking back over his work in the ceiling
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回顾这他在屋顶的画作
08:06
and proclaiming, "It is good."
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并大喊，"这不错。“
08:10
So now the scene is set,
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现在背景都做好了，
08:12
and you get to the culmination
of creation, which is man.
of creation, which is man.
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创造也达到了高潮，人类。
08:16
Adam leaps to the eye, a light figure
against a dark background.
against a dark background.
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亚当出现在眼前，
阴暗的背景中闪过光亮的身影。
阴暗的背景中闪过光亮的身影。
08:20
But looking closer,
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不过近看，
08:22
that leg is pretty languid on the ground,
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他的腿软绵地耷拉在地上，
08:25
the arm is heavy on the knee.
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膝盖也有些无法承受手臂的重负。
08:27
Adam lacks that interior spark
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亚当缺少那份内在的魂魄，
08:31
that will impel him to greatness.
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能引领他走向伟大的魂魄。
08:33
That spark is about to be conferred
by the creator in that finger,
by the creator in that finger,
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当创造者
与亚当手指相接处的那一刻，
与亚当手指相接处的那一刻，
08:38
which is one millimeter
from the hand of Adam.
from the hand of Adam.
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这魂魄将要被创造者传递给亚当。
08:40
It puts us at the edge of our seats,
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这让我们欣喜若狂，
08:42
because we're one moment
from that contact,
from that contact,
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因为我们马上就要见证这一时刻，
08:45
through which that man
will discover his purpose,
will discover his purpose,
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亚当在这一刻会领悟造物主的意图，
08:48
leap up and take his place
at the pinnacle of creation.
at the pinnacle of creation.
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站起身并在创造的顶端
找到属于他的位置。
找到属于他的位置。
08:51
And then Michelangelo threw a curveball.
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就在这时，米开朗基罗扔出了
一个划出曲线的球。
一个划出曲线的球。
08:55
Who is in that other arm?
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另外一只臂膀里的是谁？
08:57
Eve, first woman.
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夏娃，第一个女人。
08:59
No, she's not an afterthought.
She's part of the plan.
She's part of the plan.
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不，她并不是后来被添上的，
她是这计划的一部分。
她是这计划的一部分。
09:02
She's always been in his mind.
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她一直都在造物主的脑海中。
09:04
Look at her, so intimate with God
that her hand curls around his arm.
that her hand curls around his arm.
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快看她，与上帝如此亲密，
她的手环绕着他的手臂。
她的手环绕着他的手臂。
09:09
And for me, an American art historian
from the 21st century,
from the 21st century,
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对于作为一名二十一世纪的
美国艺术历史学家的我来说，
美国艺术历史学家的我来说，
09:14
this was the moment
that the painting spoke to me.
that the painting spoke to me.
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这就是这幅画作感动我的时刻。
09:17
Because I realized that this
representation of the human drama
representation of the human drama
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因为我发现，人类戏剧的表达，
09:21
was always about men and women --
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一直以来都是关于男人和女人的
09:23
so much so, that the dead center,
the heart of the ceiling,
the heart of the ceiling,
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而且这屋顶最重要的，最核心的位置
09:27
is the creation of woman, not Adam.
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都是关于如何创造女人，
而不是亚当。
而不是亚当。
09:30
And the fact is, that when you see them
together in the Garden of Eden,
together in the Garden of Eden,
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事实上，当你看见他们在伊甸园时，
09:34
they fall together
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他们一起堕落，
09:35
and together their proud posture
turns into folded shame.
turns into folded shame.
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他们骄傲的身姿一齐变为羞愧。
09:40
You are at critical juncture
now in the ceiling.
now in the ceiling.
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现在你头上的天花板
正是最关键的节点，
正是最关键的节点，
09:43
You are exactly at the point
where you and I can go
where you and I can go
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你所在的位置是我们在教堂里
09:46
no further into the church.
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能够走到的最远处。
09:47
The gated enclosure keeps us
out of the inner sanctum,
out of the inner sanctum,
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围栏把我们阻挡在了密室之外，
09:51
and we are cast out
much like Adam and Eve.
much like Adam and Eve.
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我们就如
亚当与夏娃一般被挡在外面。
亚当与夏娃一般被挡在外面。
09:53
The remaining scenes in the ceiling,
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天花板上剩下的场景，
09:55
they mirror the crowded chaos
of the world around us.
of the world around us.
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反应了我们所在世界的嘈杂混乱。
09:58
You have Noah and his Ark and the flood.
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有诺亚和他的方舟和大洪水。
10:00
You have Noah. He's making a sacrifice
and a covenant with God.
and a covenant with God.
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你看诺亚，
他正在献祭，与上帝订立盟约。
他正在献祭，与上帝订立盟约。
10:04
Maybe he's the savior.
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也许他就是救世主。
10:06
Oh, but no, Noah is the one
who grew grapes, invented wine,
who grew grapes, invented wine,
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哦不，诺亚只是一个种植葡萄
发明了葡萄酒
发明了葡萄酒
10:09
got drunk and passed out
naked in his barn.
naked in his barn.
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在自己的谷仓赤裸着身体
喝醉并晕倒了的人。
喝醉并晕倒了的人。
10:12
It is a curious way to design the ceiling,
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以造物主创造生命为开始
10:14
now starting out with God creating life,
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却以醉汉醉卧谷仓而结束
10:16
ending up with some guy
blind drunk in a barn.
blind drunk in a barn.
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这样设计穹顶是很不寻常的。
10:19
And so, compared with Adam,
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与亚当相比
10:21
you might think Michelangelo
is making fun of us.
is making fun of us.
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你可能会觉得
米开朗基罗在取笑我们。
米开朗基罗在取笑我们。
10:24
But he's about to dispel the gloom
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但是他马上就要在诺亚的下方
10:26
by using those bright colors
right underneath Noah:
right underneath Noah:
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用光亮的颜色驱散黑暗：
10:30
emerald, topaz, scarlet
on the prophet Zechariah.
on the prophet Zechariah.
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这是身着翡翠，黄玉，猩红
色彩的先知撒迦利亚。
色彩的先知撒迦利亚。
10:33
Zechariah foresees a light
coming from the east,
coming from the east,
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撒迦利亚预见了
从东方而来的圣光
从东方而来的圣光
10:36
and we are turned at this juncture
to a new destination,
to a new destination,
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我们在命运的十字路口
转向了新的目的地
转向了新的目的地
10:40
with sibyls and prophets
who will lead us on a parade.
who will lead us on a parade.
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预言家和先知将带领我们前行，
10:44
You have the heroes and heroines
who make safe the way,
who make safe the way,
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男女英雄为我们保驾护航，
10:47
and we follow the mothers and fathers.
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我们只要跟随圣母和神父的脚步。
10:50
They are the motors of this great
human engine, driving it forward.
human engine, driving it forward.
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他们是带领
我们人类前行的动力源泉。
我们人类前行的动力源泉。
10:54
And now we're at the keystone
of the ceiling,
of the ceiling,
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我们现在来到了穹顶的拱心石
10:57
the culmination of the whole thing,
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这里穹顶的最高点
10:59
with a figure that looks like
he's about to fall out of his space
he's about to fall out of his space
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上面画的人物似乎要从他的空间
11:02
into our space,
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掉到我们的空间里，
11:04
encroaching our space.
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似乎在慢慢侵占我们的空间。
11:05
This is the most important juncture.
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这是一个重要的时间节点。
11:07
Past meets present.
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过去与现在的交叉点。
11:09
This figure, Jonah, who spent
three days in the belly of the whale,
three days in the belly of the whale,
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这个人叫约拿
他在鲸的胃里呆了三天
他在鲸的胃里呆了三天
11:13
for the Christians, is the symbol
of the renewal of humanity
of the renewal of humanity
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对于基督徒来说他是人类
通过耶稣牺牲
通过耶稣牺牲
11:15
through Jesus' sacrifice,
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获得重生的象征。
11:17
but for the multitudes
of visitors to that museum
of visitors to that museum
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但是对于每天怀着不同信仰来参观
11:19
from all faiths who visit there every day,
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这座伟大博物馆的人来说
11:22
he is the moment the distant past
encounters and meets immediate reality.
encounters and meets immediate reality.
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他就是遥远的过去
与当下的现实的相遇与碰撞
与当下的现实的相遇与碰撞
11:30
All of this brings us to the yawning
archway of the altar wall,
archway of the altar wall,
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所有的这些把我们
带到了神坛墙壁上的拱廊
带到了神坛墙壁上的拱廊
11:34
where we see Michelangelo's Last Judgment,
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我们看到了
米开朗基罗《最后的审判》
米开朗基罗《最后的审判》
11:37
painted in 1534 after the world
had changed again.
had changed again.
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这幅画画于1934年
世界已经发生了重大的变革。
世界已经发生了重大的变革。
11:41
The Reformation had splintered the Church,
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宗教改革削弱了教会势力
11:43
the Ottoman Empire had made
Islam a household word
Islam a household word
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因为奥斯曼帝国
伊斯兰教已经家喻户晓
伊斯兰教已经家喻户晓
11:46
and Magellan had found a route
into the Pacific Ocean.
into the Pacific Ocean.
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麦哲伦也发现了太平洋的新航线。
11:49
How is a 59-year-old artist who has never
been any further than Venice
been any further than Venice
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这位59岁的艺术家最远
也就只到过威尼斯
也就只到过威尼斯
11:54
going to speak to this new world?
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如何与这个世界沟通呢？
11:56
Michelangelo chose to paint destiny,
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米开朗基罗选择了绘画命运。
11:59
that universal desire,
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这是宇宙的意愿
12:01
common to all of us,
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这是我们都熟识的意愿
12:03
to leave a legacy of excellence.
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来留下卓越的传奇。
12:06
Told in terms of the Christian vision
of the Last Judgment,
of the Last Judgment,
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从基督徒角度诠释的《最后的审判》
12:09
the end of the world,
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是世界的末日
12:10
Michelangelo gave you a series of figures
229
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米开朗基罗设计了一系列
12:13
who are wearing these
strikingly beautiful bodies.
strikingly beautiful bodies.
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拥有极美肉体的人物
12:17
They have no more covers,
no more portraits
no more portraits
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除了一对情侣，
他们大多没有遮盖
他们大多没有遮盖
12:19
except for a couple.
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也没有肖像
12:21
It's a composition only out of bodies,
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这是一系列的躯体
12:23
391, no two alike,
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391副身躯，各不相同
12:27
unique like each and every one of us.
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就像我们
每一位都独一无二。
每一位都独一无二。
12:29
They start in the lower corner,
breaking away from the ground,
breaking away from the ground,
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他们从左下角开始
纷纷脱离地面
纷纷脱离地面
12:33
struggling and trying to rise.
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挣扎着想要站起来。
12:36
Those who have risen
reach back to help others,
reach back to help others,
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那些已经成功站起来的
会回去帮其他人
会回去帮其他人
12:38
and in one amazing vignette,
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1837
在一个奇妙的小图里
12:40
you have a black man and a white man
pulled up together
pulled up together
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你可以看到白人与黑人相互搀扶
12:43
in an incredible vision of human unity
241
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在这个新世界里人类难以置信地
12:46
in this new world.
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团结在一起。
12:47
The lion's share of the space
goes to the winner's circle.
goes to the winner's circle.
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伟人分享自己的空间
形成胜利者的圈子
形成胜利者的圈子
12:51
There you find men and women
completely nude like athletes.
completely nude like athletes.
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在那里你可以看到那些
强壮的男人女人赤身裸体
强壮的男人女人赤身裸体
12:56
They are the ones
who have overcome adversity,
who have overcome adversity,
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他们是战胜逆境的人
12:58
and Michelangelo's vision
of people who combat adversity,
of people who combat adversity,
246
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在米开朗基罗的视角下
那些战胜逆境
那些战胜逆境
13:02
overcome obstacles --
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克服困难的人
13:03
they're just like athletes.
248
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1894
正如强壮的人一样。
13:05
So you have men and women
flexing and posing
flexing and posing
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在这聚光灯下男人和女人
13:09
in this extraordinary spotlight.
250
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或曲体或伸展
13:11
Presiding over this assembly is Jesus,
251
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主持这个集会的是耶稣
13:14
first a suffering man on the cross,
252
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他是最初十字架上的受难者
13:16
now a glorious ruler in Heaven.
253
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也是现在天堂荣耀的统治者。
13:18
And as Michelangelo
proved in his painting,
proved in his painting,
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正如同米开朗基罗
在他的画作中表现的
在他的画作中表现的
13:21
hardship, setbacks and obstacles,
255
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苦难，挫折和阻碍
13:24
they don't limit excellence,
they forge it.
they forge it.
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并没有禁锢卓越
反而历练了卓越。
反而历练了卓越。
13:28
Now, this does lead us to one odd thing.
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作为一座教皇的私人教堂
13:30
This is the Pope's private chapel,
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你可以看到这么多裸体
13:32
and the best way you can describe that
is indeed a stew of nudes.
is indeed a stew of nudes.
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是一件非常奇怪的事。
13:35
But Michelangelo was trying to use
only the best artistic language,
only the best artistic language,
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但是米开朗基罗
只是想用最好的艺术语言
只是想用最好的艺术语言
13:39
the most universal artistic language
he could think of:
he could think of:
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用他可以想到的
最通用的艺术语言来进行创作
最通用的艺术语言来进行创作
13:42
that of the human body.
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那就是人体。
13:44
And so instead of the way of showing
virtue such as fortitude or self-mastery,
virtue such as fortitude or self-mastery,
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所以他没有用例如坚毅或者自主
来表达美德
来表达美德
13:49
he borrowed from Julius II's
wonderful collection of sculptures
wonderful collection of sculptures
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他从尤里乌斯二世那里
借来绝佳的雕塑收藏
借来绝佳的雕塑收藏
13:54
in order to show inner strength
as external power.
as external power.
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内外俱佳地进行艺术呈现。
13:59
Now, one contemporary did write
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当代的评论曾说
14:02
that the chapel was too beautiful
to not cause controversy.
to not cause controversy.
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这样的教堂太过于漂亮
必然会引起争议
必然会引起争议
14:06
And so it did.
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事实也是如此。
14:08
Michelangelo soon found
that thanks to the printing press,
that thanks to the printing press,
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米开朗基罗马上发现
因为印刷技术的出现
因为印刷技术的出现
14:11
complaints about the nudity
spread all over the place,
spread all over the place,
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关于裸体的投诉日嚣尘上
14:14
and soon his masterpiece of human drama
was labeled pornography,
was labeled pornography,
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他关于人类戏剧的伟大作品
被打上了色情的标签。
被打上了色情的标签。
14:19
at which point he added
two more portraits,
two more portraits,
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也是这个时候他决定加上
两个画像，
两个画像，
14:21
one of the man who criticized him,
a papal courtier,
a papal courtier,
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一个是抨击他的教皇助手
14:23
and the other one of himself
as a dried up husk, no athlete,
as a dried up husk, no athlete,
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另一个则是他自己
一点都不强壮却干得像个皮囊
一点都不强壮却干得像个皮囊
14:27
in the hands of a long-suffering martyr.
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被一位
饱经辛酸的殉道者握在手里。
饱经辛酸的殉道者握在手里。
14:30
The year he died he saw
several of these figures covered over,
several of these figures covered over,
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他去世那年他目睹
他画作的一些部分被遮盖，
他画作的一些部分被遮盖，
14:34
a triumph for trivial distractions
over his great exhortation to glory.
over his great exhortation to glory.
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但是瑕不掩瑜
这也难掩他对于荣光的伟大训告。
这也难掩他对于荣光的伟大训告。
14:40
And so now we stand
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我们就站在这里
14:41
in the here and now.
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此时此地。
14:43
We are caught in that space
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从开始到结束
14:46
between beginnings and endings,
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我们一直被这个空间所吸引
14:48
in the great, huge totality
of the human experience.
of the human experience.
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目睹包罗万象的
无与伦比的人生阅历。
无与伦比的人生阅历。
14:52
The Sistine Chapel forces us
to look around as if it were a mirror.
to look around as if it were a mirror.
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西斯廷教堂就像一面镜子
让我们不停地探索。
让我们不停地探索。
14:56
Who am I in this picture?
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我在这幅画中么？
14:57
Am I one of the crowd?
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我是群众的一员么？
14:59
Am I the drunk guy?
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我是那个喝醉的人么？
15:00
Am I the athlete?
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我是强壮的人么？
15:02
And as we leave this haven
of uplifting beauty,
of uplifting beauty,
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当我们离开
这振奋人心的美丽港湾
这振奋人心的美丽港湾
15:04
we are inspired to ask ourselves
life's biggest questions:
life's biggest questions:
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我们也会不由自主地扪心自问
15:08
Who am I, and what role do I play
in this great theater of life?
in this great theater of life?
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我是谁？
我在这浮浮众生中扮演什么角色？
我在这浮浮众生中扮演什么角色？
15:13
Thank you.
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谢谢。
15:14
(Applause)
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（掌声）
15:18
Bruno Giussani: Elizabeth Lev, thank you.
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布鲁诺·朱萨尼：
伊丽莎白·列弗，谢谢。
伊丽莎白·列弗，谢谢。
15:21
Elizabeth, you mentioned
this whole issue of pornography,
this whole issue of pornography,
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您刚才提到这部作品中的色情描绘
15:25
too many nudes and too many
daily life scenes and improper things
daily life scenes and improper things
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每时每刻都可以看见
有很多裸体和一些
有很多裸体和一些
15:30
in the eyes of the time.
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1865
不太合适的东西。
15:32
But actually the story is bigger.
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实际上问题比这还要严重。
15:34
It's not just touching up
and covering up some of the figures.
and covering up some of the figures.
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3020
不仅仅是一些部分被遮盖
15:37
This work of art was almost
destroyed because of that.
destroyed because of that.
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这件作品差点因此被毁。
15:40
Elizabeth Lev: The effect
of the Last Judgment was enormous.
of the Last Judgment was enormous.
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《最后的审判》的影响是无比深远的
15:43
The printing press made sure
that everybody saw it.
that everybody saw it.
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当时的机构认定所有人都看过它
15:46
And so, this wasn't something
that happened within a couple of weeks.
that happened within a couple of weeks.
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3285
所以这不是几周内发生的事情
15:49
It was something that happened
over the space of 20 years
over the space of 20 years
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这件事横跨了20年的时间
15:54
of editorials and complaints,
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期间有讨论也有投诉
15:56
saying to the Church,
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很多人在教堂表示
15:57
"You can't possibly tell us
how to live our lives.
how to live our lives.
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“你不能告诉我们
怎么活我们自己的生活”
怎么活我们自己的生活”
15:59
Did you notice you have
pornography in the Pope's chapel?"
pornography in the Pope's chapel?"
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3340
“你没有看见教皇教堂里
有色情的东西么？”
有色情的东西么？”
16:03
And so after complaints and insistence
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在不停地抱怨
16:05
of trying to get this work destroyed,
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和试图毁坏这幅作品的声音中
16:08
it was finally the year
that Michelangelo died
that Michelangelo died
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在米开朗基罗去世那一年，
16:10
that the Church finally
found a compromise,
found a compromise,
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2081
教堂终于找到了折衷的办法
16:12
a way to save the painting,
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可以挽救这幅画作。
16:14
and that was in putting up
these extra 30 covers,
these extra 30 covers,
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即增加三十多处遮盖，
16:17
and that happens to be
the origin of fig-leafing.
the origin of fig-leafing.
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2747
这也是无花果叶遮盖的原型。
16:20
That's where it all came about,
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1588
这就是它的由来。
16:22
and it came about from a church
that was trying to save a work of art,
that was trying to save a work of art,
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4130
这其实是教堂尽力
去挽救一副伟大的画作
去挽救一副伟大的画作
16:26
not indeed deface or destroyed it.
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而不是想要丑化或者摧毁它
16:28
BG: This, what you just gave us,
is not the classic tour
is not the classic tour
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2787
所以您刚才为我们展示的这些
16:31
that people get today
when they go to the Sistine Chapel.
when they go to the Sistine Chapel.
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不是通过一般的西斯廷教堂旅行
可以看到的
可以看到的
16:34
(Laughter)
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2103
（笑声）
16:36
EL: I don't know, is that an ad?
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我不知道
这算是广告么？
这算是广告么？
16:38
(Laughter)
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（笑声）
16:40
BG: No, no, no, not necessarily,
it is a statement.
it is a statement.
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不，不是，这是一种叙述。
16:43
The experience of art today
is encountering problems.
is encountering problems.
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现在越来越多的艺术品
面临失窃或其他风险。
面临失窃或其他风险。
16:47
Too many people want to see this there,
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太多人希望可以在原址看到它们，
16:50
and the result is five million people
going through that tiny door
going through that tiny door
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这也是为什么500万人愿意穿过
那扇小门
那扇小门
16:53
and experiencing it
in a completely different way
in a completely different way
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以和我们刚才所感受的
不一样的方式
不一样的方式
16:55
than we just did.
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1166
感受它。
16:56
EL: Right. I agree. I think it's really
nice to be able to pause and look.
nice to be able to pause and look.
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3529
是的，我有同感
走走停停观赏艺术品是美妙的。
走走停停观赏艺术品是美妙的。
17:00
But also realize,
even when you're in those days,
even when you're in those days,
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而且
即便每天慕名而来的游客
即便每天慕名而来的游客
17:02
with 28,000 people a day,
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2012
有28000之多，
17:04
even those days when you're in there
with all those other people,
with all those other people,
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即便你和大家一起
17:07
look around you and think
how amazing it is
how amazing it is
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环视四周
你仍然会感叹它的不可思议
你仍然会感叹它的不可思议
17:10
that some painted plaster
from 500 years ago
from 500 years ago
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感叹500年前的画作仍然可以
17:13
can still draw all those people
standing side by side with you,
standing side by side with you,
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让你和你周围所有的人
17:17
looking upwards with their jaws dropped.
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瞠目结舌。
17:19
It's a great statement about how beauty
truly can speak to us all
truly can speak to us all
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这证明真正美好的作品
17:24
through time and through geographic space.
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是可以跨越时间和空间的界限的。
17:26
BG: Liz, grazie.
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谢谢
17:27
EL: Grazie a te.
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谢谢你
17:29
BG: Thank you.
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谢谢
17:30
(Applause)
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（掌声）
ABOUT THE SPEAKER
Elizabeth Lev - Art historianElizabeth Lev's experience studying and teaching art has led her to believe that when we encounter something beautiful, we are made vulnerable and opened to the truth.
Why you should listen
Art historian Elizabeth Lev became captivated by Rome while completing her graduate studies. She writes and lectures on Renaissance art in the Eternal City, but is most at home in the Vatican Museums, founded in the 16th century to house the trove of art amassed by centuries of Popes. She has spent 15 years studying the vast collection, which contain not only Christian-themed works but art from virtually every other culture in the world. She consults with the Vatican Museums and wrote the film Vatican Treasures. She also wrote A Body for Glory, examining how the papal collection of Greco-Roman nudes grew into the Sistine Chapel.
Elizabeth Lev | Speaker | TED.com