评论
打印
Gustav Klimt, The Kiss, 1907-8
克林姆:《吻》
We're in the Belvedere in Vienna, and we're looking at Gustav Klimt's The Kiss from 1908, probably the most famous Klimt. And I actually have to admit that I have forgotten that the painting was almost a perfect square because I've seen it in so many posters where it's been cut down and made into a rectangle.
我们在维也纳的美景宫美术馆，我们正在欣赏古斯塔夫˙克林姆于1908年的《吻》，也许是克林姆最出名的画作。我其实必须坦承我已忘了这幅画几乎是个完整的正方形，因为我已经在许多被剪裁并做成长方形的海报中看过它。
It's a very large painting, and there's so much gold that it's hard not to think of a religious icon. And I think in some ways, Klimt was trying to create a modern icon—something that suggested a sense of transcendence.
这是个非常大的画作，且有许多金箔，以致于很难不去想到圣像画。我认为在某些方面，克林姆正试着创作一个现代的圣像－－某些暗示出超然感的东西。
Well, there's no question that the gold here makes you think of the Byzantine tradition—maybe some of the tile work at Ravenna. There is a way that patterning, especially around the faces, becomes a kind of a halo as well.
嗯，毫无疑问这里的金箔让你想到拜占庭传统－－也许一些在拉温纳的磁砖艺术。有个方式，特别是在脸部周围，那图形也变成一种光晕的方式。
You have Klimt building up the gold. He's got those gold circles that actually rise off the surfaces of the canvas, and catch the light much the way that the gold was tooled in medieval paintings.
你有克林姆铺叠那金箔。他有那些确实从画布表面升起的金色圆圈、捕捉到那光线，大致像金箔在中古世纪画作被利用的那方式。
There is this sense of the male figure, of patterns that are direct linear in contrast to the curvilinear, to the circles and the ovals that we see in the female form.
有这种男性人物的概念、这种直接线性的图形概念，相反于曲线、相反于我们从女性外形上看到的圆圈和椭圆形。
But the point that you made about the sense of the spiritual is so powerful in this painting. I think we forget that that darker gold ground seems so much as if the figures are somehow being dissipated into the cosmos that they are so lost in the intensity, the eternity of that kiss.
但你所提出关于心灵概念的看法在这幅画作中是如此强而有力。我认为我们忘记那较深的金色底色看似如此之多，好似人物们不知怎么地消失进入和谐的宇宙里，以至于他们是如此迷失在那个吻的强度、永恒之中。
And all removed from the everyday world. I mean, we have to remember that this is a time of incredible modernization in Vienna. The City of Vienna has been transformed in the previous 30 years into a modern city.
且全都远离日常的世界。我是说，我们必须记得这是在维也纳一段惊人的现代化时期。维也纳市在前三十年中已转型为现代城市。
Here, Klimt is abstracting a universal experience from the trauma, the difficulties, the anxieties of everyday life. I think it's also important to see this in relationship to Klimt's Beethoven Frieze, where the figures confront evil forces, these mythic figures. And in the end, there's this embrace, this kiss, this emergence from evil into fulfillment and perfection.
此处，克林姆正从日常生活的创伤、困难、及焦虑中，将一个普遍的经验抽象化。我认为同样很重要的是要看到这个与克林姆的《贝多芬横饰带画》的关系，这幅画中的人物面对恶势力、这些神话人物。在最后，有这个拥抱、这个亲吻、这个从邪恶进入成就和完美的现身。
A minute ago, we were looking at the painting by Egon Schiele called The Embrace. But there, there was so much more of a sense of the physicality of the bodies.
一分钟前，我们正欣赏埃贡·席勒名为《拥抱》的画作。但在那里，有更多身体形体特征的概念。˙
The way that the bodies really aren't present here and are cloaked in these decorative forms reminds us how much Klimt, although he was exploring this kind of sensuality, was also disguising and covering it with a kind of decorative patterning.
那些肉体实际上在此处并没有出现、且被这些装饰形式掩饰其中的方式，提醒我们，虽然他正在探索这种感官享受，克林姆同样以一种装饰的图形伪装、掩盖了多少事物。
And that's absolutely right, with the exception of the faces. And here, this is where the entire painting changes. The female figure is completely full-frontal but horizontal, so that there's this beautiful sense of her passivity, receiving that kiss, but also kind of deep interior feeling with her eyes closed.
那是完全正确的，除了脸部之外。在这里，这里是整幅画作改变之处。女性人物是完全朝向前方但也是横向的，所以这里有这种她被动的美感概念，接收那吻，但同样随着她的双眼闭上也有种深入的内心感受。
Her fingers just delicately touching his as he holds her head. And his neck reaches out and around. And you get the sense of his physical power through the strength of that neck, but also the intensity of his desire.
她的手指就这样微妙地摸着他的手指，就在他捧着她的头的时候。他的脖子伸出到周围。你透过那脖子的力度感受到他体能的概念，还有他欲望的强度。
And, of course, they're both crowned. On his head you can see a wreath of leaves. On hers—almost as if they were the stars of the heavens.
而，当然，他们两个都被加上冠冕。在他的头上你可以看到一圈叶子。在她的头上－－几乎就像它们是天堂的繁星。
Schiele gives us an image of a couple that's electrified by kinds of agitated outlines.
席勒给了我们一个被各种颤抖轮廓所刺激的情人画面。
Schiele is showing us a kind of truth through the energy of the moment, whereas Klimt seems to be reaching out to a truth that is for all time. That is so aestheticized it feels as if it has a degree of absolute permanence.
席勒正透过那瞬间的能量展现某种真相给我们看，然而克林姆似乎要伸向一个永恒的真实性。那是如此美学化的，感觉好似它有个绝对永恒的程度。
