英語(yǔ)視頻暢談歐美人文風(fēng)情55：米開(kāi)朗基羅:《創(chuàng)造亞當(dāng)》

　　All right, cherubs. Right now we're looking at a detail from the Fresco on the ceiling of Sistine Chapel by Michelangelo.

　　好的，天使們?，F(xiàn)在我們要看米開(kāi)朗基羅在西斯汀禮拜堂天花板上的局部壁畫(huà)。

　　This particular detail is often called Creation of Adam and it's one of the most recognizable paintings ever made. People often discuss how Michelangelo painted this while lying on his back, or use it for a fart joke Memes, but this has been reproduced for more interesting reasons. It visually tells a story of God giving life to mankind out of dust, which is what Adam's name means.

　　這塊特定的局部通常被稱(chēng)作《創(chuàng)造亞當(dāng)》，而它是至今最具辨識(shí)度的畫(huà)作之一。人們通常討論米開(kāi)朗基羅是怎么背靠在地上畫(huà)出這個(gè)的，或是把它拿來(lái)做惡搞圖，但這畫(huà)被復(fù)制是因?yàn)楦腥さ睦碛?。它以視覺(jué)講了上帝從塵土中給了人類(lèi)生命的故事，而塵土正是亞當(dāng)名字的意思。

　　Now that's a big task—how can one paint God? Michelangelo chose to make him look old and wise here, which God should be since he's infinitely old and infinitely wise. But he's also really fit. Check out those triceps. He's youthful and strong, which God should be since he's infinitely powerful and should be energetic enough to be infinitely present.

　　現(xiàn)在那是個(gè)大工程--人怎么可以畫(huà)出上帝?米開(kāi)朗基羅選擇了讓他在這看起來(lái)年長(zhǎng)又有智慧，上帝應(yīng)該這樣，因?yàn)樗菢O其年老和極其有智慧的。但他同樣也非常強(qiáng)壯?？纯茨切┤^肌。他朝氣蓬勃又強(qiáng)壯，上帝應(yīng)該這樣，因?yàn)樗菢O其強(qiáng)大、應(yīng)該要有足夠的精力永遠(yuǎn)存在。

　　Adam is stationary here as dust is, while God is in motion, stretching to give...is it life? Adam already looks awake, I guess. He kind of has a blank stare here but his eyes are open. He can be viewed as an allegory for dust: lifeless and still, waiting for the breath of life to enter him.

　　亞當(dāng)在這就跟塵土一樣是靜止的，然而上帝在移動(dòng)中，伸展著要給他...是生命嗎?亞當(dāng)看起來(lái)已經(jīng)是醒過(guò)來(lái)的，我猜。他在這像是有著無(wú)神的凝視，但他的雙眼是睜開(kāi)的。他可以被看做是塵土的象征：毫無(wú)生氣且靜止不動(dòng)，等待著生命的氣息進(jìn)入它。

　　An interesting idea here is that God is giving Adam consciousness or intelligence. This is perhaps the reason that it's so popular to discuss the relationship with God's vehicle, here, to the human brain. I mean, this does look like a brain.

　　這里一個(gè)很有趣的想法是，上帝正在給予亞當(dāng)知覺(jué)或智慧。這也許就是為何如此流行討論神的乘坐工具，這里，與人類(lèi)大腦關(guān)系的理由。我是說(shuō)，這確實(shí)看起來(lái)像顆腦袋。

　　This scarf looks like a vertebral artery, and this cherub's leg was like a pituitary gland. Some even claim this section of the painting here represents synapses, which is a part of the neuron to transmit chemical or electrical signals to one another.

　　這條圍巾看起來(lái)像脊椎動(dòng)脈，而這個(gè)天使的腿像腦下垂體。有些人甚至稱(chēng)畫(huà)作的這區(qū)塊代表神經(jīng)突觸，這是神經(jīng)相互傳遞化學(xué)或電子訊號(hào)的部位。

　　Now Michelangelo certainly would not have known about synapsis, but the comparison is fun to think about. He did work with dissection and knew quite a bit about the human body. You can easily see his knowledge of anatomy in the Statue of David. So this brain theory isn't entirely crazy.

　　米開(kāi)朗基羅當(dāng)然不會(huì)已經(jīng)了解突觸，但思考這比擬是很有趣的。他確實(shí)有做過(guò)解剖且了解相當(dāng)多關(guān)于人體的事。你可以輕易地看出他對(duì)大衛(wèi)像結(jié)構(gòu)分析的了解。所以這個(gè)大腦理論并非完全瘋狂的。

　　This part of the brain is called the occipital lobe, and it's partly responsible for sight. Sight has an interesting relationship with consciousness, particularly when we think about an intellectual movement Michelangelo was a part of called Neoplatonism.

　　大腦的這部份稱(chēng)為枕葉，它負(fù)責(zé)部分視覺(jué)。視覺(jué)和知覺(jué)有種有趣的關(guān)系，特別是當(dāng)我們想到米開(kāi)朗基羅曾參與、叫做新柏拉圖派哲學(xué)的知識(shí)運(yùn)動(dòng)。

　　This movement, encouraged by the first Latin translations of Plato's work in Florence during the late 1,400's, revived Platonic philosophy and the content of ideal forms during the High Renaissance. Plato's works stressed the importance of metaphysical forms, immune to any corruption, over temporary earthbound forms subject to decay.

　　這個(gè)運(yùn)動(dòng)，由1,400晚期間在佛羅倫斯柏拉圖作品的首批拉丁文翻譯所引領(lǐng)，在文藝復(fù)興盛期使柏拉圖哲學(xué)和理想形式的內(nèi)涵重新流行起來(lái)。柏拉圖的作品強(qiáng)調(diào)了抽象形式的重要性，免于任何在受制于衰敗的暫時(shí)、受世俗束縛的形式中任何腐化。

　　What we can visually see in the physical realm, using our occipital lobe, is a reflection of a higher ideal form, and in the Christian framework, it's a reflection of the light of God.

　　我們可以在物質(zhì)方面從視覺(jué)上看到的，利用我們的枕葉，是更高一等理想形式的反射，而在基督教的架構(gòu)中，這是上帝之光的反射。

　　Mankind uniquely has this double nature. We have the ability of comprehend like a God, but we have to perceive the universe with flaw senses made from dust. In this painting, Adam has been given the insight to recognize higher spiritual forms through their earthbound shadows or representations.

　　人類(lèi)獨(dú)特地?fù)碛羞@種雙重特質(zhì)。我們擁有像上帝一樣理解的能力，但我們必須要用由塵土做成、帶有缺陷的知覺(jué)來(lái)理解天地萬(wàn)物。在這幅畫(huà)中，亞當(dāng)被給予識(shí)別出更高一等精神形式的洞察力，透過(guò)他們受世俗所束縛的幻影或是形象。

　　Michelangelo also plays with Neoplatonic thought by representing mankind in ideal form. I mean, no man in the real world has that kind of muscle structure, or at least I'd like to think it's not possible. By representing Adam in an ideal way rather than a natural way, he's forcing us to consider the idea of man rather than the physical and temporary real men.

　　米開(kāi)朗基羅同樣也透過(guò)以理想形式描繪人類(lèi)，擺弄新柏拉圖派哲學(xué)的思想。我是說(shuō)，在現(xiàn)實(shí)世界沒(méi)有男人擁有那種肌肉結(jié)構(gòu)，或至少我想認(rèn)為這是不可能的。借由以理想的方式而不是自然的方式描繪出亞當(dāng)，他正迫使我們思考“男人的概念”、而不是實(shí)際上當(dāng)代的“真正男人”。

　　It's interesting to think this painting illustrates God giving humanity the breath of life through consciousness and a physical brain that is literally the vehicle through which we can perceive the metaphysical by showing God riding on that vehicle.

　　那是很有趣的，想想這幅畫(huà)描繪出上帝給予人類(lèi)生命的氣息，透過(guò)知覺(jué)、以及透過(guò)其實(shí)就是那騎乘工具的實(shí)體腦袋，透過(guò)那個(gè)我們可以借由表現(xiàn)出上帝騎乘著那工具，理解那抽象概念。

　　就接受那想法一下下。

　　Just sit with that for a little while.

　　如果你喜歡我們討論這幅畫(huà)作的方式，且想要看更多，請(qǐng)訂閱以在每隔週一看到新的藝術(shù)史影片。

　　If you like the way we discussed this painting and want to see more, please subscribe for a new art history video every other Monday.