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  • Two years ago, I have to say there was no problem.

    譯者: Becky Ma 審譯者: 杏儀 歐陽

  • Two years ago, I knew exactly what an icon looked like.

    我必須說,兩年前什麼問題也沒有。

  • It looks like this.

    兩年前,我很清楚一幅肖像該長什麼樣子。

  • Everybody's icon, but also the default position

    肖像就該長成這樣。

  • of a curator of Italian Renaissance paintings, which I was then.

    大家都是這麼想,

  • And in a way, this is also another default selection.

    當時我身為義大利 文藝復興博物館館長,亦有同感。

  • Leonardo da Vinci's exquisitely soulful image

    這幅畫大概是另一種公認的肖像。

  • of the "Lady with an Ermine."

    李奧納多·達文西的《抱銀鼠的女子》,

  • And I use that word, soulful, deliberately.

    神態精緻又深情,

  • Or then there's this, or rather these:

    我特地用了"深情"這個詞。

  • the two versions of Leonardo's "Virgin of the Rocks"

    或者還有這幅畫,或者說這些畫:

  • that were about to come together in London for the very first time.

    李奧納多的"在岩洞中的聖母",

  • In the exhibition that I was then in the absolute throes of organizing.

    當時這兩個版本將要首次在倫敦一併展出。

  • I was literally up to my eyes in Leonardo,

    當時我正處於展覽籌畫的陣痛期,

  • and I had been for three years.

    完全沉浸於李奧納多的作品當中,

  • So, he was occupying every part of my brain.

    而且我已經沉浸了三年。

  • Leonardo had taught me, during that three years,

    李奧納多佔據了我整個大腦。

  • about what a picture can do.

    在那三年間,他教導了我

  • About taking you from your own material world into a spiritual world.

    一幅畫有多大威力。

  • He said, actually, that he believed the job of the painter

    能將你從物質世界帶到心靈的世界。

  • was to paint everything that was visible and invisible in the universe.

    李昂納多曾說過, 他深信一個畫家的職責

  • That's a huge task. And yet, somehow he achieves it.

    是把宇宙中所有能看到的和不能看到的 都畫出來。

  • He shows us, I think, the human soul.

    這是一件艱巨的工作, 但他却又成功做到了。

  • He shows us the capacity of ourselves

    我覺得,他向我們展示了人類的靈魂。

  • to move into a spiritual realm.

    他向我們展示了

  • To see a vision of the universe that's more perfect than our own.

    我們往精神領域邁進的能耐。

  • To see God's own plan, in some sense.

    去看一個我們從未見過的更加完美的宇宙,

  • So this, in a sense, was really what I believed an icon was.

    用另一種目光去看上帝的計劃。

  • At about that time, I started talking to Tom Campbell,

    可以說,這就是當時 我對肖像的想法和定義。

  • director here of the Metropolitan Museum,

    大約在那段時間 我開始和 Tom Campbell 聊天,

  • about what my next move might be.

    他是大都會藝術博物館的主管,

  • The move, in fact, back to an earlier life,

    我們談到我未來的動向。

  • one I'd begun at the British Museum,

    事實上,我計劃回到過去的生活,

  • back to the world of three dimensions --

    我以前在大英博物館裡展開的生活。

  • of sculpture and of decorative arts --

    回到三維的世界,

  • to take over the department of European sculpture and decorative arts, here at the Met.

    雕塑和裝飾藝術的世界,

  • But it was an incredibly busy time.

    接管大都會博物館的歐洲雕塑及裝飾藝術部。

  • All the conversations were done at very peculiar times of the day --

    但那時我非常忙。

  • over the phone.

    所有談話都是在一天之中 極不尋常的時刻進行的--

  • In the end, I accepted the job

    而且是透過電話完成的。

  • without actually having been here.

    最後,我接受了這工作

  • Again, I'd been there a couple of years before,

    儘管我沒有真正去那裡看過。

  • but on that particular visit.

    我幾年前去過那裡,

  • So, it was just before the time that the Leonardo show was due to open

    但也就去過那麼一次。

  • when I finally made it back to the Met, to New York,

    當我終於能夠回到紐約的大都會博物館

  • to see my new domain.

    視察我的新領域,

  • To see what European sculpture and decorative arts looked like,

    那剛好是李奧納多展覽開始的時間。

  • beyond those Renaissance collections with which I was so already familiar.

    為了看歐洲的雕塑和裝飾藝術,

  • And I thought, on that very first day, I better tour the galleries.

    看看我所熟悉的 文藝復興時期之後發生的演變。

  • Fifty-seven of these galleries --

    在那天,我想,我最好去參觀藝術館。

  • like 57 varieties of baked beans, I believe.

    五十七間藝術館,

  • I walked through and I started in my comfort zone in the Italian Renaissance.

    我相信,就像五十七種烤豆子,

  • And then I moved gradually around,

    我從自己的安全區—— 意大利文藝復興館開始參觀,

  • feeling a little lost sometimes.

    然後慢慢四周走動,

  • My head, also still full of the Leonardo exhibition

    不時感到不知所措,

  • that was about to open, and I came across this.

    我的大腦,仍然想著 即將開放的李奧納多展覽,

  • And I thought to myself: What the hell have I done?

    然後我看見了這個東西。

  • There was absolutely no connection in my mind

    我問我自己:我到底幹了什麼?

  • at all and, in fact, if there was any emotion going on,

    我的思維突然掉鏈,

  • it was a kind of repulsion.

    事實上,要是當時我有任何感覺,

  • This object felt utterly and completely alien.

    那感覺就是厭惡之情。

  • Silly at a level that I hadn't yet understood silliness to be.

    這東西完全、十足地莫名其妙,

  • And then it was made worse --

    竟然可以"愚蠢可笑"到這種程度。

  • there were two of them.

    然後,更糟糕的是

  • (Laughter)

    這玩意有兩個。

  • So, I started thinking about why it was, in fact,

    (笑)

  • that I disliked this object so much.

    所以,我開始想,為什麼我

  • What was the anatomy of my distaste?

    會那麼討厭這件東西。

  • Well, so much gold, so vulgar.

    到底我的厭惡是從何而來?

  • You know, so nouveau riche, frankly.

    嗯,太多金,太庸俗了。

  • Leonardo himself had preached against the use of gold,

    你知道,活脫脫的暴發戶。

  • so it was absolutely anathema at that moment.

    李奧纳多反對使用金來做藝術品,

  • And then there's little pretty sprigs of flowers everywhere. (Laughter)

    所以當時我對這個極為反感。

  • And finally, that pink. That damned pink.

    然後它們還遍佈著小花枝 (笑)

  • It's such an extraordinarily artificial color.

    最後,那粉紅。那該死的粉紅。

  • I mean, it's a color that I can't think of anything that you actually see in nature,

    真的是異常人工的顏色。

  • that looks that shade.

    我是說,我想像不到在自然界中 有什麼東西是這種顏色。

  • The object even has its own tutu. (Laughter)

    那模樣、那色調

  • This little flouncy, spangly, bottomy bit

    這物件還有自己的芭蕾舞裙呢!(笑)

  • that sits at the bottom of the vase.

    就好像衣裙上的荷邊裝飾,

  • It reminded me, in an odd kind of way,

    那小小的金光閃爍物就在花瓶的底部。

  • of my niece's fifth birthday party.

    它用一種奇怪的方式

  • Where all the little girls would come either as a princess or a fairy.

    讓我想起姪女的五歲生日派對,

  • There was one who would come as a fairy princess.

    那裡所有的小女孩 不是打扮成公主,就是打扮成仙女。

  • You should have seen the looks.

    有一個更以仙女公主的造型前來呢!

  • (Laughter)

    你實在應該看看那些表情。

  • And I realize that this object was in my mind,

    (笑)

  • born from the same mind, from the same womb,

    然後我意識到我對這玩意有印象,

  • practically, as Barbie Ballerina. (Laughter)

    簡直跟芭比娃娃的芭蕾舞演員

  • And then there's the elephants. (Laughter)

    如出一轍。 (笑)

  • Those extraordinary elephants

    然後就是上面的大象 (笑)

  • with their little, sort of strange, sinister expressions

    那些與眾不同的大象

  • and Greta Garbo eyelashes, with these golden tusks and so on.

    露出牠們微細、有一點奇怪和奸詐的表情,

  • I realized this was an elephant that had

    還有如葛麗泰·嘉寶的睫毛, 這些金黃色的獠牙等等。

  • absolutely nothing to do with a majestic march across the Serengeti.

    我意識到這是一頭 完全和橫跨塞倫蓋提

  • It was a Dumbo nightmare. (Laughter)

    威嚴的步操一點關係也沒有的大象。

  • But something more profound was happening as well.

    這是一場小飛象惡夢。(笑)

  • These objects, it seemed to me,

    但一些更深邃的事情也正在發酵。

  • were quintessentially the kind that I and my liberal left friends in London

    這些物件,似乎正跟

  • had always seen as summing up

    我和我倫敦的自由主義左派朋友

  • something deplorable about the French aristocracy

    常常對十八世紀法國貴族

  • in the 18th century.

    所總結出的悲慘

  • The label had told me that these pieces were made

    有異曲同工之妙。

  • by thevres Manufactory,

    標籤告訴我這些東西

  • made of porcelain in the late 1750s,

    出產於塞弗爾製造廠,

  • and designed by a designer called Jean-Claude Duplessis,

    在 1750 年代末用陶瓷製造而成,

  • actually somebody of extraordinary distinction

    並由一個叫Jean-Claude Duplessis的設計師設計,

  • as I later learned.

    此人,我後來知道

  • But for me, they summed up a kind of,

    是一個特別卓越的人。

  • that sort of sheer uselessness of the aristocracy

    但對我來說,它們可總結成

  • in the 18th century.

    一種十八世紀

  • I and my colleagues had always thought

    貴族十足的無用。

  • that these objects, in way, summed up the idea of,

    我和我的同事都常想

  • you know -- no wonder there was a revolution.

    這些東西某程度總結了一個想法,

  • Or, indeed, thank God there was a revolution.

    你知道的 - 難怪有大革命,

  • There was a sort of idea really, that,

    又或者,感謝主世上曾經有大革命。

  • if you owned a vase like this,

    真的,我們曾這麼想:

  • then there was really only one fate possible.

    就是如果你擁有一個如此的花瓶

  • (Laughter)

    只會有一種可能的命運。

  • So, there I was -- in a sort of paroxysm of horror.

    (笑)

  • But I took the job and I went on looking at these vases.

    所以,我當時杵在那,一陣恐懼發作。

  • I sort of had to because they're on a through route in the Met.

    但我接受這工作並繼續觀察這些花瓶。

  • So, almost anywhere I went, there they were.

    我非看不可,因為它們在博物館的必經之路中。

  • They had this kind of odd sort of fascination,

    所以,無論我去哪,它們都在。

  • like a car accident.

    它們有這種奇怪的吸引力,

  • Where I couldn't stop looking.

    就像一場交通意外,

  • And as I did so, I started thinking:

    讓我難以控制自己不望過去,

  • Well, what are we actually looking at here?

    而當我這樣做的時候,我開始想:

  • And what I started with was understanding this

    我們到底在看什麼?

  • as really a supreme piece of design.

    而我開始了解到

  • It took me a little time.

    這其實是一個很棒的設計。

  • But, that tutu for example --

    這用了我一點時間。

  • actually, this is a piece that does dance in its own way.

    但以那芭蕾舞裙為例,

  • It has an extraordinary lightness

    其實這是一個會以 自己的方式跳舞的作品。

  • and yet, it is also amazing balanced.

    它十分輕,

  • It has these kinds of sculptural ingredients.

    但仍能奇妙地平衡,

  • And then the play between --

    它有著這幾種雕塑的材料,

  • actually really quite carefully disposed color and gilding, and the sculptural surface,

    以及事實上經過 縝密分配的色彩與鍍金,

  • is really rather remarkable.

    巧妙地搭配著雕琢而出的表面--

  • And then I realized that this piece went into the kiln

    這其實是個傑作。

  • four times, at least four times in order to arrive at this.

    且不久後我發現這份作品

  • How many moments for accident can you think of

    至少進了四次燒窯, 才有辦法抵達這樣的境界。

  • that could have happened to this piece?

    在這過程中,

  • And then remember, not just one, but two.

    有多少可能發生的意外啊?

  • So he's having to arrive at two exactly matched

    提醒你一下,這裡還有兩個喔。

  • vases of this kind.

    所以他必須讓兩個相稱的瓷瓶

  • And then this question of uselessness.

    都達到如此境界才行。

  • Well actually, the end of the trunks were originally candle holders.

    現在再來談談"無用"。

  • So what you would have had were candles on either side.

    事實上,它的尾端原本是燭台。

  • Imagine that effect of candlelight on that surface.

    所以你原本應該看到兩邊插上蠟燭。

  • On the slightly uneven pink, on the beautiful gold.

    想像一下燭光在那表面,

  • It would have glittered in an interior,

    那輕微不均的粉紅、那美麗的金箔 所將造成的效果。

  • a little like a little firework.

    它應能在室內空間裡熠熠閃爍,

  • And at that point, actually, a firework went off in my brain.

    像小型的煙火。

  • Somebody reminded me that, that word 'fancy' --

    思及此,一串煙火 也在我腦海中綻放了。

  • which in a sense for me, encapsulated this object --

    有人提醒了我"花俏"這個字眼--

  • actually comes from the same root as the word 'fantasy.'

    它某種程度上精確概括了這項物件--

  • And that what this object was just as much in a way,

    事實上它和"幻想"這詞有相同根源。

  • in its own way, as a Leonardo da Vinci painting,

    而這作品也是用它自己的方式,

  • is a portal to somewhere else.

    如同達文西的畫作,

  • This is an object of the imagination.

    打開了某扇門,通往另一個世界。

  • If you think about the mad 18th-century operas of the time -- set in the Orient.

    它是充滿想像力的作品。

  • If you think about divans and perhaps even opium-induced visions of pink elephants,

    若你想起背景設在東方的 十八世紀瘋狂歌劇,

  • then at that point, this object starts to make sense.

    若你想起華麗沙發椅, 甚至被誘以鴉片的粉紅大象,

  • This is an object which is all about escapism.

    那麼這項物件就開始有點意思了。

  • It's about an escapism that happens --

    一言以蔽之,它代表了逃避主義。

  • that the aristocracy in France sought

    代表著當時法國貴族

  • very deliberately

    刻意追求的逃避現實風格,

  • to distinguish themselves from ordinary people.

    只為了把自己與平凡人

  • It's not an escapism that

    區別開來。

  • we feel particularly happy with today, however.

    然而,這種避世主義

  • And again, going on thinking about this,

    可不是我們現代人所想的那麼歡樂。

  • I realize that in a way we're all victims

    想到這裡

  • of a certain kind of tyranny

    我又發覺,某方面而言

  • of the triumph of modernism

    我們都是

  • whereby form and function in an object

    現代主義大獲全勝之後 暴政的受害者,

  • have to follow one another, or are deemed to do so.

    因為在此主義下

  • And the extraneous ornament is seen as really,

    各項物件的型態 和功能被認為必須相似,

  • essentially, criminal.

    使得外在裝飾

  • It's a triumph, in a way, of bourgeois values rather than aristocratic ones.

    被視為十分罪惡。

  • And that seems fine.

    看起來,這是中產階級的 價值觀打敗了貴族們。

  • Except for the fact that it becomes a kind of sequestration of imagination.

    這樣感覺沒什麼不好。

  • So just as in the 20th century, so many people

    除了它逐漸開始沒收了我們的想像力。

  • had the idea that their faith

    就像二十世紀時,

  • took place on the Sabbath day,

    許多人開始認為,

  • and the rest of their lives --

    自己的信仰屬於安息日那天,

  • their lives of washing machines and orthodontics --

    剩下的生命——

  • took place on another day.

    充滿機械清洗和牙齒矯正的日子——

  • Then, I think we've started doing the same.

    都和信仰無關。

  • We've allowed ourselves to

    我想我們都開始做這樣的事了。

  • lead our fantasy lives in front of screens.

    我們允許自己

  • In the dark of the cinema, with the television in the corner of the room.

    在螢幕前過著夢幻人生。

  • We've eliminated, in a sense, that constant

    無論是在漆黑戲院中, 或在房間角落的電視機前。

  • of the imagination that these vases represented in people's lives.

    我們將這些瓷瓶所代表的 恆常的想像力

  • So maybe it's time we got this back a little.

    從日常生活中徹底移除了。

  • I think it's beginning to happen.

    所以或許是時候我們將它奪回來。

  • In London, for example,

    該是時候行動了。

  • with these extraordinary buildings

    比如說,在倫敦

  • that have been appearing over the last few years.

    近年來出現了

  • Redolent, in a sense, of science fiction,

    這些卓越而特殊的建築。

  • turning London into a kind of fantasy playground.

    令人聯想起科幻小說

  • It's actually amazing to look out of a high building nowadays there.

    將倫敦轉變成一座夢幻遊樂場。

  • But even then, there's a resistance.

    儘管欣賞這些高聳建築 是一件如此驚奇的體驗。

  • London has called these buildings the Gherkin, the Shard, the Walkie Talkie --

    它們依然受到了阻力。

  • bringing these soaring buildings down to Earth.

    倫敦人管它們叫"黃瓜"、"碎片"、"大哥大",

  • There's an idea that we don't want these

    把這些奇幻飛揚的建築帶回現實的塵土

  • anxious-making, imaginative journeys to happen in our daily lives.

    似乎大家都不希望這些令人興奮、

  • I feel lucky in a way,

    充滿想像的旅程出現在日常生活中似的,

  • I've encountered this object.

    我感到很幸運,

  • (Laughter)

    自己能遇到這個作品:

  • I found him on the Internet when I was looking up a reference.

    (笑聲)

  • And there he was.

    我在網絡上查資料時發現了它。

  • And unlike the pink elephant vase,

    現在呈現在各位眼前。

  • this was a kind of love at first sight.

    不像那個粉紅大象瓷瓶,

  • In fact, reader, I married him. I bought him.

    我一看見這個就愛上它了。

  • And he now adorns my office.

    事實上,我和它結了婚,把它買回家。

  • He's a Staffordshire figure made in the middle of the 19th century.

    現在它裝飾著我的辦公室。

  • He represents the actor, Edmund Kean, playing Shakespeare's Richard III.

    它是十九世紀中期出產的史塔福郡人偶,

  • And it's based, actually, on a more elevated piece of porcelain.

    代表了扮演莎士比亞劇中 理查三世的演員,Edmund Kean。

  • So I loved, on an art historical level,

    它是採用更高級的陶瓷所製成的,

  • I loved that layered quality that he has.

    所以以藝術史的角度而言,

  • But more than that, I love him.

    我熱愛它所具備的層次感和質感。

  • In a way that I think would have been impossible

    但更重要的理由是,我愛"他"。

  • without the pinkvres vase in my Leonardo days.

    在我那尚未遇見 粉紅塞弗爾瓷瓶的李奧納多時期,

  • I love his orange and pink breeches.

    這想必是不可能的事吧。

  • I love the fact that he seems to be going off to war,

    我愛他那粉橘色的褲子,

  • having just finished the washing up. (Laughter)

    以及看起來像剛梳洗完畢,

  • He seems also to have forgotten his sword.

    要去打仗的模樣。(笑聲)

  • I love his pink little cheeks, his munchkin energy.

    他看起來好像也忘了帶他的劍。

  • In a way, he's become my sort of alter ego.

    我愛他那粉嫩的雙頰, 像小矮人般的活力。

  • He's, I hope, a little bit dignified,

    就某方面來說,他像是另一個我。

  • but mostly rather vulgar. (Laughter)

    他,我希望是,稍有威嚴的

  • And energetic, I hope, too.

    但大部分是頗庸俗。(笑聲)

  • I let him into my life because thevres pink elephant vase allowed me to do so.

    我也希望,他是精力充沛的

  • And before that Leonardo,

    若不是因為那粉紅象塞弗爾瓷瓶, 他也不會進入我的生活。

  • I understood that this object could become part of a journey for me every day,

    撇開達文西不談。

  • sitting in my office.

    我明白了這項待在我辦公室的作品,