This is a 14th century painting I've got in my hand here.

這是我手中的一幅 14 世紀的油畫。

The whole viewing of a Chinese painting is a ritual enactment of leaving our world and moving into the world of the painting.

觀賞中國畫的整個過程就是一種儀式，即離開我們的世界，進入畫中的世界。

Maxwell Hearn is about to become curator of the Asian Art Department at New York's Metropolitan Museum of Art.

麥克斯韋-赫恩即將成為紐約大都會藝術博物館亞洲藝術部的策展人。

He oversees what some say is the most comprehensive collection in the world.

有人說，他管理著世界上最全面的收藏。

Hearn's specialty is Chinese scroll painting.

赫恩的專長是中國卷軸畫。

He took a 14th century painting out of storage to show the New York Times the intimate way that these works were meant to be experienced.

他從倉庫中取出一幅 14 世紀的畫作，向《紐約時報》展示了這些作品的親切體驗方式。

The scroll is protected, it's lovingly swaddled in silks and protective boxes.

畫卷受到保護，被絲綢和保護盒精心包裹著。

The physical connection to the work of art is really important and every surface we encounter, there's beautiful ancient brocades, this one dates to the 17th or 18th century, it's an ivory clasp, a nice woven silk ribbon that secures the piece.

與藝術品的物理聯繫非常重要，我們遇到的每一個表面都有美麗的古代錦緞，這件可以追溯到 17 或 18 世紀，它是一個象牙扣，一條漂亮的絲綢編織帶固定著這件作品。

So as we unroll the scroll, we encounter these bands of silk that are called ge shui, which means moat.

是以，當我們展開卷軸時，會遇到這些被稱為 ge shui 的絲帶，意思是護城河。

So you're actually crossing a moat, entering into the space of the picture, and oftentimes that brocade border is a place for collectors to place their seals of ownership.

是以，你實際上是在跨越一條護城河，進入畫作的空間，而錦緞邊框往往是收藏者放置所有權印章的地方。

And then the next part of the scroll is called the frontispiece.

然後，卷軸的下一部分被稱為扉頁。

This introduces the scroll, it gives the artist's name, Fang Hu Zhen Ji, and finally we enter the world of the painting.

這是對畫卷的介紹，它給出了畫家的名字--方虎振基，最後我們進入了畫作的世界。

The artist, Fang Congyi, has given us something to identify with here.

藝術家方從義在這裡給了我們一些認同感。

We see the roofs of a temple hall on this peninsula in the foreground, and it's from this vantage point that we can enter into the painting.

我們在前景看到了半島上一座寺廟殿堂的屋頂，從這個有利位置，我們可以進入畫中。

So we're given an anchorage here, and as we walk through these trees right down to the spit of land at the very end, we can focus on these beautiful grasses drawn with maybe a very fine-tipped brush.

是以，我們在這裡得到了一個錨地，當我們穿過這些樹木，一直走到盡頭的那片陸地時，我們可以專注於這些美麗的草地，這些草地可能是用非常細的筆尖畫出來的。

So our focus is really narrowed into the foreground.

是以，我們的關注點確實縮小到了前臺。

We look up, we see this vast expanse, and then something magical takes place.

我們抬起頭，看到廣袤無垠的大地，然後神奇的事情發生了。

It is a kind of transformation, a transmutation of space that the artist has created so that we leap in a matter of inches from these fine grasses across to trees that are already clearly a mile away from the foreground trees that we saw just a minute ago.

這是一種轉換，是藝術家創造的一種空間嬗變，讓我們在幾英寸的距離內從這些細草躍升到樹木，而這些樹木與我們一分鐘前看到的前景樹木顯然已經相距一英里。

That shift in scale makes this mountain enormously high, so we've gone from a contemplation of deep distance to a contemplation of height, of unimaginable towering height.

這種尺度上的變化使得這座山變得非常高，是以我們從對深遠距離的思考變成了對高度的思考，對難以想象的高聳入雲的高度的思考。

And then this extraordinary Taoist painter reminds us of the impermanence of the universe, that even this substantial granitic cliff can be dissolved and return again into vaporous qi, or the breath of the universe.

然後，這位非凡的道教畫家提醒我們宇宙的無常，即使是這塊厚重的花崗岩懸崖也會被溶解，重新化為虛無的 "氣"，即宇宙的氣息。

And the very last few inches of the scroll, we return to nothingness.

而在畫卷的最後幾英寸，我們又回到了虛無。

Only the Qianlong Emperor was brazen enough to put his seals here to interrupt that contemplation of the void.

只有乾隆皇帝才會厚顏無恥地把印章放在這裡，打斷這種對虛空的沉思。

The other remarkable thing about Chinese paintings is these hand scrolls have paper mounted behind them to cushion the painting from the roller, but the custom arose of inscribing these blank papers.

中國畫的另一個顯著特點是，這些手卷的背後都裱有紙張，以緩衝滾筒對畫的衝擊，但卻出現了在這些空白紙張上題字的習俗。

This man begins by saying that the Yun Shan Tu Yi Fu Shang Qing Gao Shi Fang Fang Hu Suo Zuo Ye, he's given the painting a title, The Cloudy Mountains, and he says that this painting was done by the lofty scholar from the Upper Purity Temple, Mr. Fang Fang Hu.

此人一開始就說《雲山圖一輔上清高士方方虎索作圖》，他給這幅畫取了一個題目--《雲山圖》，他說這幅畫是上清寺的高士方方虎先生所作。

The whole thing becomes a commentary about the painting, about the artist, his place in art history, and there are a number of these commentaries that are appended after the work of art.

整幅畫都是對這幅畫、這位藝術家以及他在藝術史上的地位的評論，作品後附有許多這樣的評論。

These are all dating to the early 15th century.

這些都可以追溯到 15 世紀早期。

An inscription was added to in very recent times.

碑文是近代添加的。

This is actually dated to 1949 by Wu Hufan, who was C.C.

這實際上是吳湖帆 1949 年的作品，他當時是中正先生。

Wong, who was the last collector of this, and I later studied painting with C.C.

他是最後一位收藏者，後來我跟隨 C.C. 學習繪畫。

Wong.

黃

So, in fact, through this inscription, my teacher C.C.

是以，事實上，通過這幅碑文，我的老師 C.C.

Wong's name is mentioned, so I become a part of the history of this scroll.

黃的名字被提及，是以我也成為了這幅畫卷歷史的一部分。