Name: 忽必烈汗的世界繪畫革命 (The World of Khubilai Khan: A Revolution in Painting)
Uploaded: 2024-09-14T16:47:57.000Z
Duration: 49 min 36 s

關係子句

Good evening, I'm Mike Hearn, I'm the curator of Chinese painting and calligraphy here at the Met, and I'm one of seven metropolitan colleagues who curated the World of Kublai

晚上好，我是邁克-赫恩（Mike Hearn），是大都會博物館的中國書畫策展人，也是策劃《忽必烈的世界》的七位大都會博物館同事之一。

So it's really been a group effort to do this extraordinary exhibition.

是以，舉辦這次非同尋常的展覽真的是群策群力。

I'm also responsible for a second exhibition entitled Yuan Revolution, Art and Dynastic

我還負責第二個展覽，名為 "元代革命、藝術與王朝"。

Change, which is in our permanent galleries on the second floor.

變化》，就在我們二樓的永久展廳裡。

Those two exhibitions combined mean that we have more great Yuan art in this building than under any other museum roof in the world.

這兩個展覽加在一起，意味著我們在這棟建築中擁有的偉大的元代藝術品比世界上任何其他博物館的屋頂都要多。

So it's really a remarkable achievement, we're very proud of this.

是以，這確實是一項了不起的成就，我們為此深感自豪。

So the Yuan Dynasty is significant because it represents an extraordinary collision of worlds.

是以，元朝之所以意義重大，是因為它代表了一個非同尋常的世界碰撞。

The Mongols, represented on your left by Kublai Khan, were a small confederacy of nomadic peoples living in the deserts north of China, who succeeded in conquering the largest empire known to mankind.

您左邊的蒙古人是忽必烈汗，他們是生活在中國北部沙漠的遊牧民族的一個小聯盟，成功征服了人類已知的最大帝國。

And the last people they succeeded in absorbing into their empire were the southern Song Chinese, and that cultural world is represented by Zhao Mengfu, whose idealized portrait is on the left, on your right.

而他們最後成功吸納的民族是南宋的中國人，這個文化世界的代表人物是趙孟頫，他理想化的肖像就在你們右邊的左邊。

These two worlds really were so incompatible, and yet they formed an extraordinary merging of ideas and cultures that became a watershed in Chinese history, and really defined the direction of Chinese art from this point forward.

這兩個世界真的是水火不容，但它們卻形成了思想和文化的非凡融合，成為中國歷史上的分水嶺，並真正確定了中國藝術從此以後的發展方向。

Kublai, as you know, was someone who probably could not read Chinese, and yet he understood the wisdom of employing the Chinese educated elite as members of the ruling class because of their extraordinary heritage.

大家都知道，忽必烈可能不懂漢語，但他明白，由於中國教育精英的非凡傳統，讓他們成為統治階級成員是明智之舉。

China was a country, the most populous in the world, which had a tradition of three millennia of ruling large empires.

中國是世界上人口最多的國家，有著三千年統治大帝國的傳統。

The Mongols had none of that in their background.

They had very little in the way of material culture.

They were warriors, but they rapidly learned, and Kublai was, I think, perhaps the preeminent example of a man who recognized that you could conquer China by the sword, but you couldn't rule it that way.

我認為，忽必烈或許是一個傑出的例子，他認識到，你可以用劍征服中國，但你不能用這種方式統治中國。

So the empire that the Mongols created stretched from Korea to the Danube River.

是以，蒙古人建立的帝國從北韓一直延伸到多瑙河。

Had Genghis Khan not died in 1215 and forced the Mongol troops to return to Karakoram for a curtail to decide who his successor would be, we might all be living under Mongol heritage.

如果成吉思汗沒有在 1215 年去世，並迫使蒙古軍隊返回喀喇崑崙，以決定誰是他的繼任者，我們可能都還生活在蒙古人的遺產之下。

But Kublai, who was Genghis's grandson, or great-grandson, decided to make his capital in what is present-day Beijing, or Dadu, the great capital.

但忽必烈，也就是成吉思汗的孫子或曾孫，決定把他的首都定在今天的北京，即大都督府。

So while clearly he chose the wealthiest part of his empire as the seat of power, and because of that, he effectively gave up control over the western reaches of his empire.

是以，他顯然選擇了帝國最富裕的地區作為權力的所在地，也正因為如此，他實際上放棄了對帝國西部的控制。

So the Ilkhanate, the Golden Horde, paid nominal or lip service to his rulership as the Khagan or Great Khan, but in fact, they were often at odds with Kublai.

是以，金帳汗國（Ilkhanate）名義上或口頭上支持忽必烈作為哈汗或大汗的統治，但事實上，他們經常與忽必烈發生衝突。

And for all intents and purposes, his rulership extended only into Central Asia and the borders we see as the Yuan Dynasty.

就所有意圖和目的而言，他的統治權只延伸到中亞和我們所看到的元朝邊界。

But that dynasty, while unifying China for the first time under a foreign rulership, was not a coherent entity.

但是，這個王朝雖然第一次在外國統治下統一了中國，卻不是一個連貫的實體。

In fact, what we see is that the Mongols unified an empire that had been riven by earlier invasions into China, so that in the north you had first the Liao and then the Jin Dynasty, who succeeded in 1127 in capturing the northern Song capital at Kaifeng, which they called their southern capital or Nanjing.

事實上，我們看到的是，蒙古人統一了一個因早先入侵中國而四分五裂的帝國，是以在北方先有遼朝，後有金朝，金朝在 1127 年成功攻佔了北宋都城開封，他們稱開封為南宋都城或南京。

Their central capital, Zhongdu, was Beijing.

It fell to Genghis in 1215, and finally Nanjing fell, or Kaifeng fell to the Mongols in 1237.

1215 年，成吉思汗攻陷南京，1237 年，開封被蒙古人攻陷。

But it was another 60 years before the Mongols were able to invade first Tibet and Dali, or what is Yunnan province, and slowly make their way into southern Song and capture that half of the empire.

但又過了 60 年，蒙古人才得以先攻入西藏和大理（即現在的雲南省），並慢慢進入南宋，佔領了這半個帝國。

As a result, the citizens of the southern Song were branded as the least desirable citizens of the empire.

是以，南宋公民被打上了帝國最不受歡迎公民的烙印。

The educated elite that were concentrated in the southern Song capital at Hangzhou or

集中在南宋都城杭州的知識精英或

Lin'an were not allowed to serve in office generally.

So in the classes of society that the Mongols had established, Mongols were on top, followed by non-Chinese, the Si Mu, people from Central Asia, then the northern Chinese, who had already been living under non-Chinese rule for over 150 years at that point, and finally the southerners.

是以，在蒙古人建立的社會階層中，蒙古人居首位，其次是非漢人，即來自中亞的思慕人，然後是北方漢人，他們當時已經在非漢人統治下生活了 150 多年，最後是南方人。

So the southern elite, the men who really were the most erudite members of that society, were the ones who were treated with the least respect.

是以，南方的精英，也就是那個社會中真正最博學的人，是最不被尊重的人。

The civil service recruitment examinations were eliminated by the Mongols and not resuscitated for a number of years.

蒙古人取消了公務員招聘考試，多年來一直沒有恢復。

And even then, only a small number of Chinese ever succeeded in achieving high rank under the Mongols.

即便如此，在蒙古人的統治下，也只有少數中國人成功地獲得了很高的地位。

So it was really under that set of circumstances that art under the Yuan dynasty was transformed.

是以，元朝的藝術確實是在這種情況下發生變革的。

And in particular, it was men who owed their allegiance to the southern Song who created a new art form as a kind of protest art.

尤其是那些效忠於南宋的人，他們創造了一種新的藝術形式，作為一種抗議藝術。

One of the greatest surviving examples of that is this painting of what is called the

現存最偉大的作品之一就是這幅被稱為

Jun Gu, or the Noble Steed's Bones, painted by Gong Kai, who was a man who actually resisted the Mongol invasion as a military man.

駿犬圖》或《駿骨圖》，由龔開繪製，龔開是一位真正抵禦蒙古入侵的軍事家。

He was an ardent Song loyalist for his entire life.

他一生都是宋朝的忠實擁護者。

And this painting, probably from around 1300, is emblematic of his sense of despair at having lost the empire, this sort of personal sense of responsibility.

這幅畫大概創作於 1300 年左右，體現了他對失去帝國的絕望感，以及這種個人責任感。

正如你所看到的，馬是彎著腰的。

His gaunt frame exposes his spine, his haunch, and his many ribs.

他憔悴的身軀暴露了他的脊柱、駝背和許多肋骨。

And it is the ribs that Gong Kai pointed to in his own poem, which is appended after the painting, written in an archaic seal script.

而這正是龔開在他自己的詩中所指出的肋骨，這首詩附在畫後，用古體篆書書寫。

And in this poem, we begin to understand the layers of meaning that are embedded in this iconic image.

在這首詩中，我們開始理解這一標誌性形象所蘊含的多層含義。

Yi Cong Yun Wu, Jiang Tian Guan, Kong Jin Xian Qiao, She Er Xian, Jin Ri You Xie, Lian

So ever since the clouds and the mist have descended upon the heavenly passes when the

是以，自從雲霧降臨到天國的山口，當......當......

Mongols occupied China, the southern part of China, the 12 imperial stables of the former dynasty are empty.

蒙古人佔領了中國，中國的南方，前朝的 12 座御馬場都空了。

So the horse here is an emblem for the power of the martial might of traditional China.

是以，這裡的馬是傳統中國武術力量的象徵。

It was an icon during the Tang dynasty when paintings like this were often a fine stage.

它是唐代的一個標誌，當時這樣的畫作往往是一個精美的舞臺。

We think of the ceramic horses of the Tang dynasty as well, emblematic of the ability of Tang China to project its power.

我們也會想到唐朝的陶馬，它象徵著唐朝中國投射力量的能力。

Now the stables of the emperor are empty.

Horses, of course, are also emblematic of the high officials who served under the emperor.

當然，馬也是皇帝手下高級官員的象徵。

So he goes on to explain in the poem that today, who is it that will lament this noble horse's bones?

是以，他在詩中繼續解釋說，今天，是誰在哀嘆這匹高貴駿馬的屍骨？

In the setting sun, he strolls along the, or he walks dejectedly, I would say, along the sandy shores.

夕陽西下，他漫步在沙岸上，或者說，他垂頭喪氣地走著。

You look at this enormous sense of the horse's withers there, and it's really mountain-like.

你看，馬的脊背給人一種巨大的感覺，真的像一座山。

So there is this powerful, imposing image of the horse.

Even in this sense of despair, the horse carries this enormous sort of monumental quality of a mountain.

即使是在這種絕望的情緒中，這匹馬也帶著山一般巨大的不朽氣質。

In the rest of his inscription, he goes on to describe how a normal horse has about 10 ribs, and a fine horse has more than that.

在碑文的其餘部分，他還描述了一匹普通的馬大約有 10 根肋骨，而一匹優秀的馬則不止 10 根。

But a 1,000-league horse, a horse that can run for 1,000 leagues, has 15, as this animal does.

但一匹能跑 1000 裡格的馬有 15 匹，就像這匹馬一樣。

But the only way one can see those 15 ribs is if the horse is emaciated.

但只有在馬匹憔悴的情況下，才能看到這 15 根肋骨。

So he says there's really no escaping the fact that this horse has to be emaciated in order to see its true qualities.

所以他說，這匹馬必須憔悴才能看到它真正的品質，這是無法迴避的事實。

So it becomes this emblem of survival under the austere conditions of living under the

是以，它就成了在艱苦條件下生存的象徵。

Here is a man who no longer has a direction.

He's aimlessly moving through life, and yet this willingness to survive in this sense of his own moral integrity is what comes across in this image.

他漫無目的地在生活中穿梭，然而，他對自身道德操守的這種求生意願卻在這幅畫面中體現得淋漓盡致。

And that's exactly how all of the later appreciators of this painting responded to it.

這正是這幅畫後來所有欣賞者的反應。

There are many, many colophons appended to the painting.

All of them see this horse as an image of Gunkai himself.

所有的人都把這匹馬視為貢凱本人的形象。

And so this is really a watershed moment in Chinese history, when paintings by these literati, the elite educated men of the Southern Song in particular, became autobiographical.

是以，這是中國歷史上的一個分水嶺，當這些文人，尤其是南宋的精英知識分子的繪畫成為自傳體時。

They became understood as self-referential.

Now a generation later, Gunkai's horse was clearly so well-known that it was quoted in another work of art.

一代人之後，貢凱的馬顯然已經名聲在外，以至於被另一件藝術品所引用。

This one by Ren Renfa, and you can see there's several, I count three important distinctions here.

這是任仁發的作品，你可以看到這裡有幾個，我數了數有三個重要的區別。

And three, the horse is walking in another direction.

That's significant in a hand scroll, where moving towards the left is moving away from the center of power.

這在手卷中意義重大，因為向左移動就是遠離力量中心。

Moving to the right is returning towards the center of power.

And this painting is, this horse is actually one of two horses painted by Ren Renfa, around let's say 1320.

這幅畫是，這匹馬實際上是任仁發畫的兩匹馬中的一匹，大約在 1320 年左右。

Now Ren was a generation younger than Gunkai.

現在，Ren 比 Gunkai 年輕了一輩。

He passed the civil service exams when he was 17 years old, just four years before the fall of Hangzhou to the Mongols.

他在 17 歲時通過了公務員考試，此時距離杭州淪陷於蒙古人之手僅有四年時間。

And shortly after the empire was completely vanquished, the Song empire, Ren Renfa decided to serve under the Mongols.

而在宋帝國徹底滅亡後不久，任仁發決定在蒙古人手下效力。

And he did so for the next 48 years, rising in rank to very high position.

在接下來的 48 年裡，他一直如此，官職不斷升高。

He was particularly specialized in aquatic engineering and water management.

他尤其擅長水利工程和水資源管理。

So this painting becomes a kind of self-defense for his choice not to remain in retirement, but to go forward and serve.

是以，這幅畫成了他選擇不退休，而是繼續前行和服務的一種自我辯護。

And in his inscription, what he explains is that both these horses are moral exemplars.

他在題詞中解釋說，這兩匹馬都是道德楷模。

There is the well-fed horse who chooses to serve in government, obviously for the betterment of the state, and there is also the moral choice of remaining outside of government service as a loyalist, an imin, a leftover subject of the Song dynasty.

既有衣食無憂的駿馬選擇出仕，顯然是為了國家的更好發展；也有道義上的選擇，那就是不出仕，做一個忠臣、伊民、宋朝的遺民。

You notice that both horses are now moving in the same direction.

您注意到，兩匹馬現在正朝著同一個方向前進。

Not through political coercion, but through the shared moral compass.

不是通過政治脅迫，而是通過共同的道德指南針。

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忽必烈汗的世界繪畫革命 (The World of Khubilai Khan: A Revolution in Painting)

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