Khan Chinese Art in the Yuan Dynasty.

元代的中國藝術。

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.

蒙古人沒有這樣的背景。

They had very little in the way of material culture.

他們幾乎沒有什麼物質文化。

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。

There would be no Europe.

歐洲將不復存在。

It would just be a greater Asia.

這只是一個更大的亞洲。

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。

I can barely see it here.

我在這裡幾乎看不到它。

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.

他們的中央首都中都是北京。

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。

They were treated prejudiciously.

他們受到了偏見的對待。

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.

臨安人一般不得擔任公職。

They were discriminated against.

他們受到了歧視。

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。

He died in 1304.

他於 1304 年去世。

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。

As you can see, the horse is bent down.

正如你所看到的，馬是彎著腰的。

His tail is being blown by the wind.

它的尾巴被風吹起。

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。

I'll read just the poem for you.

我只為你讀這首詩。

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

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

Jun Gu, Xi Yang Xia An, Ying Ru Shan.

Jun Gu, Xi Yang Xia An, Ying Ru Shan.

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.

現在，皇帝的馬廄空空如也。

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。

His shadow is like a mountain.

他的影子就像一座山。

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.

馬的形象威武雄壯。

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。

Mongols.

蒙古人

Here is a man who no longer has a direction.

這是一個不再有方向的人。

He's out of office.

他下臺了

He's withdrawn from public service.

他退出了公職。

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.

畫上附有很多很多的題簽。

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.

它們被理解為自我指涉。

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。

One is it's painted in colors on silk.

一是在絲綢上繪製色彩。

Two, the horse is wearing a lead.

其二，馬是被牽著走的。

And three, the horse is walking in another direction.

第三，馬在朝另一個方向走。

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.

向右轉就是向權力中心迴歸。

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。

So what Ren Renfa is saying is, don't be deceived by outward appearance.

所以，任仁發的意思是，不要被外表所迷惑。

Both these horses can be valued as moral exemplars.

這兩匹馬都堪稱道德楷模。

And he also goes on to point out, of course, that there are those who fatten themselves at the expense of the people.

當然，他還指出，有些人不惜犧牲人民的利益來養肥自己。

There are also those who remain emaciated, even though they're loyal servants of the government.

還有一些人雖然是政府的忠僕，卻依然憔悴不堪。

So that whether to serve or not became a very important issue at this period.

是以，服役與否在這一時期成了一個非常重要的問題。

One could carry that contrast between those who serve and those who remain out of office even further with these two landscapes.

通過這兩幅風景畫，我們可以將在職者和不在職者之間的對比推得更遠。

One on the top is painted by Chen Xuan, the one on the bottom is by Zhao Mengfu.

上面一幅是陳萱畫的，下面一幅是趙孟頫畫的。

These men lived in the same city of Wuxing, just 60 miles from the southern Song capital of Hangzhou, and they were both members of the Song elite.

這兩個人住在同一座城市吳興，距離南宋都城杭州僅 60 英里，他們都是宋朝精英中的一員。

And yet their difference in age, Chen Xuan was 40 when Hangzhou fell to the Mongols in 1276.

但他們的年齡相差很大，1276 年杭州淪陷時，陳瑄才 40 歲。

Zhao Mengfu was barely 20.

趙孟頫當時還不到 20 歲。

When that happened, Chen Xuan burned his books and renounced any association with the Confucian class because he felt the Confucian elite had failed to maintain the integrity of the

當時，陳玄焚燬了自己的書籍，並放棄了與儒家階級的任何聯繫，因為他認為儒家精英未能維護《詩經》的完整性。

Song dynasty and ultimately were responsible for allowing it to fall to the Mongols.

宋朝的滅亡，蒙古人的入侵，最終都是宋朝一手造成的。

So he withdrew from society and pursued painting as a way of supporting himself for the rest of his life.

於是，他遠離社會，以繪畫為生。

Zhao Mengfu took a very different course, and yet in both these paintings we see them adopting a very similar notion of how to recover the antique spirit of China through a return to archaic styles using this blue-green landscape style.

趙孟頫走的是一條截然不同的道路，但在這兩幅畫中，我們都能看到他們採用了一種非常相似的理念，即如何通過使用這種青綠山水風格來回歸古風，從而恢復中國的古風精神。

In Chen Xuan's painting, for example, you see these angular, stylized mountains, very frontal with the sort of naive depictions of houses in the foreground.

例如，在陳萱的畫作中，你會看到這些稜角分明、風格化的山，非常正面，前景則是對房屋的天真描繪。

It's very much a reference to antique painting styles, and therefore the story he's presenting is also a reference to one of China's great culture heroes.

這在很大程度上參考了古代繪畫風格，是以他所展示的故事也參考了中國的一位偉大文化英雄。

This is Wang Xizhi, the great patriarch of Chinese calligraphy who was inspired by the undulating necks of the geese that he's watching here from his famous Orchid Pavilion.

這就是中國書法的一代宗師王羲之，他在著名的蘭亭中觀賞大雁起伏的頸部，從中獲得了靈感。

So in Chen Xuan's image, he's not only adopting a kind of naive antique style, but he's harking back to a time when China had a golden age of culture.

是以，在陳玄的形象中，他不僅採用了一種天真爛漫的仿古風格，而且讓人回想起中國文化的黃金時代。

It was also a time when China was partially absorbed by non-Chinese peoples.

這也是中國被非華夏民族部分吞併的時期。

So it was also a time of struggle between how was China to maintain its cultural identity.

是以，這也是一箇中國如何保持其文化特性的鬥爭時期。

So during this period, Chen Xuan refers to this antique style as a way of really reminding

是以，在這一時期，陳玄提到這種古風，是真正提醒

China that it has this legacy of survival and continuity.

中國有這種生存和延續的傳統。

Now Zhang Mengfu, after 10 years of enforced retirement, was actively recruited by Kublai himself.

現在，張孟頫在強制退休 10 年後，忽必烈親自積極招募。

He was one of 27 men who were recruited specifically by the Khan to bring the southern intelligentsia into the government, and he was one of the few who actually accepted.

他是大汗為把南方知識分子招入政府而專門招募的 27 人之一，也是為數不多真正接受招募的人之一。

He went to Dadu in 1286, and he stayed there for another eight years or so, actually in

他於 1286 年前往大都，在那裡又待了八年左右，實際上是在

Dadu and then in the provincial capital of Shandong, where he had a significant impact on bettering the lives of the Chinese subjects, including ridding the state of a nefarious financial minister who was gouging the people with the taxes.

在那裡，他對改善中國臣民的生活產生了重大影響，包括使國家擺脫了一個榨取百姓賦稅的邪惡財政大臣。

He was actually a Central Asian.

他實際上是中亞人。

And so Zhang Mengfu heroically risked his life to go out on a limb and protest to Kublai himself the depredations of this finance minister.

於是，張孟頫冒著生命危險，英勇地站出來，向忽必烈本人抗議這位財政大臣的掠奪行為。

And so he actively supported the role of better government under the Mongols.

是以，他積極支持蒙古人建立更好的政府。

And this image is meant to really underscore his approach to governance, because it's a thinly disguised self-portrait based on a 4th century painting of a man named Xie Youyu.

而這幅畫是為了突出他的施政方針，因為它是一幅偽裝得很薄的自畫像，取材於公元 4 世紀一幅名為謝有虞的畫作。

The title of the painting is The Mined Landscape of Xie Youyu.

這幅畫的標題是《謝有餘的礦山風光》。

Xie Youyu was a government official who maintained that while he was not perhaps the most adept at court ritual, he was the most morally pure because he maintained the spirit of mountains and valleys in his heart while serving in government.

謝友漁是一位政府官員，他認為自己也許不是最擅長宮廷禮儀的人，但卻是道德最純潔的人，因為他在為官時心中始終保持著山川氣節。

So clearly Zhang Mengfu wanted to convey in this archaic image that he too was preserving the moral integrity of a man living in reclusion while serving in office.

很顯然，張孟頫想通過這個古老的形象來表達他也在維護一個隱居者在任職期間的道德操守。

After Kublai died in 1294, Zhang Mengfu, perhaps feeling that the change in rulers was something that might endanger him personally, opted to retire from office.

1294 年忽必烈去世後，張孟頫可能覺得統治者的更迭可能會危及他個人，是以選擇了退隱。

He returned home to Wuxing.

他回到了吳興老家。

But after another year, in 1296, he painted this image of a groom and horse for a man named Feiqing, who was a surveillance commissioner, a man who was responsible for upholding the moral integrity of the government and also recruiting new people into office.

但又過了一年，1296 年，他為一位名叫費清的人畫了這幅馬伕和馬的影像，費清是一位監察專員，負責維護政府的道德操守，同時也負責招攬新人上任。

And I think what this is is a plea on the part of Zhang Mengfu to be recognized and being brought back into government in an appropriate role.

我認為，這是張孟覆在懇求人們承認他，並讓他重返政府擔任適當的職務。

So obviously with the passage of time, Zhang Mengfu was not satisfied to remain in retirement.

是以，隨著時間的推移，張孟復顯然不滿足於繼續退休。

He also saw that the opportunity in government was still there.

他還看到，政府工作的機會依然存在。

So this painting, presented to a high official, is apparently an invitation to be recruited back into office.

是以，贈送給一位高官的這幅畫，顯然是邀請他重返官場。

Now the symbolism here is quite important.

這裡的象徵意義相當重要。

If you look at the way in which the horse is painted, there are these wonderful geometric arcs.

如果你看看這匹馬的畫法，就會發現有很多奇妙的幾何弧線。

It's the same curve that you see defining the cap rim, the belt, the bridle of the horse.

同樣的曲線，你還能看到馬的帽沿、腰帶和韁繩。

So there's a real geometry here.

是以，這裡有一個真正的幾何圖形。

And if you contrast those circular motions with the square, angular forms of the inscription and the format of the painting, what you have is gui and ju.

如果將這些圓周運動與方形、有稜有角的碑文形式和繪畫形式進行對比，就會發現 "gui "和 "ju"。

Guiju, which is circle and square, compass and square, means regulation or order.