that Western civilization has been putting art in museums,

西方文明世界開始將藝術品放入博物館收藏。

at least museums resembling

最起碼是在類似博物館

the public institutions we know today.

這種我們現今所知的公眾組織展出。

Before this, for most, art served other purposes.

在這之前，多數而言，藝術以其他目的存在。

What we call fine art today

我們現在所稱的「美術」

was, in fact, primarily how people experienced

事實上，主要是人們對於

an aesthetic dimension of religion.

宗教審美的體驗。

Paintings, sculpture, textiles and illuminations

繪畫、雕塑、紡織品和燈飾

were the media of their time,

都是當時的媒介。

supplying vivid imagery

提供生動的想像

to accompany the stories of the day.

伴隨當時的故事。

In this sense, Western art

這樣的概念下，其實西方藝術

shared a utilitarian purpose

和世上其他文化

with other cultures around the world,

有共同的功利性目的。

some of whose languages incidentally have no word for art.

某些語言並沒有詞彙可以稱呼「藝術」

So how do we define what we call art?

所以我們該如何定義所謂的「藝術」？

Generally speaking, what we're talking about here

普遍來講，我們所指的是

is work that visually communicates

視覺傳達凌駕於語言之上

meaning beyond language,

所代表的意義。

either through representation

不是透過象徵

or the arrangement of visual elements in space.

不然就是視覺元素的空間組合。

Evidence of this power of iconography,

意象力量的證據

or ability of images to convey meaning,

或是圖畫意象傳達的能力

can be found in abundance.

這些元素都很豐富。

if we look at art from

如果我們藉由世界的主要信仰歷史

the histories of our major world religions.

一窺藝術的發展。

Almost all have, at one time or another in their history,

幾乎所有的宗教，都曾經或一度

gone through some sort of aniconic phase.

經歷過某種反對偶像的階段。

Aniconism prohibits any visual depiction of the divine.

無偶像論禁止描繪任何神祉。

This is done in order to avoid idolatry,

這麼做是為了避免偶像崇拜

or confusion between the representation of divinity and divinity itself.

或避免造成神與畫像之間的混淆。

Keeping it real, so to speak,

其實來講

in the relationship between the individual and the divine.

是為了保持人與神之間關係的真實性。

However, this can be a challenge to maintain,

然而，要維持並不簡單

given that the urge to visually represent and interpret

考量到人們慣於以視覺傳達、詮釋

the world around us.

周遭的世界。

is a compulsion difficult to suppress.

這是很難壓抑的本能。

For example, even today,

例如，即使到今天

where the depiction of Allah or the Prophet Muhammad is prohibited,

雖然禁止描繪真主或穆罕默德的模樣

an abstract celebration of the divine

卻有抽象的方式可以傳達。

can still be found in arabesque patterns of Islamic textile design,

現今仍存在於阿拉伯式的伊斯蘭紡織品。

with masterful flourishes of brushwork

以不凡的筆觸

and Arabic calligraphy,

和阿拉伯文書法

where the words of the prophet

將先知所言

assume a dual role as both literature and visual art.

同時以文學及視覺藝術呈現。

Likewise, in art from the early periods

同樣的，基督教和佛教的

of Christianity and Buddhism,

早期發展中

the divine presence of the Christ and the Buddha

耶穌與佛祖的存在

do not appear in human form

並不是人的型態

but are represented by symbols.

而是以符號來象徵。

In each case,

在這個情況下

iconographic reference is employed

引用圖像

as a form of reverence.

是一種崇敬。

Anthropomorphic representation,

擬人化

or depiction in human form,

或人像描繪

eventually became widespread in these religions.

最終在這些宗教中廣為流傳。

Only centuries later,

幾世紀後

under the influence of the cultural traditions surrounding them.

在他們周遭的文化傳統影響下才變普遍。

Historically speaking,

歷史上來講

the public appreciation of visual art

大眾欣賞視覺藝術

in terms other than traditional, religious or social function

有別於傳統上宗教或社交功能

is a relatively new concept.

是相對新的概念。

Today, we fetishize the fetish, so to speak.

現今，我們可以說是盲目崇拜偶像

We go to museums to see art from the ages,

從古至今我們到博物館欣賞藝術

but our experience of it there

但我們從中得到的體驗

is drastically removed from the context

與作品本身要傳達的意象

in which it was originally intended to be seen.

相距甚遠。

It might be said that the modern viewer

或許可以說是現代的觀賞者

lacks the richness of engagement

欠缺深度參與

that she has with contemporary art,

當代藝術。

which has been created relevant to her time

當代的創作

and speaks her cultural language.

可以訴說她的文化背景。

It might also be said that the history of what we call art

也可以說歷史上我們所稱的藝術

is a conversation that continues on,

就是一個持續進行的對話。

as our contemporary present passes into what will be

就像我們當代的藝術

some future generation's classical past.

在未來將成為經典。

It's a conversation that reflects

這場對話會反映出

the ideologies, mythologies, belief systems and taboos

思想、神話、信仰系統和禁忌

and so much more of the world in which it was made.

還有很多世界上的藝術元素。

But this is not to say that work from another age

但在另一個時代的作品

made to serve a particular function in that time

在當時有特定的功能

is dead or has nothing to offer the modern viewer.

卻對現代觀賞者而言毫無意義。

Even though in a museum setting

即使博物館

works of art from different places and times

陳列來自不同時代地區的作品

are presented alongside each other,

會把它們擺在一起展示

isolated from their original settings,

脫離原本的擺設。

their juxtaposition has benefits.

他們的陳設方式是有好處的。

Exhibits are organized by curators,

展品是由館員規劃

or people who've made a career

或由專業人士

out of their ability to recontextualize or remix

重建新情境或混合

cultural artifacts in a collective presentation.

文化藝術品集體展出。

As viewers, we're then able to consider the art

身為觀賞者，這樣我們就能夠

in terms of a common theme that might not be apparent

藉由共同主題發現無法從單一作品中

in a particular work

鑑賞的藝術特點。

until you see it alongside another,

而因為並列展出

and new meanings can be derived and reflected upon.

觀眾就可以從中得到新的啟發。

If we're so inclined,

如果有意願

we might even start to see every work of art

我們甚至可以開始將每個作品

as a complementary part of some undefined, unified whole

視為當代一部分未定義的

of past human experience,

人類過去的整體經驗。

a trail that leads right to our doorstep

一條延向我們門前的路徑

and continues on with us,

這條路徑一直陪著我們

open to anyone who wants to explore it.

也向任何想探索的人敞開。