Name: 獵人返巢：彼得．布魯蓋爾：藝術大師解密！ (Hunters in the Snow: Pieter Bruegel: Great art Explained)
Uploaded: 2026-01-14T06:39:21.000Z
Duration: 16 min 54 s

I've spent years telling you about the stories behind great art, and

我花了好幾年跟大家分享偉大藝術背後的故事，

now my book, Great Art Explained, takes that further and deeper.

現在我的書《Great Art Explained》將這個主題帶得更深入、更廣泛。

It is a book that is a gift for the curious, an invitation to see art with fresh eyes, available worldwide.

這本書送給充滿好奇心的人，邀請大家用全新的眼光看藝術，全球都買得到。

Pieter Brueghel the elder brought art to the people, and he brought the people into art.

老彼得·布魯蓋爾（Pieter Brueghel the elder）將藝術帶給大眾，也將大眾帶進藝術。

He made his money from printmaking, from reproducing his own paintings so that they could reach a much wider audience.

他靠著版畫賺錢，複製自己的畫作，讓更多人看得到。

In a sense, he was one of the first artists to understand mass communication through images.

某種程度上，他是第一批懂得透過圖像進行大眾傳播的藝術家。

He would probably be delighted to know that Hunters in the Snow has become one of the biggest selling Christmas cards in history.

他大概會很高興知道，《雪中獵人》已經成為史上最暢銷的聖誕卡之一。

But of course, it's far more than a festive card.

但當然，它遠不止是一張節慶卡片。

It is an image that not only reflects a radical change in what artists put on the canvas ordinary people and the world they inhabit, but

這幅畫不僅反映了藝術家在畫布上呈現的內容、普通人以及他們所處的世界發生了根本性的轉變，

also reflects a mini ice age, a winter that was so extreme that thousands died of cold and hunger, birds fell dead from the sky, and

也反映了一場小冰河時期，那是一個極端寒冷的冬天，導致數千人因寒冷和飢餓而死亡，鳥兒從空中墜落，

people thought it was the end of the world to modernize.

人們認為這是世界末日來臨的現代化。

Hungry Hunters in the Snow might evoke a picture perfect winter's day, full of charm and nostalgia that is both familiar and influential.

《雪中獵人》可能會讓人聯想到一幅完美的冬日景象，充滿了熟悉又具影響力的魅力和懷舊感。

But for Bruegel and his contemporaries, winter was not picturesque.

但對布魯蓋爾和他的同時代人來說，冬天並不像畫裡那樣詩意。

It was harsh, dangerous, and often deadly.

它既嚴酷、危險，又常常致命。

In that sense, the painting's beauty is inseparable from its melancholy.

從這個意義上說，這幅畫的美麗與它的憂鬱是密不可分的。

It is not a celebration of winter, but a recognition of it.

它不是對冬天的頌揚，而是對冬天的承認。

An honest, empathetic portrayal of human beings enduring and coexisting with the overwhelming forces of nature.

一幅誠實、充滿同情心地描繪了人類在壓倒性的自然力量下忍受並共存的景象。

It is that bittersweet tension that makes Hunters in the Snow such a powerful image.

正是這種苦樂參半的張力，讓《雪中獵人》成為一幅如此強大的畫作。

We don't know exactly when or where Pieter Bruegel was born, but

我們不太確定 Pieter Bruegel 確切的出生時間和地點，但

it was probably around 1525, in or near the town of Breda in the Netherlands.

他大概出生於 1525 年左右，地點在荷蘭的佈雷達鎮或其附近。

As a young man, he moved to the prosperous city of Antwerp.

年輕時，他搬到了繁榮的安特衛普市。

At the time, it was the economic center of the Western world, a global hub of trade and finance.

當時，這裡是西方世界的經濟中心，是全球貿易和金融的樞紐。

This newfound wealth attracted merchants and artists from across Europe.

這份新興的財富吸引了來自歐洲各地的商人與藝術家。

Hunters in the Snow would be painted in 1565, at the onset of the Little Ice Age, a period of global cooling defined by long, bleak winters, short summers and failed harvests.

《雪中獵人》繪製於 1565 年，正值小冰河時期開始，這是一個全球氣溫下降的時期，特徵是漫長、陰鬱的冬天、短暫的夏天和歉收。

In January of that year, the cold was so harsh that an iceberg crashed into the port of Rotterdam.

該年一月，寒冷 so harsh，以至於一塊冰山撞進了鹿特丹港。

But while people endured extreme weather, they were also living through deep political and religious upheaval.

但人們在忍受極端天氣的同時，也經歷著深刻的政治和宗教動盪。

The Low Countries, what we now know as Belgium, Luxembourg and the Netherlands, were then part of the Spanish Habsburg Empire, ruled first by Charles V and later Philip II of Spain.

低地國家，也就是我們現在所知的比利時、盧森堡和荷蘭，當時是西班牙哈布斯堡王朝的一部分，先後由查理五世和後來的西班牙腓力二世統治。

But across the region, Protestant reformers were challenging Catholic authority.

但整個地區，新教改革者們正在挑戰天主教的權威。

Calvinism, with its rejection of religious imagery and lavish ritual, was spreading fast.

加爾文教派，其對宗教圖像和浮華儀式的拒絕，正迅速傳播。

Brueghel lived at a time when the printing press had done to Europe what the Internet has done to us.

布魯蓋爾生活的時代，印刷術對歐洲的影響，就像網際網路對我們現在的影響一樣。

It transformed access to information, destroyed old hierarchies and created a completely new kind of audience.

它改變了資訊的可及性，摧毀了舊有的階級制度，並創造了一種全新的觀眾群體。

And he was one of the first generation of artists to come of age at a time when sacred imagery was losing its dominance as the central focus of art.

他也是第一代在神聖圖像不再是藝術中心焦點的時代成長起來的藝術家之一。

Then, in 1566, just a year after Bruegel painted Hunters in the Snow, tensions broke fully.

然後，在 1566 年，就在布魯蓋爾畫下《雪中獵人》的一年後，緊張局勢全面爆發。

Mobs of Calvinists raged through towns and cities, destroying statues, paintings and church decorations in a wave of iconoclasm, which became known as the bildenstorm, or breaking of the statues.

加爾文教派的暴民衝進城鎮，在一場被稱為「bildenstorm」或「毀像運動」的運動中，摧毀了雕像、繪畫和教堂裝飾。

對他們來說，這些圖像都是偶像崇拜。

This destruction not only fueled the Dutch revolt against Spanish rule, but

這種破壞不僅助長了荷蘭反對西班牙統治的起義，

it also reshaped the course of art itself.

而且還重塑了藝術本身的方向。

Churches stopped commissioning religious works, so artists began creating more everyday and secular scenes for the growing middle class audience.

教會不再委託創作宗教作品，是以藝術家們開始為日益壯大的中產階級觀眾創作更多日常生活和世俗場景。

Brutal winters, poor harvests and hunger in the countryside, alongside immense wealth built on global trade and a rising middle class.

鄉村經歷著嚴酷的冬天、歉收和飢荒，同時全球貿易和不斷壯大的中產階級卻累積了巨大的財富。

So while the beauty of hunters in the snow continues to speak to us today, it is equally a document of its time, revealing the physical and economic hardships of rural life in Brueghels, Flanders.

是以，雖然「雪中獵人」的美麗至今仍能引起我們的共鳴，但它同樣也是那個時代的紀錄，揭示了勃魯蓋爾筆下佛蘭德斯鄉村生活的艱辛與經濟困境。

Unlike the leading artists of Italy or Spain, Bruegel never worked as a court painter.

與義大利或西班牙的頂尖藝術家不同，勃魯蓋爾從未擔任過宮廷畫家。

He didn't create portraits of kings, queens or nobles, like Titian in the court of Charles V or Sofonisba Anguissola for Philip ii.

他不像提香在查理五世宮廷或索福尼斯巴·安圭索拉為腓力二世那樣，創作國王、女王或貴族的肖像。

His focus was on genre paintings populated by peasants and the landscape and world they inhabited.

他的焦點放在了描繪農民及其所居住的風景和世界的風俗畫上。

Bruegel did paint religious works for private commissions, but

勃魯蓋爾確實為私人委託創作過宗教作品，但

he became known for his landscapes and peasant scenes, and

他以風景畫和農民畫聞名，而且

he would go on to paint workers his whole life.

In this respect, he was a pioneer, as this was a rare form of art in his day.

在這方面，他是一位先驅，因為在他那個時代，這種藝術形式非常罕見。

We have to remember that Brueghel himself at the time was considered a mere artisan, on a level with a carpenter or weaver.

我們得記住，當時的勃魯蓋爾被視為一個普通的工匠，跟木匠或織工差不多。

He started his career as a draftsman for a printer in Antwerp, then one of the richest cities in Europe and the centre of printing.

他最初是在安特衛普一家印刷廠當繪圖員，當時安特衛普是歐洲最富裕的城市之一，也是印刷業的中心。

Prints are relatively cheap, and both ideological and artistic ideas could be disseminated widely and easily.

印刷品相對便宜，思想和藝術理念都能廣泛且輕鬆地傳播。

Printmaking taught Bruegel how to communicate ideas, how to reach a mass audience, and

印刷術教會了勃魯蓋爾如何傳達想法、如何觸及廣大觀眾，以及

He was, however, also schooled in the traditions of fine art, and

然而，他也接受了美術傳統的薰陶，並且

like many educated young artists of his time, he travelled to Italy to study.

就像當時許多受過教育的年輕藝術家一樣，他曾到義大利遊學。

但讓他印象深刻的並非古典雕塑、

The Architecture or lavish religious paintings that impressed him.

It was the Alps that he had seen on his journey.

而是他在旅途中看到的阿爾卑斯山。

A print of the Alps created from a painting he made on his travels became a best seller in the notoriously flat Low Countries.

他旅行時畫的阿爾卑斯山畫作印製成版畫後，在以平坦聞名的低地國家大受歡迎。

The Northern Renaissance in the Low Countries was obviously influenced by what was happening in Italy.

低地國家的北方文藝復興顯然受到了義大利的影響。

But although earlier artists like Albrecht Durer looked to Italian Renaissance ideas, Bruegel was interested in ideas closer to home.

但儘管像阿爾布雷希特·杜勒這樣的早期藝術家汲取了義大利文藝復興的靈感，布魯蓋爾卻對更貼近他生活周遭的事物感興趣。

What made Bruegel truly groundbreaking was not what he painted, but how he painted it.

讓布魯蓋爾真正具有開創性的，並非他畫了什麼，而是他如何畫。

The tradition of painting peasants had evolved slowly from the margins of manuscripts to the walls of great houses, and

描繪農民的傳統，從手稿的邊緣，慢慢演變到大宅的牆壁，

Bruegel is the moment where it stops being background and becomes the story.

布魯蓋爾的畫作標誌著農民不再只是背景，而是故事的主角。

Peasants in this period were often portrayed as buffoons or figures of ridicule, but

這個時期的農民常被描繪成傻瓜或被嘲笑的對象，但

Brueghel didn't share this crude approach.

布魯蓋爾並不認同這種粗俗的描繪方式。

He paints them with a quiet dignity, as real human beings rather than caricatures.

他以一種寧靜的尊嚴描繪他們，將他們視為真實的人，而非漫畫式的角色。

His peasant Wedding and Peasant Dance may contain humor, but it is humor laced with warmth and understanding.

他的《農民婚禮》和《農民舞會》或許帶有幽默感，但那是一種充滿溫暖與理解的幽默。

He gives these men and women weight, individuality and presence, turning their daily rituals into something monumental.

他賦予這些男女份量、個人特質和存在感，將他們日常的儀式轉化為不朽的藝術。

Bruegel's art is the product of many influences, spanning Netherlandish manuscript illumination, Boschian allegory, Italian compositional theory and the humanist culture of mid 16th century Antwerp.

布魯蓋爾的藝術深受多種影響，涵蓋了尼德蘭手稿插畫、波士的寓言、義大利的構圖理論，以及16世紀中期安特衛普的人文主義文化。

An important figure who is rarely discussed when it comes to Bruegel is Simon Benning from Ghent, who portrayed peasants with dignity.

在談論布魯蓋爾時，一位很少被提及的重要人物是來自根特的西蒙·本寧，他以尊嚴描繪農民。

Bening's Calendars and Books of Hours also pioneered techniques that Bruegel perfected, such as high viewpoints, sweeping panoramas and seasonal cycles.

本寧的《日曆》和《時禱書》也開創了布魯蓋爾後來完善的技法，例如高視點、寬闊的全景和季節循環。

An important source of inspiration was the work of Hieronymus Bosch, who, although active nearly a century earlier, was still hugely popular when Bruegel began his career.

一個重要的靈感來源是希羅尼穆斯·波士的作品，他雖然比布魯蓋爾早活躍近一個世紀，但在布魯蓋爾剛開始職業生涯時仍然非常受歡迎。

Publishers even commissioned Brueghel to design works in the manner of Bosch.

出版商甚至委託布魯蓋爾設計波士風格的作品。

Apart from the most obvious similarity of the crowded and busy canvases, Bruegel's early works, such as the Fall of the Rebel Angels and the Triumph of Death, clearly echo Bosch's moral allegories.

除了最明顯的擁擠繁忙畫布相似之處外，布魯蓋爾的早期作品，如《墮落的叛逆天使》和《死亡的凱旋》，明顯呼應了波士的道德寓言。

We could say that Bruegel inherited Bosch's moral imagination, but

我們可以說布魯蓋爾繼承了波士的道德想像力，但

stripped it of demons and miracles, translating it into real life.

卻剝離了其中的惡魔與奇蹟，將其轉化為真實的生活。

It's possible that we are still fascinated today by Bruegel, because really, he painted us not kings or saints, but

我們今天之所以還著迷於布魯蓋爾，或許是因為他畫的不是國王或聖人，而是

ordinary people trudging through snow, working, eating, celebrating or just enduring.

在雪地裡艱難行走、工作、吃飯、慶祝或只是忍耐的普通人。

He turned everyday life into something monumental, finding poetry in the routines and struggles that most artists ignored.

他將日常生活變得不凡，在大多數藝術家忽略的例行公事和掙扎中找到了詩意。

Hunters in the Snow was part of a series of six paintings representing the seasons.

《雪中獵人》是描繪季節的六幅系列畫作之一。

The commission came from a wealthy merchant in Antwerp, Nicholas Yongerlinck.

這項委託來自安特衛普的一位富商尼可拉斯·永格林克。

Unlike Bruegel's prints, which were widely distributed, this series of expensive oil paintings wouldn't have been seen by ordinary people, only those in Yongerlinck's circle.

和廣泛發行的布魯蓋爾版畫不同，這系列昂貴的油畫不會被普通人看到，只有永格林克圈子裡的人才能欣賞。

Each painting was quite large and they hung together in his dining room.

每一幅畫都相當大，它們一起掛在他的餐廳裡。

The paintings would have surrounded visitors while they were dining in the Yongerlink residence, and

這些畫作會在永格林克宅邸用餐時，環繞著訪客，

the richness of detail and flow of storytelling through the seasons would have made it an immersive experience.

豐富的細節和貫穿四季的故事流動，會帶來沉浸式的體驗。

Back then, people didn't think in terms of four equal seasons, but rather six unequal ones.

那時候，人們不認為有四個均等的季節，而是有六個不等長的季節。

And the cycle included Gloomy Day, representing early spring, Spring now sadly missing.

而這個循環包含了陰鬱的一天，代表初春，現在的春天卻已悄悄消失。

Haymaking, showing early summer, Harvesters, depicting late summer, the return of the herd for autumn, and

晒草，展現初夏，收割者，描繪盛夏，牛群的歸來象徵秋天，以及

Hunters in the Snow, our familiar winter scene.

雪中獵人，我們熟悉的冬季景象。

All six paintings share a compositional device known as the balcony motif.

這六幅畫都運用了一個稱為陽臺母題的構圖手法。

We view each scene from a hill in the foreground, like a balcony, watching the landscape unfurl beneath us.

我們從前景的山丘上觀看每個場景，就像站在陽臺上，看著下方的景色展開。

Bruegel is observing humanity from above, a bird's eye view, detached but fascinated.

布魯蓋爾從上方觀察著人類，一種鳥瞰的視角，超然卻又著迷。

While all six panels were revolutionary, the winter scene has become iconic, maybe because it's Bruegel's philosophy in a single image.

雖然這六幅畫都具有革命性，但冬季場景已成為經典，或許是因為它將布魯蓋爾的哲學濃縮在單一圖像中。

Bruegel was fascinated with winter scenes, and

布魯蓋爾對冬季景象著迷，而且

at the time of the mini Ice Age, he naturally produced many of them.

在小冰河時期，他自然創作了許多這類畫作。

But none of them captured the raw power of winter as vividly as Hunters in the Snow, a painting that chills you to the bone.

但沒有一幅能像《雪中獵人》那樣生動地捕捉到冬季的原始力量，這幅畫會讓你冷到骨子裡。

字幕列表影片播放

獵人返巢：彼得．布魯蓋爾：藝術大師解密！ (Hunters in the Snow: Pieter Bruegel: Great art Explained)

ritual

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