Name: 革新風景畫的畫家！ (The Painter Who Revolutionized Landscapes)
Uploaded: 2026-01-28T17:21:14.000Z
Duration: 6 min 55 s

關係子句

If you haven't heard, I wrote a book of essays that'll be out this spring, and

如果你還沒聽說，我寫了一本散文集，今年春天就會出版，

you can pre order it with the links in the description below.

可以在下方的說明連結預購喔。

As we say goodbye to the holidays and move into January, we also say goodbye to the festive and charming part of the winter season.

隨著我們告別假期，進入一月，也意味著告別冬季裡那段歡樂又迷人的時光。

Now comes the grim, punishing, bitter months of winter, the endless months when all that enchanting snow turns to icy sludge.

現在迎來的是嚴酷、折磨人、又苦澀的冬季月份，那些無止盡的日子，所有迷人的雪都變成了冰冷的泥漿。

What we need now, as always, is an artist who understands us.

這時候，我們需要的，一如往常，是一位懂我們的藝術家。

And for this time of year, there's no better artist than Casper David Friedrich.

而在這個時節，沒有比卡斯帕·大衛·弗里德里希更適合的藝術家了。

Friedrich was a German painter of the early 1800s with a very serious looking face.

弗里德里希是 19 世紀初的德國畫家，長著一張看起來非常嚴肅的臉。

He's associated with German Romanticism, a rising intellectual and artistic movement of the period that sought to reconnect humanity with feeling and spirituality.

他與德國浪漫主義有關，這是當時興起的一股知識和藝術運動，試圖讓人類重新連結情感與靈性。

The painters of that period found that connection in nature, and

那個時期的畫家們在大自然中找到了這種連結，

so landscape painting became a genre of special significance.

所以風景畫成為了一種特別有意義的類型。

Friedrich's landscapes represent the pinnacle of this movement.

弗里德里希的風景畫代表了這個運動的巔峰。

Working for most of his life from Dresden, he focused largely on the austere, beautiful, often wintry environment of northern Germany, with its fir and oak trees, morning mists, harbors and shorelines along the Baltic coast and the rugged terrain of the Harz Mountains.

弗里德里希大半輩子都在德勒斯登工作，他主要專注於德國北部的簡樸、美麗、經常是冬季的環境，那裡有杉樹和橡樹、晨霧、港口和波羅的海沿岸的海岸線，以及哈爾茨山脈崎嶇的地形。

His paintings don't always depict real places, though.

不過，他的畫作並不總是描繪真實的地點。

Often he took elements from very various sites and fuse them together into an invented composition.

他經常會從各種不同的地方取材，然後將它們融合在一起，創作出一個虛構的構圖。

He saw in his mind's eye that might be what gives his work such power.

他在腦海中看見的景象，或許就是賦予他作品如此力量的原因。

Friedrich's landscapes are realistically rendered, but the landscape is not the subject of these canvases.

弗里德里希的風景畫寫實地描繪，但風景本身並不是這些畫布的主題。

The subject is the feeling he has in the presence of the landscape, the staggering encounter with the divinity he sees in it.

主題是他身處風景中的感受，以及他在其中看到的與神性的令人震驚的相遇。

In the German philosophical tradition, the sublime is a power or force or beauty that is so great it exceeds our ability to comprehend it, and

在德國哲學傳統中，崇高是一種力量、一種能量或一種美，其偉大程度超出了我們理解的能力，

we stand before its immensity in awe and terror.

我們在它的浩瀚面前，既敬畏又恐懼。

The sublime was a critically important idea in the period after the Enlightenment, when secularism was threatening the core of Christianity.

崇高是啟蒙時代之後一個非常重要的概念，當時世俗主義正威脅著基督教的核心。

As artist Anoka Faruki points out, citing Thomas McEvoli, the Romantics could replace the Enlightenment's discredited Christianity with the sublime.

正如藝術家 Anoka Faruki 引用 Thomas McEvoli 的話所指出的，浪漫主義者可以用崇高來取代啟蒙時代被駁斥的基督教。

And once again, they found the sublime in nature.

他們再次在大自然中找到了崇高。

或者更確切地說，他們在自己身上找到了它。

For Immanuel Kant, great German philosopher and theorist of the sublime, this immensity escapes our power of judgment.

對於偉大的德國哲學家、崇高理論家伊曼紐爾·康德來說，這種浩瀚超出了我們判斷的能力。

But the fact that we're able to experience it at all means that it does correspond to something in us, a sublimity discoverable in the mind.

但我們能夠體驗到它，這意味著它確實與我們內在的某樣東西相符，一種可以在心靈中發現的崇高。

In his landscapes, Friedrich is trying to paint that moment when the sublime in nature stirs the sublime in us, which is why he made such revolutionary use of the ruken figure, or the figure seen from behind, like this one in his most famous painting, Wanderer above the Sea of Fog.

在他的風景畫中，弗里德里希試圖描繪崇高的大自然觸動我們內在崇高的那一刻，這就是為什麼他革命性地使用了背影人物，就像他最著名的畫作《霧海上的漫遊者》中的這個人物一樣。

You're encouraged to put yourself in the shoes of this person, gazing across the misty mountaintops into the infinite sublime.

我們鼓勵你設身處地為這個人著想，眺望著霧氣瀰漫的山頂，進入無限的崇高。

But as far as Friedrich's ruken figures go, this one is actually a bit of an anomaly.

但就弗里德里希的背影人物而言，這個其實有點反常。

For the most part, Friedrich's human figures are tiny compared to the landscape they're contemplating, and

大部分時候，弗里德里希畫中的人物相較於他們所凝視的風景，都顯得渺小，

that augmented the vastness of the terrain.

The human body is our most natural anchor to determine the scale of things, and

人體是我們判斷事物規模最自然的錨點，

it's also what we're inescapably drawn to in any image.

同時也是我們在任何畫面中都無法避免被吸引的對象。

So there's no better way to simulate a sense of bigness than by featuring the miniature people.

所以，要模擬宏偉感，沒有比呈現微小人物更好的方法了。

As an aside, this is a technique that Denis Villeneuve used to great effect in his Dune movie from earlier this year.

順帶一提，這也是丹尼·維勒夫在今年稍早的《沙丘》電影中，運用得非常成功的技巧。

What's singular about Friedrich's landscapes is the environments he chooses to elicit the sublime.

弗里德里希風景畫的獨特之處，在於他選擇了能引發崇高感的環境。

You might expect sun, dappled, colorful blue sky, pastoral images, but

你可能會期待陽光普照、色彩繽紛的藍天、田園詩般的畫面，但

much more often than not, Friedrich's landscapes are ominous and nebulous, dominated by rolling mists and fogs that obscure objects in the distance.

絕大多數時候，弗里德里希的風景畫都顯得陰森而朦朧，被翻滾的霧氣籠罩，遮蔽了遠方的物體。

Trees are barren, their branches contorted like sharp fingers.

樹木光禿禿的，樹枝扭曲得像銳利的手指。

And once great Gothic cathedrals are reduced to ruins in the snow.

曾經雄偉的哥德式大教堂在雪中化為廢墟。

It's in these landscapes that Friedrich gives us nature at its most intimidating and therefore at its most sublime.

正是在這些風景中，弗里德里希展現了大自然最令人敬畏、是以也最崇高的一面。

After all, the sublime, like I said before, includes a feeling of terror, the terror of being in the presence of something far more vast than ourselves, of being at the mercy of what we can't wrap our arms or our minds around.

畢竟，崇高感，就像我之前說的，包含了恐懼感，也就是身處遠比我們自身更為浩瀚的存在面前，任由我們無法理解的事物擺佈的恐懼。

Pastoral landscapes, in their idealized beauty, imply man's control, his dominion over nature.

田園風景以其理想化的美，暗示著人類的控制，以及他們對大自然的統治。

In Friedrich's stark landscapes, man so small against the world, is not in control at all.

在弗里德里希的荒涼風景中，渺小的人類面對世界，根本無法控制。

This is why Friedrich is the perfect artist for winter.

這就是為什麼弗里德里希是描繪冬天的完美藝術家。

This is why so many of his canvases are set in these grim, punishing, bitter months.

這也是為什麼他的許多畫作都設定在這些陰沉、嚴酷、寒冷的月份。

He shows us the value of being humbled by nature.

他向我們展示了被大自然謙卑對待的價值。

而冬天是最能讓人謙卑的季節。

Of course, for the last two years, nature has humbled us plenty.

當然，過去兩年，大自然已經讓我們夠謙卑了。

So maybe Friedrich is a painter not only for this season, but

所以，或許弗里德里希不只是一位適合這個季節的畫家，

for our times, as we stand on the shore of the moment, weary, not quite as big as we imagined, we were, peering into the fog ahead.

更是我們這個時代的畫家，就像我們站在此刻的岸邊，疲憊不堪，不像我們想像中那麼偉大，我們曾窺視著前方的迷霧。

This episode was brought to you by Squarespace.

本集節目由 Squarespace 贊助播出。

If you don't know, you can use Squarespace to make beautiful websites for anything you might need a personal site, a wedding website, a site for your business or portfolio, and

如果你還不知道，你可以用 Squarespace 製作各種用途的精美網站，無論是個人網站、婚禮網站、公司或作品集網站，

in just a few clicks, you can have that website up and running.

只要點幾下，你就能擁有一個上線運作的網站。

Their design team has crafted templates that work on computer browsers and on mobile, switching perfectly between the two.

他們的設計團隊精心打造了各種範本，無論是在電腦瀏覽器或手機上都能完美運作，在兩者之間流暢切換。

You can integrate your own photos and videos with just a few clicks, and

只要點幾下，你就能整合自己的照片和影片，

you can even link your social account so you can auto post to Twitter and Facebook, all from within Squarespace.

你甚至可以連結你的社群帳號，這樣就能直接在 Squarespace 裡自動發布到 Twitter 和 Facebook。

Head over to squarespace.com for a free trial, and

when you're ready to launch that site, go to squarespace.com nerdwriter for 10% off your first purchase.

當你準備好要上線時，到 squarespace.com nerdwriter 購買，首購還能享有九折優惠。