Name: 絕美藝術之都：伊斯坦堡！ (Great Art Cities: Istanbul)
Uploaded: 2026-02-01T12:43:21.000Z
Duration: 15 min 10 s

進階被動語態

Just a quick reminder that my other channel, Great Books Explained, can be found in the link below.

這裡快速提醒一下，我的另一個頻道 Great Books Explained 可以在下面的連結找到。

Istanbul, once known as Byzantium and later as Constantinople, is a city of such diverse culture and history, it was the capital of three great Roman, Byzantine and Ottoman.

伊斯坦堡，曾經被稱為拜占庭，後來又叫君士坦丁堡，這座城市擁有如此多元的文化和歷史，曾是羅馬、拜占庭和鄂圖曼三大帝國的首都。

Both ancient and modern art blend elements from Europe, Asia and the Middle east.

古代與現代藝術融合了歐洲、亞洲和中東的元素。

Reflecting its geographical and historical positioning as a bridge between the east and the West.

這反映了它作為連接東西方橋樑的地理和歷史定位。

It is the only city in the world that straddles two Europe and Asia.

它是世界上唯一一座橫跨歐洲和亞洲的城市。

Constantinople became Istanbul in 1930, following Turkey becoming a republic.

隨著土耳其成為共和國，君士坦丁堡於 1930 年改名為伊斯坦堡。

The city's art is is a visual embodiment of its complex history.

這座城市的藝術是其複雜歷史的視覺體現。

In this episode, we look at the cultural highlights of one of the most dynamic cities in the world, from Hellenistic art, Roman sarcophagi and the spectacular ancient cisterns that lie beneath the city of Istanbul.

在這一集裡，我們將探討這座世界上最具活力的城市之一的文化亮點，從希臘化藝術、羅馬石棺，到位於伊斯坦堡市下方的壯觀古代蓄水池。

From the grand Byzantine domed church Hagia Sophia to Ottoman tiles, carpets and detailed mosaics in the city's famous Blue Mosque to contemporary art in Turkey's first modern art museum.

從宏偉的拜占庭圓頂教堂聖索菲亞大教堂，到鄂圖曼帝國時期在城市著名藍色清真寺裡的瓷磚、地毯和精緻的馬賽克，再到土耳其第一座現代藝術博物館裡的當代藝術。

Alexander the Great invaded asia Minor in 335 BCE, leaving behind an artistic legacy, as did Emperor Constantine when he shifted the capital of the Christian Roman Empire to the east in 330 CE and renamed it Constantinople.

亞歷山大大帝於西元前 335 年入侵小亞細亞，留下了藝術遺產，君士坦丁大帝於西元 330 年將基督教羅馬帝國的首都遷往東方並改名為君士坦丁堡時，也留下了他的藝術遺產。

The Muslim Ottomans, whose sultans were some of the greatest patrons of the arts, created many great monuments when they took over the region in 1453.

穆斯林鄂圖曼人，他們的蘇丹是藝術上最偉大的贊助者之一，在 1453 年接管該地區時建造了許多偉大的紀念碑。

And modern day Turkey is now creating its own artistic legacy.

而現代土耳其現在正在創造自己的藝術傳承。

The archaeology Museum holds 60,000 artifacts from the Greek, Egyptian, Phoenician and Hittite periods.

考古博物館收藏了來自希臘、埃及、腓尼基和赫梯時期的 60,000 件文物。

And it's packed with Roman sculpture and sarcophagi, including its artistic masterpiece, the Alexander sarcophagus, a 4th century BCE Hellenistic stone tomb found in the late 19th century near Sidon in today's Lebanon, then part of the Ottoman Empire.

裡面擺滿了羅馬雕塑和石棺，包括其藝術傑作，亞歷山大石棺，這是一座西元前 4 世紀的希臘化時期石墓，於 19 世紀末在今日黎巴嫩的西頓附近發現，當時屬於鄂圖曼帝國。

The Sarcophagus is a lavish tomb which depicts two battle scenes and two hunting scenes in incredible detail.

這座石棺是一座奢華的陵墓，以令人難以置信的細節描繪了兩場戰鬥場景和兩場狩獵場景。

It is not, despite the name, the coffin of Alexander the Great, but

儘管名字叫亞歷山大石棺，但它並不是亞歷山大大帝的棺材，

probably that of Abdalonymus, King of Sidon, who died in 311 BCE.

而是西元前 311 年去世的西頓國王阿卜杜勒尼穆斯的。

He was made king by Alexander immediately following the Battle of Issus, and

亞歷山大大帝在伊蘇斯戰役後立即任命他為國王，

而這兩個人都描繪在這座陵墓上。

The sarcophagus is remarkable in that it holds the only existing depiction of Alexander the Great created during his lifetime.

這座石棺之所以引人注目，是因為它保存了亞歷山大大帝生前唯一現存的畫像。

The battle took place in 333Bce where Alexander overpowered King Darius III and his much larger Persian army and marked the beginning of of the end of Persian power.

這場戰役發生於西元前 333 年，亞歷山大在這場戰役中擊敗了波斯國王大流士三世及其規模龐大的波斯軍隊，標誌著波斯勢力衰落的開端。

Alexander created one of the world's largest empires, from Greece to India.

亞歷山大建立了當時世界上最大的帝國之一，疆域從希臘延伸至印度。

By the age of 30 and we know it is him on the sarcophagus as he wears a lion skin on his head.

到了 30 歲，我們知道石棺上的人物就是他，因為他頭戴獅皮。

He is shown rearing triumphantly on horseback, preparing to throw a spear at the Persian cavalry.

他被描繪成騎在馬背上凱旋而歸，準備將長矛投向波斯騎兵。

Holes and hand placements in certain figures tell us that the frieze would have been embellished with bronze weaponry, which has since been lost.

某些人物身上的孔洞和手部擺放的位置告訴我們，這幅飾帶曾裝飾有青銅武器，但現已遺失。

Once all the horses even had bridles and reins made out of bronze, which went through the drilled holes you see here.

連馬匹的韁繩和韁繩都是用青銅製成的，這些青銅穿過了這裡看到的鑽孔。

The material is pentelic marble from Greece, which is softer and easier to carve than other natural stone materials, resulting in an astonishing level of detail.

這種材料是來自希臘的潘特利克大理石，它比其他天然石材更柔軟、更容易雕刻，是以呈現出令人驚嘆的細節。

It represents a perfect combination of Greek and Persian style.

它完美結合了希臘和波斯風格。

Greek in its origins and aesthetics, and Persian in the concept of such an ornate funerary monument.

在起源和美學上是希臘風格，而在如此華麗的墓葬紀念碑的構思上則是波斯風格。

On this scale, it is in the shape of a Greek temple and it looks very architectural.

在這個規模上，它呈現希臘神廟的形狀，看起來非常建築感。

It even has many of the details seen on the temples, like the egg and dart motif on the top edge above the freezers.

它甚至有許多在神廟上看到的細節，像是冷凍櫃上方邊緣的蛋形與箭形裝飾。

This sarcophagus is also considered to be one of the best preserved examples of polychrome.

這座石棺也被認為是保存最完好的彩色雕塑範例之一。

Most of the Roman sculpture that is so familiar to us was not monochromatic raw marble, but

我們所熟悉的大部分羅馬雕塑並非單色的原始大理石，

was originally painted in bright colours.

而是原本就漆上了鮮豔的色彩。

And over the centuries the paint has worn off.

經過幾個世紀，顏料都已脫落。

Because the tomb is so remarkably preserved, we can see clear traces of yellow, red, purple and blue in many of the scenes.

由於墓穴保存得非常完好，我們可以看到許多場景中清楚留下的黃色、紅色、紫色和藍色痕跡。

And if we look at this side of the tomb, we can see in this reconstruction how it once looked.

如果我們看看墓穴的這一側，在這個重建的模型中，可以看到它曾經的樣子。

It seems bright and lurid to us, but it is a totally accurate historical portrayal.

對我們來說，它看起來明亮且俗豔，但這是完全準確的歷史描繪。

The Greek warriors are shown nude, with colorful hair, helmets and shields, while their opponents, the Persians, are painted with bright, vibrant clothes and armor.

希臘戰士們裸體，有著色彩鮮豔的頭髮、頭盔和盾牌，而他們的對手波斯人則穿著鮮豔、充滿活力的衣服和盔甲。

Nudity in ancient art was used as a deliberate way to imply heroism or even divinity.

古代藝術中的裸體是一種刻意表達英雄氣概或神性的方式。

The other motif of the sarcophagus is a hunting scene.

石棺的另一個主題是狩獵場景。

Alexander the Great is shown once again on horseback with a flowing cape.

亞歷山大大帝再次騎馬出現，披著飄逸的披風。

Beside him, we see Abdelonymus, whose horse is being attacked by a lion.

他旁邊，我們看到阿布德洛尼姆斯，他的馬正被一隻獅子攻擊。

The hunting scene is a clear political statement, as the Persians and Greeks who we saw at battle in the other frieze, are now working together in in pursuit of the lion.

這場狩獵場景是一個明確的政治聲明，因為我們在另一側飾帶中看到的波斯人和希臘人，現在正一起追逐獅子。

It is underlying the unifying symbolism of the royal hunt, bringing together the two cultures after a period of warfare.

這突顯了皇家狩獵的統一象徵意義，在經歷一段戰亂後，將兩種文化融合在一起。

They are carved deeply and the figures are overlapping and tumbling out of the frame, creating dramatic scenes.

它們被深深地雕刻，人物重疊並從畫框中湧出，營造出戲劇性的場景。

In the garden of the museum are further ancient artifacts, including this spectacular Medusa head, which, which may have been removed from the ruins of the Forum of Constantine, where similar relics have been found.

在博物館的花園裡還有其他古代文物，包括這個壯觀的梅杜莎頭像，它可能來自君士坦丁廣場的遺跡，那裡也發現了類似的遺物。

As we shall see later, the Byzantine style rejected the realistic forms of classical Roman art in favor of a more symbolic approach, with highly stylized flattened designs, often decorated with gold.

正如我們稍後將看到的，拜占庭風格摒棄了古典羅馬藝術的寫實形式，轉而採用更具象徵意義的方法，具有高度風格化、扁平化的設計，常飾以金色。

While Western Europe was going through the Dark Ages, the Roman capital of Byzantium fragments flourished in the east and became a glorious gem of art and architecture.

當西歐經歷黑暗時代時，羅馬首都拜占庭的碎片在東方蓬勃發展，成為藝術和建築的輝煌寶石。

However, one of the most incredible structures in Istanbul built during the Byzantine era, is actually underground and features upcycled early Roman sculptures.

然而，伊斯坦堡拜占庭時期最令人難以置信的建築之一，其實在地下，並且使用了回收的早期羅馬雕塑。

The eerie and beautiful Basilica Cistern.

Deep below the city is a reservoir built in the 6th century under the reign of Emperor Justinian I, who also rebuilt the domed church Hagia Sophia.

在城市深處，有一個建於六世紀、由查士丁尼一世統治時期建造的水庫，他同時也重建了圓頂教堂聖索菲亞。

It took a genius piece of Roman engineering to create the major water reservoirs of Constantinople.

君士坦丁堡主要的蓄水設施，需要羅馬工程的絕妙巧思才能建造。

The water was transported to the city from up to 200 km away by these immense Byzantine aqueducts, which are still standing.

這些巨大的拜占庭水道，至今仍屹立不搖，將水從約 200 公里外運送到城市。

The reservoir, the largest of 209 ancient cisterns that lie beneath the city, is an enormous space roughly the size of two football fields, containing 336 marble columns recycled from the ruins of older buildings, each nine metres high, holding up the vaulted ceilings.

這個水庫是城市下方 209 個古代蓄水池中最大的，空間巨大，大約是兩個足球場的大小，裡面有 336 根大理石柱，是從較舊建築的廢墟中回收來的，每根高九公尺，支撐著拱形天花板。

This masterpiece of engineering far exceeds in both scale and design innovation, even the largest of the imperial Roman cisterns.

這項工程傑作在規模和設計創新上，都遠遠超越了最大的羅馬帝國水庫。

Reflecting the value of water in the Byzantine city.

反映了拜占庭城市中水的價值。

It was constructed by more than 7,000 slaves as a place to store water for the great palace of Constantinople and continued to provide water for the Topkapi palace for a short while after the Ottoman conquest in 1453.

這座水庫是由七千多名奴隸建造，用來儲存君士坦丁堡大皇宮的水源，在鄂圖曼帝國於 1453 年征服後，短暫地繼續為託普卡匹皇宮供水。

Records show that the Basilica cistern continued to be used by locals for drinking water and fishing.

紀錄顯示，當地居民仍在使用這個蓄水池作為飲用水和釣魚的場所。

In 1565, a French traveller described how the cistern was was full of fish and locals were out on boats and you can still see the fish in there today.

1565 年，一位法國旅行者描述了水庫裡滿是魚，當地人劃著小船在裡面，直到今天你仍然可以看到裡面的魚。

In modern times, the cistern was a location in the James Bond film from Russia with love.

在現代，這個水庫曾是詹姆士龐德電影《第七號情報員續集》的拍攝場景。

007 takes a boat in the cistern so he can spy on the evil members of Spectre in their lair above.

007 在水庫裡搭船，以便監視邪惡的幽靈黨成員在他們上方的巢穴。

An intriguing highlight of the cistern for today's visitors are these strangely positioned heads of Medusa at the base of two columns.

水庫吸引今日遊客的有趣亮點，是這兩個柱子底部奇怪擺放的梅杜莎頭像。

In Greek and later Roman mythology, Medusa was a Gorgon monster, usually depicted with a head of snakes.

在希臘神話和後來的羅馬神話中，梅杜莎是個戈爾貢怪物，通常被描繪成頭上纏繞著蛇。

The popular myth about the cistern is that the Medusa heads were placed sideways and upside down to negate the power of her gaze that would turn men to stone.

關於水庫的流行傳說是，梅杜莎的頭像被側放和倒置，以抵銷她能將人變成石像的凝視力量。

These Medusa stones were taken from their original location and used as building material in the cistern.

這些梅杜莎石像被移走了，用作蓄水池的建材。

在這裡，它們被用作支撐柱的基座。

The Ottomans introduced the hammam or Turkish bath as a way for people to cleanse themselves both physically and spiritually.

鄂圖曼人引進了土耳其浴（Hammam），讓大家能淨化身心。

Over time, Turkish baths became a social hub for people to relax, socialise and even conduct business.

隨著時間過去，土耳其浴成了大家放鬆、社交甚至談生意的社交中心。

Zerek Chanili Hammam is in Istanbul's faith district Old Constantinople and was built 500 years ago during the reign of Suleiman the Magnificent by the greatest Ottoman architect Sinan, often referred to as the Michelangelo of the East.

澤雷克·恰尼裡土耳其浴場位於伊斯坦堡的宗教區舊君士坦丁堡，由被譽為「東方米開朗基羅」的鄂圖曼建築師希南於蘇萊曼大帝時期建造，至今已有 500 年歷史。

It reopened recently after a 13 year restoration and excavation during which they found hundreds of fragments of the 10,000 tiles in 37 unique patterns that would have lined the hammam walls.

經過 13 年的修復和挖掘後最近重新開放，期間發現了數百塊原本鋪設在浴場牆壁上的 10,000 塊獨特圖案磁磚碎片。

The superb recently opened tile gallery in the attached museum has has a collection of 16th century blue and white Iznic tile remnants manufactured exclusively for the hammam five centuries before.

附設博物館裡新近開放的精美磁磚藝廊，展示了五百年前專為此浴場製造的 16 世紀藍白伊茲尼克磁磚遺物。

All in a purpose built museum that also showcases artifacts associated with the hammam ritual.

所有展品都陳列在專門建造的博物館裡，同時也展出與土耳其浴儀式相關的文物。

Turkey has its own particular form of modern art influenced by both tradition and Turkey's desire to open up to the west, which began with the Ottoman Empire's Westernization process.

土耳其有自己獨特的現代藝術形式，深受傳統和土耳其向西方開放的願望影響，這一切始於鄂圖曼帝國的西化進程。

And contrary to popular belief, Islam does not forbid the depiction of human and animal forms.

而且，跟一般人認為的相反，伊斯蘭教並沒有禁止描繪人或動物的形象。

Figurative representation has been part of Islamic cultural production from the earliest sites of archaeological excavation to the contemporary era.

從最早的考古發掘地點到當代時期，具象的表現一直是伊斯蘭文化創作的一部分。

A famous example of figurative art is by the founder of Istanbul's archaeology museum, Osman Hamdi Bey, also a painter whose Girl Reading the Quran recently sold for 6.3 million British pounds, a record for a Turkish painting.

具象藝術的一個著名例子，來自伊斯坦堡考古博物館的創始人 Osman Hamdi Bey，他同時也是一位畫家，他的作品《閱讀古蘭經的女孩》最近以 630 萬英鎊售出，創下了土耳其繪畫的紀錄。

Istanbul, Modern Turkey's first contemporary art museum, is a great introduction to modern Turkish art with a collection that includes both figurative and abstract works.

伊斯坦堡現代藝術博物館是土耳其第一間當代藝術博物館，收藏了具象和抽象作品，是認識現代土耳其藝術的絕佳入門。

The striking new building is designed by the architect Renzo Piano.

這座引人注目的新建築由建築師 Renzo Piano 設計。

Here we look at three Turkish artists in the collection.

在這裡，我們來看看收藏中的三位土耳其藝術家。

Cihat Burak uses a triptych, a very European art form, for Death of a Poet, a portrait of Nazim Hikmet, who spent 14 years imprisoned for his leftist sympathies, whose poetry we see here was banned and who was exiled in Russia where he died.

Cihat Burak 在《詩人之死》中運用了三聯畫這種非常歐洲的藝術形式，這幅畫描繪了 Nazim Hikmet，他因為左傾思想被監禁了 14 年，他的詩歌被禁，並流亡俄羅斯後在那裡去世。

The painting includes lines from some of Hikmet's most famous poems bursting forth from his prison cell.

這幅畫描繪了 Hikmet 最著名詩句從他的牢房中迸發出來。

The birds symbolizes the international Peace prize Hikmet was awarded in 1950 and the Central panel showing his dead body echoes his impact on a new generation of protesters.

畫中的鳥象徵著 Hikmet 在 1950 年獲得的國際和平獎，而中間描繪他屍體的畫板則呼應了他對新一代抗議者的影響。

Farhanisa Zayd 是一位引人入勝的藝術家。

She was one of the first women to go to art school in Istanbul.

她是第一批進入伊斯坦堡藝術學院的女性之一。

She was a Muslim princess who became an important figure in the Turkish avant garde in the early 1940s.

她是一位穆斯林公主，在 1940 年代初期成為土耳其前衛藝術的重要人物。

She created radical work inspired, she said, after seeing Baghdad from a plane and by using geometric forms in Islamic art and architecture mixed with influences of European abstraction.

她說，她的激進作品靈感來自於從飛機上看到巴格達，以及將伊斯蘭藝術和建築的幾何形式與歐洲抽象主義的影響結合起來。

She was the first female artist to have a solo exhibition at the Institute of Contemporary Arts in London in 1954, and

她是第一位於 1954 年在倫敦當代藝術學院舉辦個展的女藝術家，

one of the work she showed then was this kaleidoscopic, immersive work 5 meters wide, which is now in the collection of the Istanbul Modern.

而她當時展出的作品之一，就是這幅色彩繽紛、引人入勝的寬 5 公尺作品，現收藏於伊斯坦堡現代美術館。

Bedri Baykam, still working today, was a pioneer of Neo Expressionism in Turkey, and

Bedri Baykam，至今仍活躍於藝術界，是土耳其新表現主義的先驅，

The left side of the work was adapted from Ingres Turkish bath of 1862.

作品的左側改編自 Ingres 於 1862 年的《土耳其浴》。

The right side came from Jerome's Grand Bath at Bursa of 1885.

右側則來自 Jerome 於 1885 年的《布爾薩的宏偉浴場》。

The painting has been interpreted as a critique of Orientalism, the style of art where Western painters like Jerome and Ingres romanticized the east as an exotic and erotic fictional land full of baths and harems that in reality, Westerners had no access to.

這幅畫被解讀為對東方主義的批判，東方主義是一種藝術風格，像 Jerome 和 Ingres 這樣的西方畫家將東方浪漫化為充滿浴場和後宮的異國情調的虛構之地，而實際上西方人根本無法進入。