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  • If you want praise of Leonardo da Vinci's "Mona Lisa" as art, you can find it.

    你如果想要讚揚李奧納多·達文西的《蒙娜麗莎》是件藝術品,一定能發現她有藝術價值的地方。

  • But what if you think it's just...

    但是如果你覺得那就只是很⋯

  • ... fine?

    ⋯普通呢?

  • What's the cynic's explanation for the "Mona Lisa"?

    那些憤世嫉俗的人是怎麼看《蒙娜麗莎》的呢?

  • Why is the "Mona Lisa" so, so famous?

    為什麼《蒙娜麗莎》會那麼有名呢?

  • Is it really that much better than da Vinci's "Lady with an Ermine"?

    真的有比達文西另一幅作品《抱銀貂的女子》還要好嗎?

  • That seems better; there's one more ermine.

    那幅畫似乎是比較好,多了一隻銀貂 。

  • But it's "Mona", who is so famous, that the director of the Louvrewhere "Mona Lisa" livessaid 80% of their visitors are only there to see that one painting.

    但是因為羅浮宮的《蒙娜麗莎》是這麼的有名,所以其館長說 80% 的遊客到那裏都只為了一窺這幅畫作。

  • If you don't think "Mona Lisa" is famous just because she's somehow ten times better than every other painting, her story reveals something more interesting.

    如果你不覺得《蒙娜麗莎》是因為比其他的畫作還要好上十倍,所以才有名的話,那麼她的一些故事會讓你感到有趣。

  • Something about how art breaks into wider culture.

    是關於藝術如何朝向更廣泛的文化來發展。

  • And it might never have happened if the "Mona Lisa" hadn't disappeared.

    如果《蒙娜麗莎》沒有不見,這些事情就不會發生了。

  • Before "Mona Lisa" became a mass culture star, before she vanished, one critic made her a work of art worth taking.

    在《蒙娜麗莎》還未變成大眾文化的焦點之前,也就是它還沒有不見之前,有位評論家就稱頌其很有藝術價值了。

  • And he was so over-the-top insanely in love with the painting that he single-handedly made it a masterpiece.

    而他對這幅畫作太喜愛痴狂了,一手就讓它變成了絕世名作。

  • Walter Pater's 1873 book "The Renaissance" was key.

    沃爾特‧佩特在 1873 年出版的《文藝復興》就是關鍵。

  • It came out more than 350 years after Leonardo painted "Mona Lisa", but it defined the painting for Victorians.

    這本書是在李奧納多畫完《蒙娜麗莎》的 350 多年後才出現的,而其為維多利亞時代的英國人解釋了這幅畫作。

  • That was key in an age when it was hard to actually see the art, so the words did the work.

    那個時代是很難看到這種藝術的,也因此是非常關鍵的點,文字幫助人們理解畫作。

  • Here is the epic semi-colon-stuffed paragraph at the center of his ode to "Mona Lisa".

    以下是他讚頌《蒙娜麗莎》的主要的一個小段落,其中用了許多分號作連接。

  • Highlights:

    重點:

  • "...the animalism of Greece."

    「⋯古希臘原始的征戰本能。」

  • "She is older than the rocks among which she sits."

    「她所象徵的意義,比環繞在她身旁的石頭還要古老。」

  • "Like the vampire, she has been dead many times."

    「如同吸血鬼般一再死而復生,千年不朽。」

  • This was the purplest prose of all time, but people loved the stuff.

    這是有史以來最艱深晦澀的文章,但人們就是喜歡這樣的東西。

  • Oscar Wilde thought the essay's writing was great.

    奧斯卡·王爾德認為這篇文章寫得很不錯。

  • He praised, "the musical of the mystical prose".

    他稱讚:「虛無縹緲有韻味的散文。」

  • And every general interest profile of the Louvre, from academic guidebooks to discussions clubs in Paducah, used Pater's words to talk about "Mona."

    而每張關於羅浮宮的有趣簡介,從專業的參考手冊到帕迪尤卡的討論會,都用了佩特的文字來敘述蒙娜麗莎。

  • Other critics jumped on ⏤ "Mona" was a popular, secular painting that they could analyze.

    其他的評論家也陸續跟上,他們分析了《蒙娜麗莎》這幅既風靡大眾且又不朽的畫作。

  • Unlike da Vinci's "Last Supper", they could supply all the meaning.

    不像達文西另一幅畫《最後的晚餐》,他們給了很多這幅畫作所要表達的含意。

  • But even at her peak, "Mona Lisa" was just art-world famous, not the most famous painting of all time.

    但即使是在巔峰時期,《蒙娜麗莎》就只是在藝術界有名,並不永遠是那最著名的畫作。

  • In 1907, a vandal of the Louvre targeted a picture by Ingres, not da Vinci.

    像是 1907 年,羅浮宮有一名搗亂的人士鎖定了安格爾的畫,而不是達文西的。

  • And, in 1910, amidst rumors of theft, papers called "Mona" just the second most famous painting in the Louvre, after Raphael's "Sistina Madonna".

    而 1910 年,盜畫界傳聞《蒙娜麗莎》的名氣次於拉斐爾《西斯廷聖母》。

  • It took a real theft to take "Mona" from art syllabus highlight to mass culture icon.

    《蒙娜麗莎》真的被偷走後,才從藝術系學生上課才知道的名作,躍升為大眾的文化指標。

  • These are Vincenzo Peruggia's fingerprints.

    這些都是裴路賈的指紋。

  • This is Vincenzo Peruggia's mugshot.

    這個是裴路賈的照片。

  • He has one because, on August 21, 1911, the former Louvre worker lifted the "Mona Lisa" off the wall and took it home.

    他有這幅畫作是因為在 1911 年的 8 月 21 號,當時身為前任羅浮宮的工作人員的他,把《蒙娜麗莎》從牆上拿走,並帶到家裡。

  • It took the Louvre a day to even notice, but the media didn’t have as subdued of a reaction.

    這花了羅浮宮一天才發現,但媒體並沒有把這件事情壓下來。

  • The painting went missing for two years, and every time, the pressoften quoting Patercalled it the greatest portrait there ever was.

    這幅畫消失了兩年,而每次的報導,常常都引用佩特的話來讚揚蒙娜麗莎是史上最偉大的肖像畫。

  • They speculated that Mona's smile had driven the thief mad, they wrote art thief fan fiction, and they constantly daydreamed about "Mona Lisa's" whereabouts.

    他們推測那個偷畫的人因蒙娜麗莎的微笑而為之瘋狂,並杜撰了藝術小偷的小說,也一直都在幻想著蒙娜麗莎可能會在哪裡。

  • Thousands went to the Louvre just to see empty hooks hanging on the wall.

    數千人到羅浮宮就只為了看那牆上的吊畫掛勾。

  • The robbery and manhunt were like a two-year ad campaign for the painting.

    這起偷竊事件及其搜索行動就好像是在幫那幅畫作打了兩年的廣告一樣。

  • And because you couldn't just Google "'Mona Lisa' before it was stolen", it was hard for people to see the actual painting and say, "What's the big deal?"

    而且因為你也沒辦法只是估狗「還沒失竊前的蒙娜麗莎」就能找到那幅畫作,當時是很難看到真實的作品然後再來說「這有什麼了不起的嗎?」

  • When Peruggia was caught, he said his goal was to bring "Mona" back to her native Italy.

    裴路賈被捕後,他坦承自己的目的是要把《蒙娜麗莎》帶回祖國義大利。

  • By then, she was the most famous painting in the world due, in part, to her absence.

    某種程度上畫作消失之後,蒙娜麗莎就在全世界聲名大噪了。

  • Just as critics could smear prose on her blank face, the press could hang a reputation on those empty hooks in the wall.

    正如那些評論家能隨便汙衊那幅作品,那新聞報導也可以拉抬蒙娜麗莎的聲望。

  • When "Mona Lisa" was stolen, she left a masterpiece.

    《蒙娜麗莎》失竊時,留下的可是傳世傑作。

  • After her recovery and a two-week tour in Florence, she returned to the Louvre bigger than just art.

    再度出現時,她已周遊了佛羅倫斯兩周,之後回到羅浮宮,就不僅僅是一件藝術作品了。

  • She was a story and a legend and prominently shown in every paper that reported her recovery.

    她傳奇的故事也就突然刊登在各個報章上,並報導其失而復得的過程。

  • It was the big reveal after two years of suspense, now with a story that merited Walter Pater's hyperbole.

    消失了兩年後,現在她的故事很能呼應沃爾特‧佩特對其誇張的敘述。

  • From that point on, she attracted presidential speeches and parodies.

    從那時候開始,總統的致詞也開始和蒙娜麗莎有關。

  • "...also come to pay homage to this great creation of the civilization which we share."

    「⋯也來致敬這最偉大的畫作創造了我們所共享的文明。」

  • The momentum never stopped.

    這樣的發展從未停止。

  • In the end, the cynics' interpretation and the gob-smacked critics' interpretation have something in common.

    最後,關於蒙娜麗莎畫作的解讀,那些憤世嫉俗的人和那些令人驚嘆的評論家都有共同之處。

  • "Mona Lisa" isn't a portrait, but a blank face.

    就是《蒙娜麗莎》並不是一幅肖像畫,反而是一張面無表情的臉。

  • A place for critics to paint meaning, and people to find mystery.

    這給了評論家一個能自行解讀的空間,還有讓人們能自己去探索其神祕之處。

  • That’s why she was so famous, not because of how she's painted, but what we see in her.

    這也就是為什麼蒙娜麗莎這麼有名—並不是因為是怎麼樣畫的,而是我們如何去看她。

  • If that's not art, then what is?

    如果這不是藝術,那什麼才是呢?

  • I found one 1909 description of the "Mona Lisa" that seemed particularly prescient.

    我找到一段 1909 年對於《蒙娜麗莎》的敘述,感覺很有先見之明。

  • The writer said, "Even those whose first expressions is 'huh' and proclaimed frankly that they cannot see her beauty or her interest find themselves disputing hotly over both."

    作者認為:「即使那些一開始對於蒙娜麗莎的印象就只是『嗯』的人,很直接地說自己並沒有看到其中的美還有什麼吸引人的地方,他們卻會很激動地與彼此爭辯。」

  • That's probably still the case today.

    或許今天一樣也會有這樣的情況發生。

If you want praise of Leonardo da Vinci's "Mona Lisa" as art, you can find it.

你如果想要讚揚李奧納多·達文西的《蒙娜麗莎》是件藝術品,一定能發現她有藝術價值的地方。

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B2 中高級 中文 美國腔 Vox 蒙娜麗莎 畫作 羅浮宮 佩特 評論家

為什麼《蒙娜麗莎的微笑》會變得這麼過譽? (How the Mona Lisa became so overrated)

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    韓澐 發佈於 2022 年 05 月 29 日
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