Captioning made possible by the annenberg/cpb project
由annenberg / cpb项目提供的字幕成为可能
东方舞士字幕组 制作：气聚神凝 不得用于商业用途
Architecture, sculpture, painting,
建筑，雕塑，绘画，
Even the landscape,
即使是景观，
Create a vision of a perfect place,
创造一个完美的地方的愿景，
A place of fantasy and myth
幻想和神话的地方
Where gods might walk with men,
神可能与男人同行，
Somewhere, of course,
在某个地方，当然，
Which has never existed in history.
这在历史上从未存在过。
It is imagined,
这是想象的，
Yet it has been created out of fragments
然而，它是由碎片创造的
Of half-dreamt, half-remembered ancient greece and rome.
半梦，半记忆的古希腊和罗马。
The poet shelley
诗人雪莱
Wrote at the beginning of the 19th century,
写于19世纪初，
"we are all greeks.
“我们都是希腊人。
"our laws, our literature, our religion, our arts
“我们的法律，我们的文学，我们的宗教，我们的艺术
"all have their roots in greece.
“所有人都扎根于希腊。
"but for greece,
“但对希腊来说，
We might still have been savages and idolaters."
我们可能仍然是野人和偶像崇拜者。“
The human form and the human mind
人的形式和人的心灵
Attained to a perfection in greece
在希腊达到完美
Which has impressed its image on those faultless productions
这对那些完美无瑕的作品印象深刻
Whose very fragments are the despair of modern art
其中的碎片是现代艺术的绝望
And which can never cease to delight mankind
它永远不会让人类高兴
Until the extinction of the race.
直到比赛灭绝。
In the 18th and 19th centuries,
在18和19世纪，
Europeans surrounded themselves
欧洲人包围了自己
With the images of greece and rome.
随着希腊和罗马的形象。
They created for themselves personal museums
他们为自己创造了个人博物馆
Which displayed their wealth, taste, and learning
这显示了他们的财富，品味和学习
And idealized the virtues of reason, liberty, and justice.
理想化理性，自由和正义的美德。
In this way, they elevated-- and even masked--
通过这种方式，他们提升甚至掩盖
Their mundane relationships
他们平凡的关系
With land ownership and manufacture,
土地所有权和制造，
Trade and empire,
贸易与帝国，
And they exported these ideals
他们出口了这些理想
And the visual language which expressed them
以及表达它们的视觉语言
All over the world--
世界各地的
To the americas, the indies, and beyond.
对美洲，独立和超越。
It is appropriate, then,
那么，这是合适的
That these are the first pictures
这些是第一张照片
We see in a series on the tradition of western art.
我们在一系列关于西方艺术传统的文章中看到。
We could have started in the caves of lascaux
我们本可以在lascaux的洞穴里开始
Or the temples of luxor.
或卢克索的寺庙。
But if there is a source
但是如果有来源的话
To which western art and thought constantly refers,
西方艺术和思想不断提到的，
It's in ancient greece and rome,
它在古希腊和罗马，
Which are forever fantasized and idealized,
这是永远的幻想和理想化，
But are with us wherever we look.
但无论我们在哪里，都与我们同在。
More than 200 years ago,
200多年前，
When the founding fathers of the united states
当美国的开国元勋
Were building their new capital here in washington,
在华盛顿建造新的首都，
They searched for a visual style
他们寻找视觉风格
Which would embody their democratic ideals,
这将体现他们的民主理想，
And they found it in greece and rome
他们在希腊和罗马找到了它
In a style which for them, as still for us,
对于他们来说，仍然对我们来说，
Embodies harmony, order, and freedom.
体现和谐，秩序和自由。
The west has built its temples to liberty and justice
西方建造了自由和正义的寺庙
And to money and power in the greek and roman style.
以及希腊和罗马风格的金钱和权力。
You see it in trafalgar square in london
你在伦敦的特拉法加广场看到它
And in leningrad in the soviet union.
而在苏联的列宁格勒。
At the root of the western tradition--
西方传统的根源
In architecture, painting, and sculpture--
在建筑，绘画和雕塑
Is the classical legacy.
是经典遗产。
It's so ingrained in our way of seeing things
我们看待事物的方式根深蒂固
That we don't notice when we use it
当我们使用它时我们没有注意到
In tv, commercials, magazines, coins,
在电视，广告，杂志，硬币，
Even on our credit card.
甚至在我们的信用卡上。
Many of our uses for it
我们的许多用途
No doubt would astonish people from the ancient world.
毫无疑问会让古代世界的人感到惊讶。
But if an ancient greek could be here now,
但如果古希腊现在可以在这里，
He would recognize this around us
他会认识到我们周围的这一点
And feel that, in some sense,
从某种意义上说，感觉到
The west is heir to his civilization.
西方是他文明的继承人。
The power of this tradition
这种传统的力量
And its hold over our imagination
它坚持我们的想象力
Make it difficult for us to see the greeks and romans
让我们很难看到希腊人和罗马人
As they really were.
他们真的是。
The athenians of the fifth century b.c.,
公元前五世纪的雅典人，
The builders of the temple at sounion,
寺庙的建造者在sounion，
Are often portrayed as superheroes,
经常被描绘成超级英雄，
The creators of democracy and a perfect society.
民主的创造者和完美的社会。
We must be careful not to idealize them.
我们必须小心，不要理想化它们。
Like all societies, theirs was imperfect.
像所有社会一样，他们的社会也不完美。
It was based on slavery,
它是基于奴隶制，
Women had no rights,
妇女没有权利，
They were imperialists,
他们是帝国主义者，
And in their darkest moments,
在他们最黑暗的时刻，
As in the bitter peloponnesian war with sparta,
正如与斯巴达的痛苦的伯罗奔尼撒战争，
The athenians fell prey to irrationality, mass hysteria,
雅典人成为非理性，大规模歇斯底里的牺牲品，
Strange religious cults, pornography, urban violence,
奇怪的宗教信仰，色情，城市暴力，
And murderous and unjust acts of foreign policy
以及谋杀和不公正的外交政策
Against smaller states--
反对较小的国家
Things we're all too familiar with
我们都非常熟悉的事情
In the modern west.
在现代西部。
But greek artists and poets
但希腊艺术家和诗人
Understood these things about human nature,
理解这些关于人性的事情，
And they made their art about those contradictions,
他们就这些矛盾做了艺术，
About the tragedies and failures as well as the achievements.
关于悲剧和失败以及成就。
The sculptures of the altar of zeus from pergamum
别迦摩的宙斯祭坛雕塑
Portray those contradictions
描绘那些矛盾
In the dramatic manner of the second century b.c.,
在公元前二世纪的戏剧性方式中，
But like so much greek art,
但就像这么多希腊艺术一样，
The originals have been dismembered and fragmented,
原件已被肢解和支离破碎，
Scattered around the museums of the world
散落在世界各地的博物馆周围
Or buried deep and forgotten.
或埋藏深刻而被遗忘。
Some works are wonderfully preserved
有些作品保存完好
On the site of their origin,
在他们的起源网站上，
But most have been broken and bleached by time.
但是大部分都被时间打破了。
It takes imagination and study
它需要想象力和学习
To piece together these fragments
拼凑这些碎片
And try to see them in the context
并尝试在上下文中看到它们
Of the society in which they were produced.
在他们生产的社会中。
Who made these images and objects?
谁制作了这些图像和物体？
For whom? And why?
为了谁？为什么？
What was in the artist's mind? The patron's?
艺术家的想法是什么？赞助人的？
How were they seen by the surrounding society?
他们是如何被周围社会看到的？
We'll be helped in answering these questions
我们将帮助回答这些问题
By art historians like john boardman
像约翰·博德曼这样的艺术历史学家
Of the ashmolean museum, oxford.
在阿什莫尔博物馆，牛津。
We're used to looking at greek art this way, in museums,
在博物馆，我们习惯于以这种方式看待希腊艺术，
In this case, in a cast gallery,
在这种情况下，在一个演员席，
University of cambridge,
剑桥大学，
Where they've assembled these figures--
他们聚集这些数字的地方
Plaster casts of the more important
石膏模型更重要
Greek and roman statues
希腊和罗马的雕像
Present in many museums in the world.
出现在世界上许多博物馆。
The art historian and archaeologist
艺术史学家和考古学家
Try to work out the original settings
尝试计算出原始设置
Of these figures--
这些数字
What was in the artist's mind when he made them
艺术家在创作时的想法是什么
And the impact on the society
以及对社会的影响
For which they were made.
为此他们。
There are several examples here
这里有几个例子
Which show the difficulty we have
这显示了我们遇到的困难
In making this adjustment.
在做这个调整。
This figure, probably made in crete
这个数字，可能是用克里特岛制作的
In the seventh century b.c,
公元前七世纪，
Isn't unlike figures which might have been made
与可能已经制作的数字不同
In other cultures in antiquity, syria or egypt.
在古代，叙利亚或埃及的其他文化中。
Only an expert would know the difference.
只有专家才能知道其中的差异。
It's not distinctively and obviously greek.
它不是显而易见的，显然是希腊的。
There's another problem about it, too,
关于它还有另一个问题，
Which we have to adjust for.
我们必须调整。
There were traces of color on it,
它上面有颜色痕迹，
And a duplicate cast has been colored up
重复的演员阵容已经上色
With what they think to be its original color
他们认为是原始的颜色
It's a striking difference has been colored up
这是一个惊人的差异已被着色
To the way we're used to seeing such figures.
我们习惯于看到这样的数字。
We move on about 100 years
我们继续前进约100年
To another figure--
另一个人物
One important characteristic of greek art
希腊艺术的一个重要特征
Is the extremely rapid development of style--
风格发展极为迅速
We find something which is considerably more realistic,
我们发现一些更现实的东西，
Still very formal, rather stiff,
仍然非常正式，相当僵硬，
But quite unmistakably greek.
但非常明显的希腊。
This figure, too, can tell us a little more
这个数字也可以告诉我们更多
About her original appearance
关于她的原貌
Because she was found with traces of color
因为她被发现有痕迹的颜色
On her dress and face,
在她的衣服和脸上，
And again, a duplicate cast
再次，重复演员
Has been restored and painted up
已经恢复和绘制
To show what she looked like in antiquity.
展示她在古代的样子。
The colors would probably have been muted somewhat
颜色可能会稍微减弱
By the bright athenian sun.
由明亮的雅典太阳。
We've got to try to make these adjustments
我们必须尝试进行这些调整
To allow for these figures in their original setting,
要在原始设置中允许这些数字，
Their original appearance,
他们原来的样子，
Try to understand their original function.
尝试了解他们的原始功能。
如果我们做不到，
If we can't,
We can't understand what greek art's about.
我们无法理解希腊艺术的含义。
The art we recognize as greek
我们认为是希腊的艺术
Was produced in the millennium
是在千禧年生产的
Between 2,000 and 3,000 years ago.
2000至3000年前。
The temple at sounion was built
sounion的寺庙建成了
In the great classical period of athenian triumph,
在雅典胜利的伟大古典时期，
But centuries before,
但几个世纪以前，
Greek society was already recognizably different
希腊社会已经有了明显的不同
From other near-east cultures.
来自其他近东文化。
Persia and egypt were mighty empires,
波斯和埃及都是强大的帝国，
Ruled by dynasties
由朝代统治
That gave themselves the status of gods.
这给了自己神的地位。
The greeks lived in city-states
希腊人住在城邦
在小国王的统治下。
Under the rule of petty kings.
The scale of these greek communities,
这些希腊社区的规模，
Never far from the sea,
离海不远，
Made them vulnerable to attack from larger forces,
使他们容易受到更大部队的攻击，
But also threw them back on their resources
但也把它们扔回了他们的资源
Of fitness, strength, intelligence, calculation,
健身，力量，智力，计算，
And above all, individual heroism.
最重要的是，个人英雄主义。
The idea of the individual standing proudly independent
个人站立的想法自豪地独立
Is one of the most powerful and resilient ideas
是最有力和最有弹性的想法之一
In human history.
在人类历史上。
The figure of the kouros
kouros的数字
Shows this idea taking the center of the stage.
显示这个想法成为舞台的中心。
Andrew stewart teaches at the university of california
安德鲁斯图尔特在加利福尼亚大学任教
At berkeley.
在伯克利。
It's often said that statues like this
人们经常说像这样的雕像
Are emblematic of early greek culture.
是早期希腊文化的象征。
I think they are for four reasons.
我认为这有四个原因。
The sculptor has taken the statue's clothes off.
雕塑家把雕像的衣服脱掉了。
Convinced that man is the measure of all things,
深信人是所有事物的衡量标准，
He allows him to stand free and proud,
他允许他自由自豪，
Allows your eyes to roam unobstructed across his body.
让您的眼睛在他的身体上畅通无阻地漫游。
He's autonomous.
他是自治的。
The sculptor has stripped away the back pillar
雕塑家剥去了后支柱
And the screen between the legs of the egyptian statues
和埃及雕像的腿之间的屏幕
That were his predecessors
那是他的前任
And has allowed him to walk forward
并允许他向前走
In three-dimensional space.
在三维空间。
He's beautiful.
他很漂亮。
He's also youthful.
他也很年轻。
The sculptor has chosen that period between 18 and 21
雕塑家选择了18至21岁的时期
That the greeks believed
希腊人相信
Was the prime of one's life,
是一个人的生命，
The acme of one's existence on earth.
一个人在地球上存在的极致。
As a result,
结果是，
The statue could serve one of two main functions.
雕像可以起到两个主要功能之一的作用。
It could be offered to the gods,
它可以提供给众神，
Particularly to apollo,
特别是阿波罗，
The epitome of this youthful ideal,
这个年轻理想的缩影，
Or it could stand above the grave
或者它可以站在坟墓之上
Of a man of any age,
任何年龄的男人，
Reminding his descendants
提醒他的后代
Of when he was in his prime,
当他处于鼎盛时期
Standing youthful, proud, autonomous,
站立年轻，自豪，自主，
Beholden to no one, the measure of all things.
所有事情的衡量标准都没有人。
The male figure-- naked, proud, idealized--
男性形象赤裸裸，自豪，理想化
Did have a female equivalent in the kore.
在kore中有一个女性等同物。
She, too, is beautiful,
她也很漂亮，
But she is serene rather than heroic.
但她很安静而不是英雄。
She's clothed and static,
她穿着衣服和静电，
Not boldly striding forward like the male.
不像男性那样大胆地向前迈进。
The turn of the sixth century to the fifth century b.c.
公元前六世纪到公元五世纪
Saw one of the most dramatic transitions in history--
看到历史上最戏剧性的转变之一
Political and social.
政治和社会。
It coincided with an equally dramatic transition in art.
它恰逢艺术同样引人注目的过渡。
the krition boy of the early fifth century b.c.
公元前五世纪的克雷提奥斯的少年
Is the kouros come to life.
克雷提奥斯是鲜活的。
He has relaxed his body
他放松了自己的身体
And come closer to the appearance of nature.
并且更接近自然的外观。
We can only speculate about
我们只能猜测一下
The relationship between the development of democracy
民主发展的关系
In the greek city-states
在希腊城邦
And the development of an unprecedented realism in art.
并在艺术中发展出前所未有的现实主义。
But both, in their separate ways,
但两者都以各自的方式，
Reveal a new excitement
揭示新的兴奋
In the idea that individual human beings
在个人的想法
Can take charge of their own destiny,
可以掌握自己的命运，
Even though they do so under the capricious gaze
即使他们在反复无常的凝视下这样做
Of manlike gods.
善良的神灵。
The zeus recovered from the wreck of artemisium
宙斯从阿提密西安的残骸中恢复过来
Shows the new freedom and confidence of sculptors
展现雕塑家的新自由和自信
Modeling clay rather than carving stone
塑造粘土而不是雕刻石头
And translating the clay model by casting it in bronze.
并通过铸造青铜来翻译粘土模型。
The zeus describes his power
宙斯描述了他的力量
By reaching his hand far out over his realm,
通过他的手远远超过他的领域，
Brandishing his thunderbolts,
挥舞他的霹雳，
Gazing unwaveringly towards the horizon.
毫不动摇地望着地平线。
He stands like an icon with divine power.
他像一个神圣力量的象征。
It tells us that zeus is king of the universe,
它告诉我们宙斯是宇宙之王，
That his power is infinite,
他的力量是无限的，
That he is a supremely poised being
他是一个至高无上的存在者
By comparison with the turmoil of man's life on earth.
与人类在地球上的生活混乱相比。
The fact that his physique
他的体格这个事实
Is no different from that of an athlete
与运动员没有什么不同
Or a hero of the same time
或者是同时的英雄
Is simply a continuation of the standard greek notion
简直就是标准希腊概念的延续
That the gods were made in human form,
神是以人的形式造的，
That you project your known notions
你投射你已知的概念
Of male beauty
男性美
Onto the heavens.
在天堂。
The triumph of democracy--
民主的胜利
A more restricted matter than the mass democracies of today,
比今天的大众民主更受限制的事情，
But nevertheless, a dramatic change from tyranny--
但是，从暴政中发生了戏剧性的变化
Coincided with the triumph of the athens of pericles.
恰逢pericles雅典的胜利。
Pericles was not a tyrant,
伯里克利不是暴君，
But a leader chosen by the athenian citizens
但是雅典公民选择的领导者
As their representative.
作为他们的代表。
He led athens through a period of reconstruction
他带领雅典度过了一段重建时期
After the wars with the persians,
在与波斯人的战争之后，
Wars which left athens in ruins,
离开雅典的战争，
But finally rid of its great enemy
但最终摆脱了它的巨大敌人
And at the head of a league of greek city-states.
而在希腊城邦联盟的头上。
The mid-fifth century b.c.
公元前五世纪中叶
Was the period of athens' greatest influence,
是雅典时期影响最大的时期，
Not only on the greek world at that time,
不仅在当时的希腊世界，
But on subsequent history.
但随后的历史。
The most impressive monument to that influence
这个影响最令人印象深刻的纪念碑
Is the acropolis, the citadel which still dominates athens.
是雅典卫城，仍然主宰雅典的城堡。
Pericles used the resources
伯里克利使用了资源
Or, some contemporaries argued, abused them
或者，一些同时代人争辩说，滥用它们
To rebuild the acropolis
重建雅典卫城
And crown it with the parthenon.
并与帕台农神庙一起冠冕。
The bold simplicity of the building,
大楼的大胆简约，
With its strictly harmonized repetition
严格协调重复
Of the most basic geometric shapes,
最基本的几何形状，
Has had an unparalleled influence
有着无与伦比的影响力
On the world's architecture.
关于世界的建筑。
The creators of the parthenon,
帕台农神庙的创造者，
Including the sculptor phidias and the architect Ictinus,
包括雕塑家菲迪亚斯和建筑师伊克蒂诺
Adapted the traditional temple form,
改编了传统的寺庙形式，
But refined it.
但提炼它。
They created an impression of subtlety and lightness,
他们创造了一种微妙和轻盈的印象，
Despite the building's scale
尽管建筑的规模
And the massiveness of its marble surface.
而且大理石表面的厚重。
The sculptural decorations
雕塑装饰
雇用了数百名工匠的技能，
Employed the skills of hundreds of craftsmen,
Setting a new standard in art.
在艺术中树立新标准。
It took less than a decade
花了不到十年的时间
To erect this monument to athenian pride.
为雅典骄傲竖立这座纪念碑。
It was built on the ruins
它建在废墟上
Of a temple destroyed by the persians,
被波斯人摧毁的寺庙，
Partly glorifying the greeks' victory
部分赞美希腊人的胜利
Over their greatest enemy.
超越他们最大的敌人。
To their subsequent cost,
为了他们后续的成本，
The athenians took more than their share
雅典人占了超过他们的份额
Of the benefits of persian defeat.
波斯失败的好处。
They may have been democratic,
他们可能是民主的，
But to fellow greeks like the corinthians and spartans,
但对于像哥林多人和斯巴达人这样的希腊人，
They appeared arrogant and domineering.
他们显得傲慢和霸气。
They felt that protection of their founding goddess, athena,
他们觉得保护他们的创始女神，雅典娜，
Had given them a special status,
给了他们一个特殊的地位，
Celebrated in a procession to honor the goddess.
庆祝游行以纪念女神。
Today, the parthenon is admired
今天，帕台农神庙受到钦佩
For the harmony of its architecture
为了其建筑的和谐
And the refinement of its friezes,
并且其饰边的精致，
But to the ancient athenians,
但对古代雅典人来说，
It was admired for something rather different--
它被一种截然不同的东西所钦佩
what lay inside the temple.
在寺庙内的东西
That was a statue of athena nearly 40 feet high.
那是一尊近40英尺高的雅典娜雕像。
That's only 5 feet below the ceiling.
那只比天花板低5英尺。
A statue armed, covered with gold
雕像武装，覆盖着金色
In all its dress from head to foot,
在从头到脚的所有衣服，
The skin ivory, with monsters on its helmet
皮象牙，头盔上有怪物
And a great serpent by its side.
还有一条大蛇。
To us, that would seem garish, grandiose,
对我们来说，这看起来很花哨，宏伟，
And unrestrained,
并且无拘无束，
But that was the core of the building.
但那是建筑的核心。
And if you put yourself in the position
如果你把自己放在这个位置上
Of an ancient athenian,
古代雅典人
Perhaps coming from the panathenaic procession
也许来自泛神游行
In the dazzling light of an attic august
在阁楼八卦的耀眼光芒中
And then going inside that building,
然后进入那栋楼，
We can imagine what it felt like to see that statue.
我们可以想象看到那座雕像的感觉。
As the eyes became accustomed to the gloom
随着眼睛逐渐习惯了忧郁
And saw the glittering gold,
看到闪闪发光的金色，
The jeweled eyes reflected in the pool below,
宝石般的眼睛反映在下面的游泳池里，
The effect must have been overwhelming.
效果一定是压倒性的。
We can only imagine the impact created by the goddess
我们只能想象女神造成的影响
And her surroundings.
和她的周围环境。
Our attempts to reconstruct the statue's appearance,
我们试图重建雕像的外观，
Like this one from the 19th century,
像19世纪的这个，
Can merely hint at the experience of seeing it
只能暗示看到它的体验
In its dramatic context.
在其戏剧性的背景下。
But it reminds us how vivid, how colorful
但它提醒我们多么生动，多么丰富多彩
Greek art must have been in classical times.
希腊艺术一定是古典时期。
Bleached by the centuries
漂白了几个世纪
And sterilized by museum surroundings,
并在博物馆周围消毒，
The reliefs of the parthenon frieze
帕台农神庙的浮雕楣
Appear cool and restrained,
显得冷静和克制，
But originally, they would have been brightly colored
但最初，它们会变得鲜艳
And even more lifelike than they are now.
甚至比现在更加栩栩如生。
Their depiction of the panathenaic procession
他们对泛神游行的描绘
Would have been still more convincing--
本来会更有说服力的
Art and nature coming closer together than ever before.
艺术与自然比以往任何时候都更加紧密。
The frieze is generally regarded
通常认为带状饰物
As representing the high point
作为代表的高点
In the classical style.
在古典风格。
Composition is still rather formal,
构图仍然相当正式，
Almost mechanical,
几乎是机械的，
But it's enlivened by a great many realistic details
但它被许多现实细节所激活
Of gesture and posture.
姿态和姿势。
Figures are perhaps rather unemotional,
数字可能相当不感情，
But highly idealized.
但非常理想化。
The whole thing seems to represent
整件事似乎代表了
A balance between that greek preoccupation
希腊当务之急之间的平衡
With composition proportion,
与成分比例，
And a growing sense of realism.
并且越来越有现实感。
The illusion of reality
现实的幻觉
Is created even more impressively
创造得更加令人印象深刻
In the massive sculptures of the pediments,
在山形墙的大型雕塑中，
The gables at each end of the building.
建筑物两端的山墙。
What seems to happen
似乎发生了什么
Is that they were creating, so far as they could,
是他们创造的，尽他们所能，
More successful images of man
更成功的男人形象
By varying the representation of details.
通过改变细节的表示。
There was, as it were,
事实上，
A sort of natural selection of forms,
一种自然的形式选择，
And the forms that were eventually adopted
以及最终采用的形式
Naturally tended to be the more realistic ones.
自然倾向于更现实的。
Add to it, remember,
加上它，请记住，
The coloring of hair and eyes,
头发和眼睛的颜色，
Which add to this realistic effect.
这增加了这种逼真的效果。
As soon as they understood how the human figure worked,
一旦他们了解了人类的形象，
That it wasn't simply an assemblage
这不仅仅是一个组合
Of patterns and volumes,
模式和数量，
They moved rapidly to the point
他们迅速采取行动
At which they could create a human figure
他们可以创造一个人的形象
In two dimensions or in three dimensions
在二维或三维中
Which realistically portrayed
这是现实描绘的
Quite subtle poses, postures, and actions.
相当微妙的姿势，姿势和行动。
This was the major breakthrough
这是重大突破
Which marked out greek art
这标志着希腊艺术
From that of all contemporary cultures.
来自所有当代文化。
This-- at least in sculpture--
这至少在雕塑中
Was the point at which
是重点
Greek art took off in a totally new direction
希腊艺术在一个全新的方向上起飞
And informed the whole western tradition.
并告知整个西方传统。
The athenian ascendancy
雅典的优势
Did not survive the fifth century b.c.
公元前五世纪没有生存
Athenian democracy itself was always vulnerable,
雅典民主本身总是脆弱的，
But athenian culture--
但雅典文化
Its philosophy, literature, drama,
它的哲学，文学，戏剧，
As much as its architecture, sculpture, and painting--
它的建筑，雕塑和绘画
Maintained a hold over the greek
保持对希腊的控制
And the western imagination.
和西方的想象力。
Fifth-century athens created a classical ideal
五世纪的雅典创造了一种古典理想
Against which all subsequent art
所有后续艺术都反对其中
Could be measured.
可以衡量。
Here the sculptor has refocused the youthful ideal
在这里，雕塑家重新聚焦了年轻的理想
Of the kouros and the parthenon frieze
在科洛斯青年像和帕台农神庙的楣
And the getty bronze behind me
在我身后的高贵铜牌
Onto the person of one man--
在一个人的身上
Alexander the great.
亚历山大大帝。
What he's doing here is to appropriate
他在这里做的是适当的
The ideals of periclean athens
伯利克里的雅典理想
And to show alexander as the logical successor
并将亚历山大视为合乎逻辑的继承者
Of those young men who fought in the peloponnesian war
那些在伯罗奔尼战争中战斗的年轻人
For athens' greater glory
为了雅典的更大荣耀
And who tried to establish her empire further and wider.
谁试图进一步扩大她的帝国。
No individual had ever achieved so much
没有人能取得如此多的成就
In the history of mankind,
在人类历史上，
At least as far as the greeks remembered it.
至少就希腊人记得它而言。
No individual had incorporated within himself
没有人自己融入其中
Qualities which were so conspicuously heroic.
质量如此显着的英雄。
So we have here an image that derives its authority
所以我们这里有一个衍生其权威的图像
From the past--
从过去
The human, the heroic, the divine--
人，英雄，神
But at the same time,
但与此同时，
Looks very definitely towards the future.
看起来非常肯定未来。
The future that alexander promised
亚历山大答应的未来
Was an empire that would spread across 2 million square miles.
是一个遍布200万平方英里的帝国。
Greek towns and greek language and culture
希腊城镇和希腊语言和文化
Were established deep into asia,
在亚洲深入建立，
Some as far from their source as india.
有些远离印度的来源。
Alexander died when he was only 33,
亚历山大在他33岁时去世了
And his monumental project could not sustain itself.
他的纪念性项目无法维持下去。
But the model of the greek state he exported
但他出口的希腊国家的模型
Of a civilized city in a barbarian landscape
野蛮风景的文明城市
Became the model for the greek city-states
成为希腊城邦的典范
For the next 300 years.
在接下来的300年里。
One such city was pergamum,
一个这样的城市是别迦摩，
Built in what's now turkey in the second century b.c.
建于公元前二世纪的火鸡现在
Pergamene rulers were neither democratic
珀加蒙统治者既不民主
Nor especially heroic,
也不是特别英雄，
But they borrowed the heroic forms
但他们借用了英雄形式
Of alexander's time and of classical athens
亚历山大的时间和古典雅典
To express their ideals and values.
表达自己的理想和价值观。
But in their art,
但在他们的艺术中，
Like carvings on the great altar of zeus,
就像在宙斯的大祭坛上雕刻一样，
The pergamenes depicted the struggle between the gods,
珀加蒙描绘了众神之间的斗争，
Between the rational and the irrational,
理性与非理性之间，
With a violence and passion
带着暴力和激情
That the classical athenians never permitted themselves.
古典雅典人从不允许自己。
You can feel the drill ripping into that stone
你可以感觉钻孔钻进那块石头
To create that writhing hair of the giants.
创造巨人的扭曲头发。
You can feel the chisel
你可以感受到凿子
Cutting away to create feathers or skin or scales,
切除以创造羽毛或皮肤或鳞片，
Muscles or drapery-- whatever.
肌肉或帷幔无论如何。
You can feel the rasp
你可以感受到锉刀
Making those immense range of surface textures together
将这些巨大的表面纹理组合在一起
With the polish,
随着抛光，
So here the sculptor is foregrounding
所以这里的雕塑家正在前景化
His own technique.
他自己的技术。
There's creativity going on here
这里有创造力
Which is quite different from anything
这与任何事情都截然不同
That we've seen in the past.
我们过去见过的。
The technique of the parthenon frieze
帕台农神庙楣的技术
Is self-effacement.
是自我毁灭。
Here the emphasis is on artistic creation.
这里的重点是艺术创作。
The creative force of greek art after alexander
亚历山大后的希腊艺术创作力量
Has been reproduced ever since
自此以来一直被转载
In the direct copies of the roman period,
在罗马时期的直接副本中，
In the rediscoveries and recreations
在重新发现和娱乐
Of the renaissance,
在文艺复兴时期，
And in heroic art up to today.
并且在今天的英雄艺术中。
The great altar of pergamum
别迦摩的伟大祭坛
Is one of the most impressive and characteristic monuments
是最令人印象深刻和特色的纪念碑之一
From ancient greek culture,
来自古希腊文化，
And yet, at the time it was finished,
然而，在它完成时，
About 170 b.c.,
公元前170年左右，
The age of these independent greek city-states
这些独立的希腊城邦的时代
And kingdoms, like pergamum,
和王国，如别迦摩，
Was nearing its end
接近尾声
As a new power pushed its order across the mediterranean--
随着新的力量推动其在地中海的秩序
Rome.
罗马。
The romans conquered greece
罗马人征服了希腊
In the middle of the second century b.c.
公元前二世纪中叶
They would surpass the greeks in political power,
他们会超越政治权力的希腊人，
In military might,
在军事力量，
In technological innovation,
在技术创新方面，
But the romans would be forever in greece's debt
但罗马人将永远处于希腊的债务之中
In the fields of philosophy, science, literature,
在哲学，科学，文学领域，
And the arts.
和艺术。
As the roman poet said,
正如罗马诗人所说，
"captive greece made rome captive."
“俘虏希腊让罗马俘虏。”
The visual language devised by the greeks
希腊人设计的视觉语言
Would be adopted by the romans
将由罗马人采用
And subsequently, by the entire western tradition.
随后，整个西方传统。
Indeed, it would become the pre-eminent means
实际上，它将成为卓越的手段
Of portraying order, rationality, harmony,
描绘秩序，理性，和谐，
And power,
和力量，
Whether in dictatorships, despotisms, or democracies.
无论是独裁政权，专制政体还是民主政体。
Ironically, though,
但具有讽刺意味的是
The lesson which the greeks understood
希腊人理解的教训
And which their artists expressed
他们的艺术家表达了
In these works and in the parthenon sculptures--
在这些作品和帕台农神庙雕塑中
Namely that the disruptive and frightening forces
即那种破坏性和可怕的力量
Of the irrational
不合理的
Will always threaten to burst out in human history--
将永远威胁人类历史的爆发
That lesson would have to be learned again and again.
这一课必须一次又一次地学习。
Rome began here,
罗马从这里开始，
A cluster of little villages strung over these hills
一群小村庄串在这些山上
Above the marshy valley of the river tiber.
在台伯河的沼泽山谷之上。
Founded, according to legend, in the eighth century b.c.,
据传说，公元前8世纪成立，
At its heyday in the second century a.d.,
在公元二世纪的鼎盛时期，
It ruled an empire whose soldiers stood guard
它统治了一个士兵守卫的帝国
From the windy hills of hadrian's wall in scotland
从苏格兰的哈里安墙的多风山丘
To the persian gulf,
到波斯湾，
And whose merchants traveled as far afield
而且他们的商人远在远方
As india and china--
作为印度和中国
The culmination and the unifying of the old cultures
古老文化的高潮和统一
Of the mediterranean world and western europe.
地中海世界和西欧。
From that day to this,
从那天到现在，
Rome would be the greatest single influence
罗马将是最大的单一影响力
On the western cultural tradition.
论西方文化传统。
indeed, it could be said that rome is that tradition.
确实，可以说罗马就是那种传统。
It's not merely that rome gave the west the latin language,
这不仅仅是罗马给了西方拉丁语，
Roman law, roman ideas on state craft and on society.
罗马法，关于国家工艺和社会的罗马思想。
It was rome which passed on to the west
那是传递到西方的罗马
The artistic, philosophical, and spiritual legacy
艺术，哲学和精神遗产
Of ancient greece,
古希腊，
Which rome had conquered, looted, and then learned from.
哪个罗马征服，洗劫，然后从中学习。
It was rome which would be the agency
这是罗马的代理商
Of transmission to the west
传播到西方
Of an obscure, near-eastern religious cult
一个不起眼的，近东方的宗教崇拜
Which became the dynamic, motive force
这成为了动力，动力
In western society and spiritual life--
在西方社会和精神生活中
Christianity.
基督教。
But rome also gave the west a practical legacy,
但罗马也给了西方一个实际的遗产，
A legacy which western people see every day of their lives,
西方人每天都看到的遗产，
From washington square to trafalgar square.
从华盛顿广场到特拉法加广场。
And that legacy lies in the realm of architecture,
这种遗产在于建筑领域，
Civil engineering, building, town planning.
土木工程，建筑，城镇规划。
These were the roman arts par excellence.
这些是卓越的罗马艺术。
And roman thinkers came to view the goal of their empire
罗马思想家开始观察他们帝国的目标
As providing a peace in which those arts could flourish.
为这些艺术蓬勃发展提供和平。
It was caesar augustus who brought the first real peace
凯撒奥古斯都带来了第一次真正的和平
To a rome weary of continual war and internal strife.
罗马厌倦了持续的战争和内乱。
In 13 b.c.,
公元前13年
The senate celebrated his triumphant return from spain
参议院庆祝他从西班牙胜利归来
By dedicating to him an altar of augustan peace.
通过献给他一个奥古斯都和平的祭坛。
On the outer walls is a sculpted representation
在外墙上是一个雕刻的代表
Of that dedication ceremony--
在那个奉献仪式中
A procession of priests, officials,
一群牧师，官员，
And members of the imperial family.
和皇室成员。
This is to roman art
这是罗马艺术
What the parthenon frieze is to greek art.
帕台农神庙的楣是什么，希腊艺术。
A sense of order and serenity pervades the scene.
现场有一种秩序感和宁静感。
At the head of the procession,
在游行队伍的头上，
Between his two consuls,
在他的两位领事之间，
Is the damaged but recognizable image of augustus himself--
是奥古斯都自己受损但可识别的形象
Dignified, though not yet deified.
有尊严，但尚未神化。
All the other figures are portraits, too,
所有其他数字也是肖像，
Such as augustus' daughter julia--
比如奥古斯都的女儿朱莉娅
Later banished for immoral conduct--
后来因不道德行为而被驱逐
And her first husband,
还有她的第一任丈夫，
Augustus' minister, marcus agrippa.
奥古斯都的部长，马库斯阿格里帕。
Other reliefs celebrate the joy and fertility of nature
其他浮雕庆祝大自然的喜悦和生育
In this time of peace.
在这个和平时期。
The universal harmony of the natural world
自然世界的普遍和谐
Is represented by the full-breasted,
以全胸为代表，
Reassuring figure of mother earth herself.
令人放心的母亲地球的形象。
The 100-foot-high column
100英尺高的柱子
Commemorating trajan's victory over the dacians
纪念图拉真对达契族人的胜利
Shows the force required to keep the peace.
显示保持和平所需的力量。
Its unique spiral frieze
其独特的螺旋楣
Tells of the discipline and resourcefulness
讲述纪律和机智
Of the roman legions.
罗马军团
Moving by sea,
在海边移动，
Assembling to hear their orders,
组装听取他们的命令，
Building fortifications,
建筑防御工事，
Raiding an enemy town,
袭击敌人的城镇，
And crossing the danube in small boats,
穿过小船的多瑙河，
The army is shown to be an awesome fighting machine.
军队被证明是一个很棒的战斗机器。
But there is no glorification of war itself,
但是没有战争本身的荣耀，
Which is necessarily brutal and remorseless.
这必然是残酷和无情的。
The victory column and the triumphal arch
胜利专栏和凯旋门
Through which the returning army marched,
回归军队游行，
Dragging slaves and spoils of war,
拖动奴隶和战利品，
Were forceful forms of propaganda
是有力的宣传形式
For the righteousness of imperial power,
对于皇权的正义，
Guided by the emperor, the senate,
在皇帝，参议院的指导下，
And the people of rome.
和罗马的人民。
It was the arch that was the basis
这是拱门的基础
Of a revolutionary new architecture.
革命性的新建筑。
The post and lintel system of the ancient world
古代世界的岗位和门楣系统
Was limited in the space it could span
它可能跨越的空间有限
And the weight it could bear.
它可以承受的重量。
The romans soon recognized
罗马人很快意识到了
The arch's strength and versatility
拱门的力量和多功能性
And elaborated it into an art form
并将其细化为艺术形式
Of grandeur and utility.
伟大和实用。
Roman stone arches,
罗马石拱门，
Like the one supporting this bridge
就像支持这座桥梁的人一样
Built across the tiber in 62 b.c.,
公元前62年在台伯河上建造，
Were constructed of wedge-shaped blocks.
由楔形块构成。
The blocks, wider at the top than at the bottom,
块顶部比底部宽，
Are locked into place by a central keystone.
被中央梯形锁定到位。
The weight of the structure compresses the blocks
结构的重量压缩块
And is transmitted evenly from one to another,
并且从一个传递到另一个，
On either side, down into the ground.
在任何一边，下到地面。
From the arch came a new conception
从拱门出来了一个新的概念
Of interior architecture.
室内建筑学。
Extending the arch form through space in a straight line
将拱形通过直线延伸到空间
Creates a tunnel, or barrel, vault.
创建一个隧道或桶，保险库。
Curving the arch form through space,
通过空间弯曲拱形，
Roman engineers created an annular, or ring, vault.
罗马工程师创建了一个环形或环形拱顶。
Two identical barrel vaults crossing at right angles
两个相同的桶形拱顶以直角交叉
Form a groin vault.
形成腹股沟保险库。
These dramatic intersections would find lasting expression
这些戏剧性的交叉点会找到持久的表达
In the great romanesque churches of the middle ages.
在中世纪伟大的罗马式教堂。
By rotating the arch around a fixed center point,
通过围绕固定中心点旋转拱形，
They could describe a dome
他们可以描述一个圆顶
Or an apse with a half-domed ceiling.
或者带有半圆顶天花板的后殿。
But the arch was only part of the story.
但拱门只是故事的一部分。
It was an extraordinary new building material
这是一种非凡的新型建筑材料
Which made these fluid designs possible.
这使得这些流体设计成为可能。
20 miles from rome,
距离罗马20英里，
In the hill town of palestrina,
在帕莱斯特里纳山城，
Stand the remains
站在遗体上
Of one of the first great roman building projects--
其中一个最伟大的罗马建筑项目
The sanctuary of fortuna, the goddess of fortune.
财富的圣所，财富女神。
Much of it was hidden
其中大部分都是隐藏的
Until a world war ii bombing raid
直到第二次世界大战爆炸袭击
Sheared away the later housing,
剪掉了后来的住房，
Revealing this gigantic conception...
揭示这个巨大的概念......
A series of seven immense terraces
一系列七个巨大的梯田
Rising 400 feet up from the grotto below,
距离石窟下方400英尺高，
Where the fortune-telling lots were cast for pilgrims,
为朝圣者投下算命的地方，
All the way up to a colonnaded rotunda on top,
一直到顶部的柱廊圆形大厅，
Where the 17th-century palace of the barberini now stands.
这座17世纪的巴尔贝里尼宫殿现在矗立在那里。
And the whole complex was aligned
整个情结都是一致的
To look out over a breathtaking vista
俯瞰令人惊叹的远景
Of plain and mountain
平原和山
And with axial symmetry, the sea,
并且轴对称，大海，
Framed by the foothills of the apennines.
由亚平宁山脉的山麓构成。
Here, roman architects began to play
在这里，罗马建筑师开始玩耍
With the new curvilinear forms,
凭借新的曲线形式，
Such as this graceful hemicycle with its colonnade
比如这个优雅的半圆形柱廊
Supporting an annular barrel vault
支撑环形桶拱顶
Inset with coffers that were once richly decorated.
插入曾经装饰华丽的金库。
This amazing architecture was made possible by something
这个惊人的建筑是通过某种东西实现的
Which to us in the 20th century
这对我们来说是在20世纪
Seems so commonplace
似乎很平常
It would hardly deserve comment--
它几乎不值得评论
Concrete.
具体。
Concrete had been used before this time--
在此之前使用过混凝土
A simple mixture of three parts sand, one part lime,
三份沙子，一份石灰，
Broken stone, and water.
破碎的石头和水。
But among its problems for builders
但是对于建筑商而言存在问题
Was that it dried very swiftly,
它干得很快，
So it could only really be used for layering courses,
所以它只能用于分层课程，
Never for building entire structures.
永远不要建造整个结构。
But in the first century b.c.,
但是在公元前一世纪，
The romans discovered the almost magical properties
罗马人发现了几乎神奇的属性
被称为火山灰的红色火山沙，
Of a reddish volcanic sand called pozzuolana,
Which comes from pozzuoli near naples.
来自那不勒斯附近的波佐利。
Concrete made with pozzuolana has a very different quality.
用火山灰制成的混凝土质量非常不同。
It's very strong.
它非常强大。
It can be used in wet conditions.
它可以在潮湿的条件下使用。
It dries slowly,
它干得很慢，
so entire structures could be built,
所以可以构建整个结构
Bonded from top to bottom as one,
从上到下粘合为一体，
Even including domes.
甚至包括圆顶。
So this simple discovery marks a revolution
所以这个简单的发现标志着一场革命
In roman and in western architecture.
在罗马和西方建筑。
It made possible
它成为可能
All the greatness which would follow.
随之而来的伟大之处。
At the height of its imperial power,
在它的皇权的高度，
Rome was a sprawling city,
罗马是一个庞大的城市，
Crowded with a million citizens and slaves.
挤满了一百万公民和奴隶。
To keep them occupied, there were public baths,
为了让他们被占用，有公共浴室，
Racecourses like the circus maximus,
像马戏团一样的赛马场，
And the great amphitheater
和伟大的圆形剧场
Decreed by the emperor vespasian in 75 a.d.
由皇帝韦斯帕西安在75广告中减少
With its massive facade of superimposed arches,
其巨大的叠加拱门立面，
The colosseum seems to express in stone
斗兽场似乎在石头上表达
The grandiose dreams of all empire-builders.
所有帝国建设者的宏伟梦想。
But it was a most functional building--
但它是一个功能最强大的建筑
Its gates numbered for ticket holders,
门票编号为门票，
Its concentric vaulted corridors
它的同心拱形走廊
Designed to funnel 50,000 spectators to their seats
旨在将50,000名观众聚集到他们的座位上
With maximum efficiency.
以最高效率。
Built of stone, brick, and concrete,
由石头，砖和混凝土建造，
The colosseum's huge oval interior
斗兽场巨大的椭圆形内部
Offered every roman an unobstructed view
提供每个罗马一览无余的景色
Of the slaughter in the arena below--
在下面的竞技场屠宰
Arena being the latin word
竞技场是拉丁词
For the sand that covered the wooden floor
对于覆盖木地板的沙子
And absorbed the blood.
并吸收了血液。
Today the colosseum impresses us more
今天，斗兽场给我们留下了更深刻的印象
As an amazing feat of architecture
作为一个惊人的建筑壮举
Than as a work of art,
而不是作为一件艺术品，
Though it strongly influenced the design
虽然它强烈影响了设计
Of both renaissance palaces and modern sports arenas.
文艺复兴时期的宫殿和现代体育竞技场。
This three-dimensional scale model
这种三维比例模型
Depicts rome in the fourth century,
在第四世纪描绘罗马，
Virtually at the end
实际上在最后
Of its spectacular imperial building program.
其壮观的帝国建筑计划。
Of all the great constructions throughout the empire,
在整个帝国的所有伟大建筑中，
One stands above all others
一个站在所有其他人之上
As the crowning achievement of roman architecture--
作为罗马建筑的最高成就
The pantheon.
万神殿。
Fittingly, it is a work that expresses
恰如其分，这是一项表达的作品
Not the ugliness of our baser instincts,
不是我们的本能的丑陋，
But our sense of wonder about worlds beyond our own.
但是我们对自己以外的世界感到奇怪。
Who built the pantheon and when was long a mystery.
谁建造了万神殿，什么时候成长为一个谜。
The latin dedication tells us it was built by marcus agrippa,
拉丁的奉献告诉我们它是由马尔库斯·阿格里帕建造的，
Augustus' son-in-law and consul.
奥古斯都的女婿和领事。
This, it turned out,
事实证明，
Refers to the first pantheon on this site,
指本网站上的第一个万神殿，
A much more conventional temple.
一个更传统的寺庙。
The answer lay hidden for centuries
答案隐藏了几个世纪
In the brick facing of the pantheon's
在面对万神殿的砖
25-foot-thick concrete rotunda.
25英尺厚的混凝土圆形大厅。
Archaeologists had found that many roman bricks
考古学家发现了很多罗马砖
Were stamped with the name of the consul in office
被盖上领事馆的名字
When they were made.
当他们被制作。
Almost all the pantheon's bricks were made around 120 a.d.,
几乎所有万神殿的砖都是在120广告左右制作的，
Revealing that its builder was the emperor hadrian,
揭示它的建造者是哈德良皇帝
A man of passionately artistic sensibility
一个充满艺术感情的男人
And a particular love for architecture.
特别喜欢建筑。
The pantheon's rotunda and classical-temple porch
万神殿的圆形大厅和古典寺庙门廊
Have inspired more western architecture
激发了更多的西方建筑
Than any other building.
比任何其他建筑物。
Each massive column is carved
每个巨大的柱都是雕刻的
From a single block of egyptian granite
从一块埃及花岗岩
And topped by the flourishing acanthus leaves
并且繁荣的老鼠叶子顶着
Of the corinthian order favored by the romans.
罗马人青睐的科林斯人的秩序。
Impressive though it is,
令人印象深刻的是，
It isn't the exterior that gives this building
这座建筑不是外观
Its lofty place in western art,
它在西方艺术中的崇高地位，
But what lies behind its great bronze doors.
但它巨大的青铜门背后隐藏着什么。
With its opening to the sky,
随着它向天空开放，
This was the world's largest dome
这是世界上最大的圆顶
For more than 18 centuries--
超过18个世纪
5,000 tons of carefully molded concrete,
5000吨精心模压的混凝土，
Stretching across nearly 150 feet of space.
伸展近150英尺的空间。
The greeks had created exteriors of exquisite harmony.
希腊人创造了精致和谐的外部。
It was the romans who gave the west
西方是罗马人
The grandly conceived interior.
宏伟的内饰。
Now a church,
现在是一个教堂，
This is the only major roman building
这是罗马唯一的主要建筑
That survives intact.
那完好无损。
"pantheon" means temple of all the gods.
“万神殿”是指众神的殿堂。
Their statues must have been placed
他们的雕像必须放置
In these templelike niches where christian saints now stand,
在基督徒圣徒现在站立的这些寺庙般的壁龛中，
Richly decorated with colored marble
装饰有彩色大理石
Brought by sea from quarries throughout the empire.
从整个帝国的采石场海上带来。
Professor richard brilliant of columbia university.
哥伦比亚大学理查德教授。
In the fifth century, when the barbarians took rome,
在第五世纪，当野蛮人占领罗马时，
They entered this building to despoil it of its treasures.
他们进入这座建筑物，掠夺它的宝藏。
The splendor of the interior stopped them in their tracks
内部的辉煌阻止了他们的轨道
And thus preserved this glorious structure,
从而保留了这个光荣的结构，
This magnificent space, until our own time.
这个宏伟的空间，直到我们自己的时间。
Space gives content and form to this great building.
空间为这座伟大的建筑提供了内容和形式。
What we see on the ground level
我们在地面上看到了什么
Is a great cylinder.
是一个很棒的圆筒。
This cylinder fuses or merges into the hemispherical dome
该圆柱体融合或融合到半球形圆顶中
That lies upon it.
那就是它。
That fusion is so complete
融合是如此完整
Because the architect has shaped this interior
因为建筑师塑造了这个内部
Both vertically and horizontally
垂直和水平
In such a way as to suggest
以这样的方式提出建议
That the building interior contains a perfect form,
建筑内部包含一个完美的形式，
That perfect form known as the sphere.
那种被称为球体的完美形式。
The paradox encountered in this structure is
在这种结构中遇到的悖论是
That space so ordinarily thought of
那个通常想到的空间
As being defined by architecture
由架构定义
Instead defines architecture.
而是定义架构。
The true substance of the building is space.
建筑的真正实质是空间。
As you can see,
如你看到的，
The coffers, meant solely to organize,
金库，仅用于组织，
To structure our visual experience,
构建我们的视觉体验，
Recede towards the oculus,
朝向眼睛的后退，
Culminating in that passage-- not an escape,
在那段经文中达到高潮不是逃避，
But a kind of communication between the interior space
但内部空间之间有一种沟通
Defined by this extraordinary building
由这个非凡的建筑定义
And the space of the cosmos that lies beyond.
超越宇宙的空间。
That cosmos is perfection,
宇宙是完美的，
Perfection in the form of a sphere,
完美的球体形式，
A sphere which has no beginning and no end.
一个没有开始也没有结束的球体。
Pagan temple, christian church,
异教徒的寺庙，基督教教堂，
Bold and original work of art--
大胆而原创的艺术作品
The pantheon remains a symbol of universal significance
万神殿仍然是具有普遍意义的象征
For all the ages.
适合所有年龄段。
Hadrian's restless intelligence was also at work
哈德良的不安情报也在起作用
In the immense and inspired villa complex
在巨大而富有灵感的别墅群中
He built for himself near tivoli.
他在蒂沃利附近为自己建造。
Like other emperors,
像其他皇帝一样
He used the shaping power of concrete
他利用混凝土的塑造力
And vaulted architecture
和拱形建筑
To enclose space in dramatic ways,
以戏剧性的方式封闭空间，
To sculpt interiors that expanded
雕刻内部扩展
Rather than limited human activity,
而不是有限的人类活动，
With an echo here and there of his enduring masterwork.
在这里和那里他的持久杰作的回声。
Everywhere in the villa, there were statues,
别墅的每个地方都有雕像，
Many of them in the greek tradition
其中许多人都是希腊传统
He so passionately admired.
他如此热情地钦佩。
In this, hadrian was typical of well-to-do romans
在这方面，哈德良是典型的富裕罗马人
Throughout the imperial age.
整个帝国时代。
Roman sculpture, it's such a rich subject.
罗马雕塑，它是如此丰富的主题。
The romans, their artists, roman patrons
罗马人，他们的艺术家，罗马赞助人
Delighted in the collection of sculpture in the round--
很高兴收集圆形雕塑
Sculpture which they displayed in their public places,
他们在公共场所展出的雕塑，
Sculpture which they used to decorate the fora,
他们用来装饰论坛的雕塑，
Palaces, gardens-- a variety of situations--
宫殿，花园各种情况
Sculpture, which i may add, they put into museums
雕塑，我可以添加，他们投入博物馆
Because, indeed, the delight in works of art
因为，确实是艺术品的喜悦
Was something that gave enormous pleasure
是一件令人愉快的事情
Both to the romans and also to their friends.
既是罗马人，也是他们的朋友。
Indeed, it has become clear
事实上，它已经变得清晰
That much of greek art has, in fact, survived
事实上，大部分希腊艺术都存活了下来
Not in originals, but in roman copies,
不是原件，而是罗马书，
Much like the copies in this room
很像这个房间里的副本
In the capitoline museum in rome.
在罗马的卡普托利奥博物馆。
Such a special work is this statue in marble,
这个特殊的作品是这个大理石雕像，
From hadrian's villa
来自哈德良的别墅
Of a tormented centaur.
一个受折磨的半人马座。
The statue in dark marble
在黑暗的大理石雕像
Comes close to the bronze original
接近青铜原件
Of the hellenistic period,
在希腊化时期，
And one can see what effort the sculptor's expended
人们可以看到雕塑家花了多少精力
In attempting to reproduce as closely as possible
试图尽可能地重现
The ancient original.
古老的原创。
Hadrian, who we must imagine collected this sculpture
哈德良，我们必须想象收集这个雕塑
And enjoyed it,
并享受它，
Could appreciate a certain moral content
能欣赏一定的道德内容
In the work itself.
在工作本身。
The centaur is tormented by lust.
半人马受到欲望的折磨。
At one time-- now missing, unfortunately--
曾经现在失踪了，不幸的是
There was a cupid on his back,
背上有一个丘比特，
Cupid thrusting the arrows of sexual passion
丘比特推着性激情的箭
Into the centaur,
在半人马，
Whose arms are bound behind him.
谁的武器绑在他身后。
The moral lesson to be derived from such a work,
从这样的工作中得出的道德教训，
And not just from the enjoyment of it,
而不仅仅是享受它，
Is to be found in the necessity of imposing reason on passion.
是在激情上强加理性的必要性。
The romans themselves live on
罗马人自己也活着
In their vast legacy of portrait sculpture.
在他们丰富的肖像雕塑遗产。
We have marcus aurelius as an idealistic young man
我们有马可奥勒利乌斯作为一个理想主义的年轻人
And as the weary philosopher emperor
而作为疲惫的哲学家皇帝
Who was to die on a lonely frontier.
谁会在一个孤独的边境上死去。
We have the portrait of this aristocratic beauty
我们有这种贵族美的肖像
Of the flavian period,
在黄金时期，
Whose slave girls must have been constantly busy
谁的奴隶女孩一定很忙
With the curling iron.
用卷发器。
And by contrast,
相比之下，
The flaccid hair and careworn expression
松弛的头发和忧郁的表情
Of a woman in her declining years.
一个女人在她衰落的岁月里。
Decius ruled an empire more and more threatened
德西厄斯统治着一个越来越受威胁的帝国
By barbarians at its borders
野蛮人在其边境
And by civil strife within.
并通过内乱。
Looking for scapegoats,
寻找替罪羊，
He ordered the first systematic persecution of christians.
他下令对基督徒进行第一次系统的迫害。
A vision of the christian cross
基督教十字架的愿景
Was said to have inspired
据说有灵感
The military victory of constantine
康斯坦丁的军事胜利
Over his rival for the imperial crown
超过他的皇冠冠军
In the year 312.
在312年。
This colossal head is a portrait
这个巨大的头像是一幅肖像
Not of constantine the individual,
个人不是康斯坦丁，
But of his divinely inspired power.
但他神圣的力量。
The senate honored him
参议院对他表示敬意
With the last triumphal arch built in rome.
最后的凯旋门建在罗马。
Nervous about constantine's interest in christianity,
对康斯坦丁对基督教的兴趣感到紧张，
The senators decorated it not only with new reliefs,
参议员不仅用新的浮雕装饰它，
But also with earlier works
但也与早期的作品
Of trajan, hadrian, and marcus aurelius--
图拉真，哈德良和马可奥勒利乌斯
Reminders of the glorious and pagan roman tradition.
提醒光荣和异教的罗马传统。
They reveal a remarkable change in roman art.
他们揭示了罗马艺术的巨大变化。
The dynamic compositions
动态的作品
And ideally proportioned bodies of the reliefs
理想的浮雕比例
From hadrian's time--
从哈德里安的时间
Whose head has been replaced by constantine's--
谁的头已被康斯坦丁所取代
Give way in the new reliefs to rows of puppetlike figures,
让新的浮雕让位于一排傀儡般的人物，
Static and without identity.
静态和没有身份。
Squeezed together as if for security,
挤在一起好像是为了安全，
They seem to express the anxiety and authoritarianism
他们似乎表达了焦虑和威权主义
Of a troubled empire.
一个陷入困境的帝国。
While his arch was still being built,
虽然他的拱门仍在建造中，
Constantine legalized the practice of christianity.
康斯坦丁将基督教的实践合法化。
Its art could now rise
它的艺术现在可以上升
From the darkness of the catacombs
从地下墓穴的黑暗中
To celebrate the son of god
为了庆祝上帝的儿子
And his promise of life everlasting.
而他对生命的承诺永恒。
Junius bassus, prefect of rome,
朱尼厄斯巴苏，罗马的知府，
Was baptized on his deathbed
他临终前受洗了
And buried in this marble sarcophagus.
并埋在这个大理石石棺中。
A masterwork of early christian art,
早期基督教艺术的杰作，
It depicts the expulsion of adam and eve,
它描绘了亚当和前夕的驱逐，
The entry of jesus into jerusalem,
耶稣进入耶路撒冷，
Daniel in the lion's den,
丹尼尔在狮子窝，
The arrest of saint paul,
圣保罗被捕，
And other scenes that have become icons of the faith.
其他场景已成为信仰的象征。
The central figure is christ, the giver of law,
中心人物是基督，法律的给予者，
Seated on the throne of heaven,
坐在天上的宝座上，
Flanked by peter and paul.
两侧是彼得和保罗。
But elements of the pagan past remain.
但异教过去的元素仍然存在。
Calais, the roman god of the skies,
加来，罗马天空之神，
Supports the floor of heaven.
支持天堂的地板。
Christ wears the robe of a greek philosopher...
基督穿着希腊哲学家的袍子
And his beardless, youthful face
还有他那无脸，年轻的脸
Bears more than a passing resemblance
熊不仅仅是相似之处
To pagan images of apollo.
阿波罗的异教徒形象。
The first great churches
第一个伟大的教堂
Were variations of the roman assembly hall
是罗马大会堂的变种
Known as a basilica,
被称为大教堂，
With a central nave
有一个中央教堂中殿
Often ending in a semicircular apse
通常以半圆形后殿结束
And side aisles screened by colonnades.
旁边的过道由柱廊筛选。
Santa sabina, finished in 432,
圣撒比纳圣殿，在432年完工
Is a particularly fine example
是一个特别好的例子
Of these simple but elegant early christian basilicas.
这些简单但优雅的早期基督教大教堂。
The roman arch appears here in yet another form,
罗马拱门在这里以另一种形式出现，
Springing directly from the column capitals.
直接从柱大写弹跳。
The insignia of the new christianized empire,
新基督教帝国的徽章，
Whose capital is no longer rome but constantinople,
谁的资本不再是罗马，而是君士坦丁，
Are placed with perhaps unconscious symbolism
可能是无意识的象征主义
Atop the corinthian columns taken from a pagan building.
在从异教建筑物采取的科林斯柱子顶上。
Once reviled and persecuted,
一旦遭到辱骂和迫害，
Christianity is triumphant.
基督教是胜利的。
Historians have argued about the causes
历史学家一直在争论原因
Of the fall of the roman empire
罗马帝国的秋天
Ever since it happened,
自从它发生以来，
When saint augustine wrote
当圣奥古斯丁写道
That the empire had been part of god's divine plan
帝国已成为上帝神圣计划的一部分
For the furtherance of christianity through the world,
为了通过世界促进基督教，
That it had now fulfilled its historical purpose.
它现在已经实现了它的历史目的。
Modern scholars have found political, material,
现代学者发现政治，物质，
Economic, social reasons for the decline,
经济，社会原因下降，
But have been most impressed by the spiritual crisis
但是精神危机给人留下了最深刻的印象
Which swept through all roman classes in the fourth century
它在四世纪席卷了所有罗马阶级
And is marked by the breakdown
并且以故障为标志
Of the social, ethical, and religious concepts
社会，道德和宗教概念
Which had bound the classical world view together.
这将古典世界观联系在一起。
The roman empire had brought to its rulers
罗马帝国带给了它的统治者
Inconceivable wealth,
不可思议的财富，
As we can still see today in its vast building projects.
我们今天仍然可以在其庞大的建筑项目中看到。
But the rights of individual people
但是个人的权利
To moral fulfillment had never been met.
道德的实现从未得到满足。
So the rise of christianity,
所以基督教的兴起，
The superseding of the great pagan temples of rome--
取代罗马伟大的异教寺庙
Like this one of antoninus pius--
像这样的安东尼·庇护
By christian churches,
基督教会
Marks a fundamental shift in the western story
标志着西方故事的根本转变
Into the inner life, towards personal salvation.
进入内心生活，走向个人救赎。
The successors of the roman empire
罗马帝国的继承者
Would be the barbarians-- angles, saxons, franks, goths--
将是野蛮人角度，撒克逊人，弗兰克斯，哥特
Third world immigrants,
第三世界移民，
Attracted to the fading splendors
吸引着褪色的光彩
As to a gold rush.
至于淘金热。
They received the latin language
他们收到了拉丁语
And the christian faith from rome
和罗马的基督教信仰
And assimilated roman ideas of government
并且同化了政府的罗马思想
To their own customary law.
为了自己的习惯法。
And there lies the key to the synthesis
这是合成的关键
Which will become the western tradition,
这将成为西方传统，
A synthesis of greco-roman, judeo-christian, and germanic.
greco-roman，judeo-christian和germanic的合成。
And that synthesis would be achieved
这种综合将会实现
During the long struggles of the dark ages
在黑暗时代的漫长斗争中
Which followed on the fall of the roman empire.
随后是罗马帝国的垮台。
Captioning performed by the national captioning institute, inc.
由国家字幕研究所执行的字幕。
Captions copyright 1989 educational broadcasting corporation
字幕版权1989年教育广播公司
Annenberg media
安纳伯格媒体
?
？
World
世界
Is by movado,
是由摩凡陀
Makers of the movado museum watch,
摩凡陀博物馆的制造商观看
The watch dial design in the permanent collections
表盘设计永久收藏
Of museums throughout the world.
世界各地的博物馆。
Additional funding for this program
该计划的额外资金
Made possible by the financial support of...
由...的财政支持成为可能