評(píng)論
打印
'My own view is in fact that the evidence is not really supporting this idea of a dominant mother goddess very early on, because there are now very exciting new discoveries that really have no representations of women at all - most of the symbolism is very, very phallocentric, so my view at the moment is that sexuality is important in these early farming societies, but not in terms of reproduction/fertility, children and mothering and nurturing - that sort of thing, it's really more clearly about the sex act itself.'
“我個(gè)人觀點(diǎn)是，其實(shí)并沒(méi)有充足證據(jù)來(lái)支持這種說(shuō)法，能讓我們認(rèn)為在人類早期社會(huì)就有一位占主導(dǎo)地位的生育女神這種概念的存在，因?yàn)楝F(xiàn)在出土了很多振奮人心的新發(fā)現(xiàn)，然而強(qiáng)調(diào)女性形象的卻幾乎沒(méi)有，其中絕大多數(shù)都陽(yáng)性象征性非常強(qiáng)。因此，我目前的看法是，在那些早期農(nóng)耕社會(huì)里，性行為是一種重要的概念，而非生育能力、子母關(guān)系或哺育后代等等。顯而易見(jiàn)的這物品表現(xiàn)的是性行為本身?！?/p>
Certainly, to me, the tenderness of the embracing figures suggests not reproductive vigour, but love. People are beginning to settle and to form stable families, to have more food, and therefore more children, and perhaps this is the first moment in human history when a mate could become a husband or a wife.
當(dāng)然對(duì)我而言，這柔情款款，纏綿悱惻的擁抱，強(qiáng)調(diào)的不是生育活力，而是在傳達(dá)一種愛(ài)。當(dāng)人類開(kāi)始定居，并形成穩(wěn)定的家庭，有了富余的食物，因此能夠養(yǎng)育更多的孩子；也許就是在此刻的人類歷史上，出現(xiàn)了配偶這種概念，丈夫與妻子。
All these ideas may be present in our sculpture of the lovers, but we're still largely in the realm of historical speculation. On another level though, it speaks to us absolutely directly, not as a document of a changing society but as an eloquent work of art. Sculptor Marc Quinn again:
也許以上可能性都在我們這對(duì)戀人雕塑中可以傳達(dá)出來(lái)，然而我們?nèi)缃襁€處于揣測(cè)歷史的階段。從另一層面而言，它的身份可以不是一件記錄轉(zhuǎn)變中社會(huì)的文件，而是一件杰出的藝術(shù)作品，與我們直接溝通。雕塑家馬克·奎因再次說(shuō)道：
'There's the difference between art and artefact. An artefact is something from a time that stays in that time like a piece of pottery and it becomes like a relic of that time.
“藝術(shù)品與人工制品之間存在著差異。人工制品來(lái)源于某個(gè)時(shí)代，停留于那個(gè)時(shí)代，像一件陶器，最終成為了屬于它那個(gè)時(shí)代的遺跡。
An artwork is something that is from a time, but is also eternally in the present moment, and I think you can definitely say that this sculpture is in the present moment.
藝術(shù)品來(lái)源于某個(gè)時(shí)代，卻能超越那個(gè)時(shí)代存活在當(dāng)代，具有永怛的生命力。
That to me is the great strength of making artwork, you are making essentially emotional time-machines; you're making an object of meditation that will communicate with people in ten thousand years time (were it to survive) in a very direct way - I mean, certain things are beyond time.'
對(duì)于我而言，藝術(shù)品擁有一種偉大的藝術(shù)力量。是在創(chuàng)造一種本質(zhì)上的情感時(shí)間機(jī)器，是在創(chuàng)造一種凝聚了思想的物品，即使經(jīng)歷萬(wàn)年漫漫時(shí)光，仍舊可以以非常直接的方式與人類進(jìn)行構(gòu)通。我的意思是，某種事物是可以超越時(shí)間的?！?/p>
But in a sense nearly all objects speak 'beyond time'. Throughout this series I'll be trying to discover the stories of the people whose hands made the objects - their fears, their hopes, sometimes even their loves. From the Ain Sakhri lovers to Rodin's statue of 'The Kiss' there are 11,000 years of human history, but not, I think, much change in human desire.
然而在某種意義上，幾乎任何物品都可以“超越時(shí)間”來(lái)與我們對(duì)話。在本系列中，我將嘗試去發(fā)現(xiàn)雙手創(chuàng)造這些物品的人們的故事——他們的恐懼與希望，有時(shí)甚至是他們的愛(ài)。Ain Sakhri戀人與羅丹“吻”的雕像之間隔著一萬(wàn)一千前的悠悠歲月，然而我覺(jué)得人類的欲望卻不曾怎么改變過(guò)。
In the next programme, we're on less romantic territory. I'm with the world's first cowboys, perhaps more accurately the world's first cattle herders, in Egypt, and with another statue of four small cows.
在下期節(jié)目，我們將踏入并不怎么浪漫的新領(lǐng)域。我要去探索世界上第一位牛仔。也許更準(zhǔn)確而言是在埃及的世界上第一位牧民，還有另一件雕像——四頭小母牛。
