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Now we know two Leonardo portraits of Milanese women,
現在我們見過達芬奇的兩幅米蘭女人肖像
the ones we know best,the so called Cecilia,
我們最熟悉的一幅叫Cecilia
well definitely Cecilia Gallerani
很明顯是Cecilia Gallerani
but the Lady with the Ermine in Krakow.
也就是"抱貂的女人"
The lady holding the Ermine and smiling
一個女人抱著貂,一邊微笑著
looking out of the picture but in three quarter face.
望向畫外的方向,但她是畫四分之三臉的
And there's the so called La Belle Ferronniere in The Louvre
還有一幅是盧浮宮的La Belle Ferronniere
which is almost certainly Lucrezia Crivelli.
幾乎可以肯定畫中人就是Lucrezia Crivelli
These are both the dukes mistresses.
她們兩個都是伯爵的情婦
And they're not portrayed in profile.
她們畫的都不是側面像
So there's an issue of what in the renaissance
所以在文藝復興時有一個
you'd call decorum,i.e. good manners.
所謂禮儀問題
If you were a princess you were in profile.
如果你是公主,你就要畫側面
If it was a more intimate portrait
如果是更私密的肖像畫
not a public portrait as it were you could be more relaxed.
不公開的肖像畫,你可以不用那么拘緊
So what would be bad manners
所以如果貴族
in a portrait of one of the aristocrats,you could relax.
畫肖像畫時這樣的姿勢就不符合禮儀
And obviously the Mona Lisa is like that,
很明顯蒙娜麗莎就是這樣
it's a very intimate work.
它是非常私密的作品
It's for Mona Lisa's husband basically.
基本上是畫給蒙娜麗莎的丈夫看的
He never got it but.....no there's an issue of decorum.
但畫從來沒到過他手上,這當中有一個禮儀問題
Interviewer: I think it's interesting
我覺得很有趣的是
thinking about Leonardo's other female portraits of the period.
比較一下達芬奇同時期買的其他女性肖像畫
How in quite a few of them seem to be
少數幾個表明
indicators of the sitter's identity,
畫中人的身份的線索
in quite fundamental terms her name,
基本上都是她的名字
like Ginevra de' Benci in the tree.
例如畫在樹前面的Ginevra de' Benci
Or her moral characteristics,this sort of thing.
或者她的道德特征之類的
And this one doesn't seem to have that.
但這一幅似乎沒有
It hasn't got the obvious symbolism of the Ermine
它沒有貂那么明顯的象征意義
the Ermine is a symbol of purity and moderation
貂象征純潔和溫和
which you may which you may slightly get off the duke's mistress
這你大概可以從伯爵的情婦身上看得出來
but these are bits of symbolic rhetoric and no more than that.
但它們都只是一些象征擺設,沒什么別的意義
But there are clear signs that
但這里有一個很明顯的標志
she is a inner member of the Sforza circle,
她是Sforza家族的重要成員
a Sforza princess if you like.
甚至有可能是Sforza公主
And that is the costume and above all the hairstyle
還有她的服裝和發式
and the portrait you all know down the road in Christchurch here.
你們都很熟悉我們這里的基督教堂里面那幅肖像
There is a portrait almost certainly by Leonardo's colleague
有一幅肖像畫幾乎可以肯定是達芬奇的同僚
Ambrogio De Predis of Beatrice d'Este who was the duke's wife.
Ambrogio De Predis給伯爵的妻子貝阿特麗絲·德埃斯特畫的
They married young as they are all married young these brides
他們很年輕就結婚了,女人都很年輕就嫁人的
and expected to produce children.
要給丈夫生兒育女
Beatrice died young like most of them.
像她們大部分人一樣,貝阿特麗絲很早就去世了
But regular childbirth is a dangerous business
對于文藝復興時期那些年輕的女人來說
for young people and young women in the renaissance.
經常生孩子是一件很危險的事
Anyway there she is in the Christchurch portrait in profile.
總之,她的基督教會肖像是畫側面的
And she's got what became a standard
她的發式成為上層貴族婦女的
inner aristocratic women's hairstyle.
標準發式
It's a great bound pigtail,ferociously uncomfortable probably,
那是一個被綁得很緊的馬尾,非常不舒服
and requires what we call a hair extension.
需要我們所稱的續發
It's bound very tightly at the top and
頂部這里會綁得很緊
you can see the bound ribbon constricting this coatzoni as it's called.
你可以看到發帶綁著我們所說的"發垂"
