評論
打印
Arentino referred to a portrait of Donna by Titian
阿雷蒂諾提到過提香所作的一幅女子畫像
that her protective lover installed in his private chamber
保護(hù)欲強(qiáng)盛的愛人將她的畫像安放在密室中
and kept behind a silk curtain
用絲質(zhì)窗簾遮住
like a reliquary
如同圣骨箱
he said
阿雷蒂諾如是說
and Lodovico Capponi in a portrait by Bronzino
還有布隆奇諾畫的盧多維克·卡波尼肖像
conceals from the prying eyes
肖像之中也藏有奧秘，好事之人看不到
but all but himself
只有畫家知道
the subject of a portrait miniature
肖像中一幅微型畫的主人公
presumably his mistress or lover
估計(jì)就是他的情婦或愛人
the conceit of a lover's yearning for that which is hidden
對愛人隱藏起來的部位的渴望的幻想
is also a literary trope
也是一種文學(xué)手法
inflamed by lust Apollo in Ovid's Metamorphosis
在奧維德《變形記》中，阿波羅受到欲望的驅(qū)使
is not content to gaze at Daphne's lovely features
不滿足于凝視達(dá)芙妮可愛的容貌
but longs to behold the nymph's flesh beneath her robe
他更渴望能看到她裙袍下隱藏的胴體
that which is hidden he deems lovelier in Ovid's words
在奧維德筆下，阿波羅認(rèn)為藏起來的更可愛
this imputing of a heightened erotic content to that
隱藏，或被掩飾的物品
which is hidden or concealed
情色意味從而就加重了
that which can only be revealed by the actively engaged lover, voyeur
這些隱蔽物也只能由熱忱的愛人或偷窺者來揭開
who opens the shutter or lifts the curtain
他們會推開擋板，掀起窗簾
or removes the concealing robes
脫去蔽體的裙袍
is a conceit that informs many of the works
在這次展覽的，世俗之愛，章節(jié)
in the profane love section of the exhibition
這一點(diǎn)成了不少作品的靈感
Raphael's portrait of his mistress is
拉菲爾情人的畫像
not only a literal depiction of an actual sitter however
不僅僅是對一位模特的如實(shí)描述
it is also an image of idealized platonic beauty
也是一種理想化的，柏拉圖式的美
the fully screen behind her contains branches of laurel
畫像背景包括月桂樹枝
a tree that by its entomology evokes Laura
月桂樹詞源跟勞拉有淵源
a beloved of the poet Petrarch
是詩人彼特拉克的愛人
and the archetype of the ideal woman or mistress
亦是完美女人或情婦的原型
laurel is also a symbol of chastity
月桂樹也是貞潔的象征
a virtue that Petrarch
彼特拉克也賦予勞拉
installed in Laura
以這個(gè)美德
and Raphael here imputes to his mistress
而這里拉斐爾將這個(gè)概念用到愛人身上
through this artistic act of
通過這種藝術(shù)行為
conjuring his own chaste and virtuous laurel
打造出屬于他的貞潔的月桂樹
Raphael is equated with Petrarch
拉斐爾就和彼特拉克一樣了
the painter is a poet
畫家就是詩人
and his portrait is an analog of his poetic formulation of beauty
他的畫作就是美的詩意化表述
as a certain idea which comes into my head
正如，某一個(gè)想法突然浮現(xiàn)在腦中
this is a concede ascribed tribute to Raphael
據(jù)說這是拉斐爾本人寫的詩句
although it is only recorded in a letter
但只在某節(jié)書信中出現(xiàn)過
written a couple of years after his death
當(dāng)時(shí)拉斐爾早已去世幾年
in which the words are assigned to him
信中說這句話是拉斐爾寫的
his idea in other words is a cerebral synthesis
換句話說，拉斐爾的理念是，腦海中所形成的
of the best features of many
是眾多輪廓的一種匯集精華
rather than a literal likeness of an individual
而不是單單對個(gè)體的相似性
this platonic conceit is a topos reprise from antiquity
這種柏拉圖式的幻想，是一種對古典主題的重現(xiàn)
according to Pliny the Elder
根據(jù)老普林尼所載
the painter Zeuxis
畫家宙克西斯
combined features of the five prettiest girls he could find
找到五名最漂亮的姑娘，將其特征結(jié)合起來
in order to create a sufficiently beautiful portrait of Helen of Troy
以創(chuàng)作出絕色美女，特洛伊的海倫，的畫像
and it finds a literary counterpart in the Renaissance
而這在文藝復(fù)興時(shí)期拉斐爾的
in the writings of Raphael's friend
一位朋友筆下也能找到相應(yīng)的文字描述
the poet Pietro Bembo
詩人皮特羅·本博
concerning the transcendental power of perfect beauty
他關(guān)注的是絕美的超凡魅力
an idea that resonates in Raphael's depiction of his ideal beauty
這一點(diǎn)跟拉斐爾對理想美的描述有著共鳴
