評(píng)論
打印
When Romans thought about
當(dāng)羅馬人思考
where the impulse to portraiture came from -
他們繪制肖像的沖動(dòng)從何而來
even the impulse to painting as a whole -
甚至說繪畫的沖動(dòng)是從何而來的時(shí)候
they had a very vivid story to tell
他們有一個(gè)很生動(dòng)的故事
about a young woman who was the creative genius
故事是關(guān)于第一幅肖像背后
behind the very first portrait.
一位很有創(chuàng)造天賦的女人
Her lover was going away on a long journey
她的愛人要離家踏上一段長(zhǎng)途旅程
and before he went, she got a lamp
在他離開之前 她得到了一盞燈
and she threw his shadow against a wall
她把她愛人的影子投到了墻上
and traced round it to create a silhouette.
沿著影子創(chuàng)造出了一個(gè)剪影
She was trying not just to memorialise him,
她不只是在試著紀(jì)念他
but to keep his presence in her world.
也是為了讓他永遠(yuǎn)存在于自己的世界里
I think there's something like that going on
我認(rèn)為關(guān)于阿特米多魯斯的臉
with the face of Artemidorus.
背后也有這種故事
Domestic ware and tear,
家用器皿和裂痕
even children's scribbles on some coffins,
甚至在一些棺材上還有孩童們的涂鴉
suggest that they weren't instantly confined to the grave.
都表明了它們不是立刻就被封入墓穴之中的
For a while, they may have stood in the land of the living,
有段時(shí)間 它們可能被豎立在人世間
perhaps in the family home.
也許就在家中
