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Bacchus And Ariadne.
《酒神巴克斯與阿里阿德涅》中
It's a moment of supercharged romantic voltage,
這是個激情四射的瞬間
the helpless rush of unexpected love
在扭曲的激情中阿里阿德涅翩然起舞
that takes place in a dancing twist of passion.
愛情不期而至 沖動難以克制
Ariadne, abandoned by her lover, Perseus,
阿里阿德涅被她的愛人珀耳修斯所拋棄
spins round to lock eyes with the god of wine,
驀然回首 卻對上了酒神的目光
who launches himself from his chariot,
酒神立刻跳出了他的車架
jet-propelled by desire.
渴望驅使他沖向他的愛人
And it's a picture that is constructed out of these
這幅畫作是由兩種不同的
two different dynamics of colour.
色彩動態構成的
Bacchus's riotous gang
酒神巴克斯狂放的隨從
are coming from these earthy green,
從右邊這片綠色的土地上
brown colours of the woods on the right
棕色的林子里跑了出來
and it's all moving towards
他們都一股腦地
this beautiful limpid blue area
沖向這個靚麗的藍色區域
in which this tragic heroine is standing there
這位悲情的女主角正站在這個區域中
waiting for the touch of Bacchus's love.
等待酒神巴克斯的愛的安撫
On one side,
這一邊
the profane colours of animal energy and sexual love.
有的是動物能量和性欲之愛的世俗色彩
Titian's fleshy, blushing naturalism
提香將充滿肉欲讓人臉紅的自然主義
on full display.
表現得淋漓盡致
On the other, the colour of the heavens
另一邊 則是神圣的天堂之色
where Ariadne will be transformed
阿里阿德涅終將升上天空
into a constellation of stars.
變成一個星座
It's an irony, I suppose, that Venice,
我想這非常諷刺 漸漸地
generally thought to be the most mercenary
人們都認為威尼斯文化是所有文化中
and materialist of all cultures
最商業化 最流于物質的
thought that its art was above all spiritual.
而他們的藝術卻充滿了神性
That it was about looks,
威尼斯藝術注重視覺效果
about gospel radiance,
注重展現福音的光輝
about the sheer weightlessness of saturated colour.
注重飽滿色澤帶來的純粹和輕盈
Even the most pure and dazzling marble
就算是最潔白耀眼的大理石
kept you on the ground,
也不能讓你脫塵出世
but surrender to colour, and you took off.
但身處色彩間 卻能有羽化登仙之感
You ascended into the dizzy imperium
讓你上升至炫目多彩的
of the painterly paradise.
繪畫天堂
The Venetian style had a good run
威尼斯流派盛行
but by the end of the 17th century,
但到了十七世紀末
its intoxication with colour and the dancing line
其對色彩與躍動線條的一貫沉醉
came to seem too in love with pleasure
顯得太過流于俗世享樂
for an age that had become dominated
與當時被強權帝國統治的時代背景
by heavyweight empires.
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