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Alberti believed that the most important approach for a painter was to capture a story or narrative.
Alberti認為對一個畫家來說最重要的行為就是捕捉一個故事。
Now, as I’ve indicated, this narrative could be the religious or secular, depending on what the work of art was for.
正如我提到過的，這種故事可以是宗教性質的或者現世題材的，取決于這個藝術品的用途。
If the work was to be placed in a church, then obviously, it’d have a religious theme,
如果這個作品要被放在教堂里，那么顯然，它要有一個宗教性的主題，
whereas, if it was for someone’s home,then it could deal with a different subject matter.
然而，如果是要放在某個人家里，那它可以涉及一個不同的主題。
The exact narrative didn’t really matter, so long as it was one that captivated the audience, that held the viewers’ attention.
確切的故事并不重要，只要它能俘獲欣賞者，也就是能抓住觀賞者的注意力就行。
So, what is actually needed to tell a story?
那么要講一篇故事真正需要什么？
Well, Alberti needed characters, right? Human figures.
Alberti需要角色，對嗎？人物形象。
And he wanted to represent them as realistically as possible, to capture the viewers’ attention.
而且為了吸引觀賞者的注意，他想把它們呈現得盡可能逼真一些。
One way he achieved this was to make use of what’s known as “the contrapposto pose”.
他實現這一點的一個方法就是使用“扭曲姿態”。
A contrapposto pose basically entails showing a slight twist in the body.
“扭曲姿態”主要需要展現出身體的一個輕微扭曲。
The shoulders and hips are usually bent in different directions.
肩膀和臀部通常朝著不同方向彎曲。
In other words, if the left shoulder is bent, so that it’s slightly higher than the right shoulder,
換句話說，如果左肩膀有所彎曲，這樣它就比右肩膀稍微高一些，
then the hips will be bent, so that the left side will be slightly lower than the right side.
然后臀部也會彎曲，這樣左邊就會比右邊稍微低一些。
