卢浮宫的珍宝（2013）

Here, in the Cour Carree,
路易完成了他父亲开启的建筑工作
Louis completed the building work begun by his father.
他将庭院的尺寸放大了四倍
He quadrupled the size of this courtyard
成为我们现在看到的大小
to the dimensions you see today.
这一切 有一个明确的目标
And with one express aim –
让卢浮宫变得更大更壮观
to make the Louvre a bigger and more imposing place.
内部新建了一间皇家等候室
And inside a royal waiting room was built
阿波罗圆厅
– the Rotonde d’Apollon –
以震撼宫殿的来访者
to wow impressionable visitors to the palace.
圆厅外 修建了一条壮观的走廊
Just off the Rotonde, a spectacular gallery was built –
阿波罗廊
the Galerie d’Apollon,
由国王的建筑师路易斯·勒·沃设计
designed by the King’s architect, Louis Le Vau.
我在环顾四周 因为这里的所有东西
I’m looking around because everything here
都有一种神秘的或寓言的含义
has a kind of mystical or allegorical meaning,
而所有这些都围绕着国王本身
and all of that is literally revolving around the King himself.
看看这个地方
And just look at this place!
如此辉煌灿烂 伴着黄金般的荣耀
It’s splendid, it’s glittering with all this gold glory –
这里真是
it really is
“太阳王”这一称谓的具体表现
the personification of what it means to be the Sun King.
这里的每一幅图画
Every image here
都表明着国王是神一般的存在
reinforces the assertion that the King was god-like –
是宇宙的中心
the centre of the universe.
从高处俯瞰着他的国家 在这里只有他
Looking down from high, on a country where he, and he alone,
拥有绝对的权力
had absolute power.
他对法国的统治
With a rule over France,
永远不会受凡人♥质♥疑
that could never ever be questioned by mere mortals.
就像他杰出的前辈弗朗索瓦一样
And like his illustrious predecessor Francois,
路易不仅是个建造者
Louis was not only a builder,
也对收集艺术品有巨大的爱好
but someone with a huge appetite for collecting art –
可以说是十七世纪的查尔斯·萨奇
the Charles Saatchi, if you like, of the 17th century.
[当代英国收藏家]
在他统治期间 皇家收藏的作品数
During his reign, the size of the royal collection
从150件增长到2376件
expanded from 150 to exactly 2,376 paintings.
他买♥♥下当时法国最好的艺术品
He bought the best French art of his time –
32件普桑 11件克罗德
32 Poussin, 11 Claude,
26件勒·布朗和17件米尼亚尔
26 Le Brun and 17 Mignard.
还有许多外国杰作
And foreign masterpieces
例如这幅美丽而悲伤的画作
like this lovely but sombre painting,
卡拉瓦乔的《圣母之死》
The Death of the Virgin by Caravaggio.
这些艺术珍品都在”他的”卢浮宫里展出
All now hang here in what was his Louvre.
对路易十四世来说 卢浮宫是件豪华的玩物
The Louvre was a luxurious plaything for Louis XIV,
但一个很大的问题是
but there was one big problem
它在巴黎 而他讨厌巴黎
it was in Paris, and he hated Paris.
但有趣的是 巴黎人也讨厌他
But, funny enough, the Parisians also hated him.
所以在1670年
So what happened in 1670
路易十四世一怒之下
was that Louis XIV left Paris for Versailles
离开巴黎 迁往凡尔赛
in a great, big, splendid, royal huff.
此后 他再也没有踏入卢浮宫
And he hardly ever set foot in the place again.
但他没有空手离开
But he didn’t leave empty-handed –
他带走了自己所有的艺术藏品
he took all of his artworks with him.
随着路易十四世搬往凡尔赛
With the exit of Louis XIV to Versailles,
“大计划”暂停了
the Grand Dessein was put on hold.
很多建筑工作都没有完成
Much of the building work remained unfinished.
柱廊没有盖屋顶就停工了
The colonnade was left without a roof.
在整个十八世纪期间
Throughout the 18th century,
卢浮宫都有一种摇摇欲坠的感觉
the Louvre had a much more ramshackle feel to it.
并开始回响起 来自平民的嘈杂声
And it echoed to a more plebeian cacophony of sounds and voices.
大画廊不再是
The Grande Galerie changed
皇室和贵族的领地
from the preserve of royals and aristocrats,
变成了巴黎的艺术品交易中心
and became instead the centre for artistic hustling in Paris.
在这里 可以见到辛勤工作的雕刻家
This is where you’d find engravers hard at work
家具匠人
furniture-makers,
能做出最好的帽子的手工艺人
makers of the very finest hats –
这是一个充满活力而忙碌的商业区
it was a place of great energy, bustle and commerce.
但这里发生的最重要的事
But the most important thing that happened here,
就是根据皇家授权
was that by royal warrant,
艺术家们可以来此居住
artists were allowed to come and live here,
他们临摹画作 然后自己进行创作
and they copied paintings, and then they made their own art.
正是此时 在巴黎人♥民♥丰富多彩的生活中
And this was the moment when the Louvre properly became
卢浮宫正式成为了文化交流的中心
a centre of cultural exchange in the endless carnival of Parisian life.
当卢浮宫对普通民众敞开大门时
As the palace began to open its doors to vulgar outsiders,
位于国王旧时住地的皇家绘画与雕塑学院
the presence of the Royal Academy of Painting and Sculpture in the King’s former apartments,
仍在卢浮宫中体现着礼仪和庄严
still preserved a sense of decorum and gravitas in the Louvre.
先是在大画廊 还有这里的方形厅
First in the Grande Galerie, and here in the Salle Carree,
学院举办一年一度 后来两年一度的展览
the Academy held an annual, then biennial, exhibition.
从八月二十五日的圣路易日开始
Starting on St Louis’ day 25th of August,
沙龙对外开放
the Salon was open to the public.
对有兴趣的人展示艺术品 这一观念很新
The idea of showing art to all who wish to come was novel,
且经事实证明 是非常受欢迎的
and proved fantastically popular.
沙龙中的展品
Events at the Salon
在另一个地方被人们探讨
were something to be argued about in another institution,
这是对巴黎人非常重要的地方
for ever dear to all Parisians.
这是巴黎的第一个咖啡馆
This was the first-ever coffee house in Paris,
1686年开始营业
opening to customers in 1686.
从一开始
From the word go,
波克普咖啡馆就吸引着知识分子们
the Cafe Procope attracted intellectuals.
在18世纪
In the 18th century,
启蒙运动的发起者来到了这里
the philosophes of the Enlightenment came here –
其中一人对我们故事的推进十分重要
and amongst them was someone very important to our story.
在我身后 这是德尼·狄德罗
Behind me here – this is Denis Diderot.
狄德罗对沙龙进行了尖锐的评论
Now Diderot wrote penetrating critiques of the Salon,
藉此 他首创了艺术评论
and in doing so he effectively invented art criticism.
他对沙龙中企图打动他的画家提出了挑战
And he threw down a challenge to artists with an ambition to impress him at the Salon –
第一要务 打动我 震惊我 撕裂我心
“First of all move me, surprise me, rend my heart,”
让我发抖 啜泣 不寒而栗 怒火中烧
“make me tremble, weep, shudder, outrage me,”
之后再愉悦我的双眼 如果你能做到的话
“and delight my eyes afterwards, if you can.”
曾有一位画家让狄德罗感到心神愉悦
Diderot was delighted by one artist,
你可以在卢浮宫找到他精彩而辛酸的自画像
whose wonderful and poignant self-portraits you can find in the Louvre.
这就是那位画家
And this is the painter,
让·巴蒂斯·西美翁·夏尔丹
Jean-Baptiste Simeon Chardin.
他在76岁时创作了这幅粉蜡笔画
Chardin did this pastel drawing of himself when he was 76,
年迈体弱导致他无法进行油画创作
and the infirmity of old age had stopped him painting in oils.
就静物画而言
In his still lives,
相比鲁本斯 他的画作规模较小
Chardin was painting on a much smaller scale than a Rubens.
夏尔丹的画作
And the canvases of Chardin
看起来非常简单
have an apparent simplicity about them.
但这些画作并不简单
But this art is not simplistic,
在这些画中 小才为美
and in these paintings small, not big, is beautiful.
狄德罗在夏尔丹的作品中发现了奇妙的力量
The work of Chardin mesmerised Diderot
从而被其吸引
who saw something magical at work.
夏尔丹 你的调色板上所融合的
“Oh, Chardin, it’s not white, red and black”
并不是白 红 黑这三种颜色
“That you are mixing on your palette,”
而是万物的根本
“It’s the very substance of objects.”
这就是空气和光芒
“It’s the very air and light”
而你将其置于笔尖
“that you put on the tip of your brush,”
涂于画布之上
“And place on the canvas.”
我与玛丽·卡特琳·萨于管♥理♥员♥
I talked to curator Marie Catherine Sahut
探讨了夏尔丹
about Chardin
以及他对狄德罗的启示
and what he taught Diderot.
夏尔丹致力于将无生命的
All Chardin’s efforts went into the magic
日常物体变成精美的艺术品
of turning inanimate everyday objects into beautiful artwork.
至于狄德罗 我认为
And for Diderot, I think,
他全心致力于走入夏尔丹的画作
it was all about entering into the paintings
以及精神世界中
and the mind-set of Chardin,
从而寻找画作魔力无穷的原因
and trying to find out what it was that made it so magical.
狄德罗多次用过”魔力”一词
The word “Magic” Is, in fact, used a number of times by Diderot,
而夏尔丹引导他走近画作
and Chardin taught him to go right up to a painting,
当你走近一幅画作时
that, when you get up close to a painting,
它就不再有任何意义
it ceases to have any significant meaning.
而只是一条条油彩
It becomes just streaks of paint.
而渐渐地 当你远离它时
And then gradually, as you move away from it,