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导读：佛罗伦萨曾一度是撑起新世界的顶梁柱，也象征着那场智慧与艺术的运动，即后来为人们所熟知的“文艺复兴”。 Springtime of the Renaissance 文艺复兴的春天 At the dawn of magnificence 壮丽的黎明 A new exhibition celebrates the masters of the early 15th century 新展会纪念15世纪早期大师 Mar 30th 2013 | FLORENCE |From the print edition ITALY’S self-esteem is at a low ebb. Last month’s election was won by clowns. The Italian economy is struggling and the new pope is reading the results of an unhappy inquiry into the Roman Catholic church bequeathed to him by his predecessor. 意大利的自尊心正值低谷。上月的选举获胜的都是些“小丑”；经济陷入困境；新教皇正读着从前任继承来的罗马天主教堂不愉快的调查结果。 But for visitors to Florence, the dome that Filippo Brunelleschi built in 1436 rises “above the skies, ample to cover with its shadow all the Tuscan people”, according to a contemporary commentator. 然而，对于佛罗伦萨的参观者而言，这座1936年由布鲁内莱斯基·菲利波建造的教堂，正如与他同期的评论家所说，其穹顶“直入云天，投影足以笼罩所有塔斯卡纳人” 。 Brunelleschi’s dome is a reminder that Florence was once the fulcrum of a new world. It also symbolises the intellectual and artistic movement that came to be known as the Renaissance, which many argue had its birth here. 布鲁内莱斯基（Brunelleschi）建造的穹顶提醒着世人，佛罗伦萨曾一度是撑起新世界的顶梁柱；也象征着那场智慧与艺术的运动，即后来为人们所熟知的“文艺复兴”。很多人认为“文艺复兴”就诞生于此。 A new exhibition devoted to this pivotal moment explores how a small group of remarkable men in Republican Florence broke through the carapace of medieval thought to rediscover ancient learning. They unleashed a wave of study and creativity that spread across politics, art, architecture, literature and philosophy, and has become a byword for renewal. 于是，新的展览会着力于这一重要时期，探寻了佛罗伦萨共和国的小精英圈如何打破中世纪的思想堡垒，从而重拾古代的知识文化。 他们掀起了一波学习与创造的浪潮，内容遍及政治，艺术，建筑，文学和哲学领域，这次浪潮已经变成了“复兴”的代名词。 The movement placed man, rather than God, at the centre of the universe. Nature, more than heaven, was to be the proper subject for an artist. The causes and consequences of this shift have been endlessly debated. But the curators of this show argue that it was in sculpture, not painting, that the Renaissance was really born. 这场运动把人置于宇宙的中心，而不是神。自然成了艺术家们创作中最合适的选材，而不再是天堂。对于这场转变的前因后果，人们的争论从来没有停止过。不过这次展会的管理者们认为，文艺复兴真正诞生于雕塑，而非绘画。 They suggest that this aesthetic revolution first showed itself in two bronze relief panels made by Brunelleschi and his compatriot, Lorenzo Ghiberti, in 1401 in a competition to create a set of new bronze doors for the cathedral’s neighbouring baptistery. 他们表示，这场美的革命首先在布鲁内莱斯基和他的同事洛伦佐·季培尔底（Lorenzo Ghiberti）分别制作的两张青铜浮雕板上得到体现。那是在1401年举办的一次比赛上，他们要为大教堂附近的洗礼堂制造一组新铜门。 Both artists sculpted scenes of vivid human drama drawn from the story of Abraham’s sacrifice of his son, Isaac (pictured). Although Ghiberti eventually won the competition, both artists combined a Gothic elegance of costume and scenery with realistically modelled figures that owe a visible debt to classical sculpture. 两位艺术家都从亚伯拉罕献以撒的故事取材，雕刻了一幅幅栩栩如生的人间戏剧。尽管是季培尔底最终赢得了比赛，但两个艺术家都将服饰与布景所体现的哥特式的优雅与现实中塑造的人物相结合，有明显借鉴古典雕塑的痕迹。 A collaboration between the National Museum of the Bargello, the main sculpture museum in Florence, and the Louvre in Paris, the exhibition has brought together 137 objects, from museums and private collections all over Europe and America. 佛罗伦萨主要的雕塑博物馆——巴杰罗美术馆与巴黎卢浮宫合办的这次展出，共收集展出了137件物件，物件来自整个欧美两洲的博物馆和私人收藏。 Most of the curators’ requests were granted, with the result that almost all the great pieces of this Renaissance jigsaw are here. 管理者的大部分要求都获得了批准。因此，文艺复兴这张“拼图”中，几乎所有的伟大杰作都会聚于此。 The first few rooms contain examples of the Roman sculptures that provided the stimulus for the innovative Renaissance pieces placed beside them. The magnificent Roman vase known as the Talento Crater, which once stood outside Pisa cathedral, inspired Nicola Pisano, a 13th-century master sculptor who was an important precursor to the Renaissance. 前几间屋子陈列的是罗马雕塑的典范作品。这些作品为摆放在它们旁边那些具有创新精神的文艺复兴作品提供了灵感。曾经竖立在比萨大教堂门外的一只华美的罗马花瓶，被称为“Talento Crater”，激发了13世纪的雕刻大师、文艺复兴重要的先驱人物——尼可拉·乔凡尼（Nicola Pisano）的灵感。 Roman portrait-busts have been placed nearby, alongside the monumental statues of prophets and saints that they influenced. 花瓶附近放着一座座罗马半身像，半身像旁边是先知和圣贤的纪念性雕塑，风格上受到它们的影响。 The most important artist exhibited here is Donatello, who started out as an assistant to Ghiberti and Brunelleschi. Brought together, on his home ground, are some of Donatello’s finest sculptures, such as the 1425 hollow bronze statue of St Louis of Toulouse, which has been restored specially for this exhibition. 展出中最重要的艺术家是多纳泰罗（Donatello）。他从季培尔底和布鲁内莱斯基的助手做起，开始了艺术生涯。在他的展区内亮相的是一些最精美的雕塑。如1425年描绘圣路易斯·图卢兹的中空青铜雕塑，人们还专门为此次展会将其修缮。 The show enables the visitor to trace directly Donatello’s decisive impact on his contemporaries, including, among others, his longtime collaborator Michelozzo, whose work is represented here by two marble angels from London’s Victoria and Albert Museum. 这场展览使参观者直观地追溯了多纳泰罗对他同时代人的决定性影响，这些人当中还包括他的长期合作伙伴——米凯洛左（Michelozzo），米凯洛左在这里展出的代表作是两个用大理石刻的天使，它们是从伦敦维多利亚和阿尔伯特博物馆运来的。 The exhibition also points out how ideas expressed first in sculpture became the catalyst for new ideas about beauty and truth in painting. One example is Donatello’s delicate use of precise central-point perspective when carving in very shallow relief, which was first seen in 1417, in a scene of St George fighting the dragon. 这次展览同时指出了雕塑作品中率先表达出的思想是怎样成为绘画作品中的催化剂，促成了有关真与美的新思想。一个例子是多纳泰罗在雕面很浅的情况下使用精巧细腻的平雕法，这种手法在1417年《圣乔治杀死毒龙》浮雕中的一个场景首次亮相。 This development was immediately seized on by the painters of the day—Masaccio, Filippo Lippi, Paolo Uccello and Andrea del Castagno—who wanted to emulate the liveliness of sculpture by creating convincing three-dimensional space on flat canvas and wood. 同一时期的画家——马萨丘（Masaccio）、利比（Filippo Lippi）、乌切洛（Paolo Uccello）、卡斯塔尼奥（Andrea del Castagno）迅速抓住了这一发展，想要在平的帆布和木材上通过创造有说服力的三维空间来效法雕塑体现出的生动性。 The Strozzi’s thematic approach reinforces the importance of the contribution that sculpture made to the Florentine Renaissance. The result is a selective rather than exhaustive presentation. 斯特罗奇宫采用的主题法增强了雕塑对佛罗伦萨文艺复兴所做贡献的重要性。其成果没有展示得面面俱到，而是有选择性的加以体现。 One room explores how the transformation of Roman putti into Donatello’s charming childlike spirits represents a concerted effort to reconcile Roman imagery with Christian ideals. Another looks at Donatello’s reinvention of the classical equestrian portrait. A whole room is devoted to paintings and sculptures of the Madonna and child. 有一个房间展现出罗马时期的丘比特造型经过多纳泰罗的转变，拥有了孩子般的可爱特质，探寻了这种转型是如何体现人们做出的一致努力，使罗马时期的想象和基督徒的理想相协调；有一些作品是多纳泰罗对古典骑马肖像的重塑；还有一整间屋子全部摆放着圣母和圣婴的油画及雕塑。 The pieces reinforce the idea that the Renaissance’s love affair with antiquity was not at the expense of Christian piety, proving at the same time just how quickly new ideals of beauty could spread. 这些作品支持了一种观点，那就是，文艺复兴运动中人们对复古的狂热并没有以基督徒的虔诚信仰为代价，同时证明了美的新事物传播速度之快。 The exhibition also shows sculpture following Florence’s political shift from a citizens’ republic to a state that was controlled more and more by powerful families like the Medici and the Strozzi. Donatello’s early monumental sculptures were commissioned by guilds or the church. 这次展会还展示出，雕塑是如何沿着佛罗伦萨的政治转型而转变的。佛罗伦萨从公民的共和制国家演变成一个越来越被显赫贵族——如美第奇（Medici）和斯特罗奇（Strozzi）大家族——控制的国家。多纳泰罗早期的纪念雕塑是因受到行会或教堂委托而创作的。 The later portrait-busts of Florentine worthies in Roman garb by Mino da Fiesole reflect a new world of magnificent private patronage. 后来由米诺·达 ·费萨尔创作的、身穿罗马服装的佛罗伦萨知名人士的半身像反映了一个壮观的靠私人赞助塑像的新时代。 The elegant geometries of the Strozzi palace are illustrated by Giuliano da Sangallo’s wooden model of 1489, placed at the end of the show. As with every exhibition here, departing visitors are expected to spill into the city and seek out the Renaissance elsewhere—in other museums and churches, and under Brunelleschi’s dome itself. 斯特罗奇宫优美的几何图形可以从朱利亚诺·达·圣加洛（Giuliano da Sangallo）1489年的木制模型中找到答案。这一模型放在了展出的末尾处。与这里举办的每一次展会一样，我们希望离开的游客走进这座城市的各个角落，在其它地方寻找到文艺复兴的踪迹——在其它博物馆里，在教堂中，或者就在布鲁内莱斯基设计的穹顶下。 “The Springtime of the Renaissance: Sculpture and the Arts in Florence, 1400-1460” is at Palazzo Strozzi in Florence until August 18th before moving to the Louvre in Paris from September 23rd until January 6th 2014 “文艺复兴的春天：佛罗伦萨的雕塑与艺术，1400-1600”展览会在佛罗伦萨的斯特罗奇宫举办，展出直到8月18日，之后转移到巴黎卢浮宫，展期为9月23日到2014年1月6日。 【日积月累】 bequeath v.遗赠 fulcrum n.支点 carapace n.甲壳 byword n.谚语 curator n.监护人 |
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