導(dǎo)讀：佛羅倫薩曾一度是撐起新世界的頂梁柱，也象征著那場智慧與藝術(shù)的運動，即后來為人們所熟知的“文藝復(fù)興”。

Springtime of the Renaissance

文藝復(fù)興的春天

At the dawn of magnificence

壯麗的黎明

A new exhibition celebrates the masters of the early 15th century

新展會紀(jì)念15世紀(jì)早期大師

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。上月的選舉獲勝的都是些“小丑”；經(jīng)濟(jì)陷入困境；新教皇正讀著從前任繼承來的羅馬天主教堂不愉快的調(diào)查結(jié)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，對于佛羅倫薩的參觀者而言，這座1936年由布魯內(nèi)萊斯基·菲利波建造的教堂，正如與他同期的評論家所說，其穹頂“直入云天，投影足以籠罩所有塔斯卡納人” 。

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.

布魯內(nèi)萊斯基（Brunelleschi）建造的穹頂提醒著世人，佛羅倫薩曾一度是撐起新世界的頂梁柱；也象征著那場智慧與藝術(shù)的運動，即后來為人們所熟知的“文藝復(fù)興”。很多人認(rèn)為“文藝復(fù)興”就誕生于此。

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，新的展覽會著力于這一重要時期，探尋了佛羅倫薩共和國的小精英圈如何打破中世紀(jì)的思想堡壘，從而重拾古代的知識文化。 他們掀起了一波學(xué)習(xí)與創(chuàng)造的浪潮，內(nèi)容遍及政治，藝術(shù)，建筑，文學(xué)和哲學(xué)領(lǐng)域，這次浪潮已經(jīng)變成了“復(fù)興”的代名詞。

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.

這場運動把人置于宇宙的中心，而不是神。自然成了藝術(shù)家們創(chuàng)作中最合適的選材，而不再是天堂。對于這場轉(zhuǎn)變的前因后果，人們的爭論從來沒有停止過。不過這次展會的管理者們認(rèn)為，文藝復(fù)興真正誕生于雕塑，而非繪畫。

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.

他們表示，這場美的革命首先在布魯內(nèi)萊斯基和他的同事洛倫佐·季培爾底（Lorenzo Ghiberti）分別制作的兩張青銅浮雕板上得到體現(xiàn)。那是在1401年舉辦的一次比賽上，他們要為大教堂附近的洗禮堂制造一組新銅門。

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.

兩位藝術(shù)家都從亞伯拉罕獻(xiàn)以撒的故事取材，雕刻了一幅幅栩栩如生的人間戲劇。盡管是季培爾底最終贏得了比賽，但兩個藝術(shù)家都將服飾與布景所體現(xiàn)的哥特式的優(yōu)雅與現(xiàn)實中塑造的人物相結(jié)合，有明顯借鑒古典雕塑的痕跡。

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.

佛羅倫薩主要的雕塑博物館——巴杰羅美術(shù)館與巴黎盧浮宮合辦的這次展出，共收集展出了137件物件，物件來自整個歐美兩洲的博物館和私人收藏。

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獲得了批準(zhǔn)。因此，文藝復(fù)興這張“拼圖”中，幾乎所有的偉大杰作都會聚于此。

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.

前幾間屋子陳列的是羅馬雕塑的典范作品。這些作品為擺放在它們旁邊那些具有創(chuàng)新精神的文藝復(fù)興作品提供了靈感。曾經(jīng)豎立在比薩大教堂門外的一只華美的羅馬花瓶，被稱為“Talento Crater”，激發(fā)了13世紀(jì)的雕刻大師、文藝復(fù)興重要的先驅(qū)人物——尼可拉·喬凡尼（Nicola Pisano）的靈感。

Roman portrait-busts have been placed nearby, alongside the monumental statues of prophets and saints that they influenced.

花瓶附近放著一座座羅馬半身像，半身像旁邊是先知和圣賢的紀(jì)念性雕塑，風(fēng)格上受到它們的影響。

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.

展出中最重要的藝術(shù)家是多納泰羅（Donatello）。他從季培爾底和布魯內(nèi)萊斯基的助手做起，開始了藝術(shù)生涯。在他的展區(qū)內(nèi)亮相的是一些最精美的雕塑。如1425年描繪圣路易斯·圖盧茲的中空青銅雕塑，人們還專門為此次展會將其修繕。

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.

這場展覽使參觀者直觀地追溯了多納泰羅對他同時代人的決定性影響，這些人當(dāng)中還包括他的長期合作伙伴——米凱洛左（Michelozzo），米凱洛左在這里展出的代表作是兩個用大理石刻的天使，它們是從倫敦維多利亞和阿爾伯特博物館運來的。

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.

這次展覽同時指出了雕塑作品中率先表達(dá)出的思想是怎樣成為繪畫作品中的催化劑，促成了有關(guān)真與美的新思想。一個例子是多納泰羅在雕面很淺的情況下使用精巧細(xì)膩的平雕法，這種手法在1417年《圣喬治殺死毒龍》浮雕中的一個場景首次亮相。

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.

同一時期的畫家——馬薩丘（Masaccio）、利比（Filippo Lippi）、烏切洛（Paolo Uccello）、卡斯塔尼奧（Andrea del Castagno）迅速抓住了這一發(fā)展，想要在平的帆布和木材上通過創(chuàng)造有說服力的三維空間來效法雕塑體現(xiàn)出的生動性。

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.

斯特羅奇宮采用的主題法增強(qiáng)了雕塑對佛羅倫薩文藝復(fù)興所做貢獻(xiàn)的重要性。其成果沒有展示得面面俱到，而是有選擇性的加以體現(xiàn)。

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.

有一個房間展現(xiàn)出羅馬時期的丘比特造型經(jīng)過多納泰羅的轉(zhuǎn)變，擁有了孩子般的可愛特質(zhì)，探尋了這種轉(zhuǎn)型是如何體現(xiàn)人們做出的一致努力，使羅馬時期的想象和基督徒的理想相協(xié)調(diào)；有一些作品是多納泰羅對古典騎馬肖像的重塑；還有一整間屋子全部擺放著圣母和圣嬰的油畫及雕塑。

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.

這些作品支持了一種觀點，那就是，文藝復(fù)興運動中人們對復(fù)古的狂熱并沒有以基督徒的虔誠信仰為代價，同時證明了美的新事物傳播速度之快。

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.

這次展會還展示出，雕塑是如何沿著佛羅倫薩的政治轉(zhuǎn)型而轉(zhuǎn)變的。佛羅倫薩從公民的共和制國家演變成一個越來越被顯赫貴族——如美第奇（Medici）和斯特羅奇（Strozzi）大家族——控制的國家。多納泰羅早期的紀(jì)念雕塑是因受到行會或教堂委托而創(chuàng)作的。

The later portrait-busts of Florentine worthies in Roman garb by Mino da Fiesole reflect a new world of magnificent private patronage.

后來由米諾·達(dá) ·費薩爾創(chuàng)作的、身穿羅馬服裝的佛羅倫薩知名人士的半身像反映了一個壯觀的靠私人贊助塑像的新時代。

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.

斯特羅奇宮優(yōu)美的幾何圖形可以從朱利亞諾·達(dá)·圣加洛（Giuliano da Sangallo）1489年的木制模型中找到答案。這一模型放在了展出的末尾處。與這里舉辦的每一次展會一樣，我們希望離開的游客走進(jìn)這座城市的各個角落，在其它地方尋找到文藝復(fù)興的蹤跡——在其它博物館里，在教堂中，或者就在布魯內(nèi)萊斯基設(shè)計的穹頂下。

“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

“文藝復(fù)興的春天：佛羅倫薩的雕塑與藝術(shù)，1400-1600”展覽會在佛羅倫薩的斯特羅奇宮舉辦，展出直到8月18日，之后轉(zhuǎn)移到巴黎盧浮宮，展期為9月23日到2014年1月6日。

【日積月累】

bequeath v.遺贈

fulcrum n.支點

carapace n.甲殼

byword n.諺語

curator n.監(jiān)護(hù)人