10万年“另类”艺术史

发布于 2022-04-29 · 时长 1:00:59

字幕摘录

时间	英文	中文
0:04	Alright, welcome everybody.	好吧,欢迎大家。
0:06	Thank you for joining us.	谢谢你加入我们。
0:07	My name is Devin Lau and I'm the assistant director for Yale Center Beijing.	我叫刘德文,我是耶鲁中心北京的助理主任.
0:12	We are very excited to have everybody join us today.	我们今天非常激动地邀请大家参加。
0:16	For those of you guys that are new here Yale Center Beijing has been around for quite some years now.	对于你们这些新人来说,耶鲁中心北京已经在这里呆了好几年了。
0:23	We were established in 2014 and of course pre pandemic.	我们成立于2014年,当然是在大流行病前。
0:27	We had lots of live talks in in the center of the business district of Beijing, but ever since the pandemic we shifted on to zoom.	我们在北京商业区中心进行了许多现场谈话, 但自从这场大流行之后,我们转向放大。
0:36	And as I was just talking with our speaker today for the better in some cases because many of you would not have been able to join us otherwise so special welcome to all of you that are joining us for the first time.	正当我今天同我们的发言者交谈时,有时情况会好一些,因为你们中许多人本来无法加入我们的行列,否则就特别欢迎第一次加入我们的各位。
0:49	We love to host talks featuring, you know professors as well as thought leaders from around the world.	我们喜欢主持以教授和世界思想领袖为主的演讲。
0:56	And we've joined with Yale University Press to feature some of their newest books.	我们和耶鲁大学出版社一起专门出版了一些最新的书籍

展开字幕全文（508 条）

序号	英文	中文
1	Alright, welcome everybody.	好吧,欢迎大家。
2	Thank you for joining us.	谢谢你加入我们。
3	My name is Devin Lau and I'm the assistant director for Yale Center Beijing.	我叫刘德文,我是耶鲁中心北京的助理主任.
4	We are very excited to have everybody join us today.	我们今天非常激动地邀请大家参加。
5	For those of you guys that are new here Yale Center Beijing has been around for quite some years now.	对于你们这些新人来说,耶鲁中心北京已经在这里呆了好几年了。
6	We were established in 2014 and of course pre pandemic.	我们成立于2014年,当然是在大流行病前。
7	We had lots of live talks in in the center of the business district of Beijing, but ever since the pandemic we shifted on to zoom.	我们在北京商业区中心进行了许多现场谈话, 但自从这场大流行之后,我们转向放大。
8	And as I was just talking with our speaker today for the better in some cases because many of you would not have been able to join us otherwise so special welcome to all of you that are joining us for the first time.	正当我今天同我们的发言者交谈时,有时情况会好一些,因为你们中许多人本来无法加入我们的行列,否则就特别欢迎第一次加入我们的各位。
9	We love to host talks featuring, you know professors as well as thought leaders from around the world.	我们喜欢主持以教授和世界思想领袖为主的演讲。
10	And we've joined with Yale University Press to feature some of their newest books.	我们和耶鲁大学出版社一起专门出版了一些最新的书籍
11	And so today, the speaker will be sharing from her newest book from Yale University Press, a little history of art, which is a wonderful read for those of you guys that are interested, and she'll be focusing on some of the works that she discusses	因此,今天,演讲者将分享她从耶鲁大学出版社的最新著作, 一点点的艺术史, 这是一个美妙的读物给你们中那些有兴趣的人,
12	in her book today, and hopefully after today's talk you guys will be ready to commit to buying the book.	在她今天的书里, 希望今天的谈话之后你们将会准备好承诺购买这本书。
13	Let me give you a quick introduction to our speaker, Charlotte Mullins, she is an art critic writer and broadcaster, as well as the newly appointed art critic for country life.	让我简要地向大家介绍一下我们的演讲者夏洛特·穆林斯,她是一个艺术评论家作家和广播员,也是新任命的乡村生活艺术评论家.
14	She's worked as the artist editor of the independent on Sunday the editor of art review, the VNA magazine, as well as the article early.	她周日担任独立派的艺术家编辑,艺术评论,VNA杂志的编辑,以及早期的文章.
15	She is a regular contributor to BBC radio, and she studied at the Cortland Institute of Art and Southeast Institute in London, as well as the University of Sussex.	她是英国广播公司电台的固定撰稿人,她在伦敦的科特兰艺术研究所和东南研究所以及萨塞克斯大学学习.
16	She's written over 10 books, two of which are our books for children, and she published under the pen name Charlie Ayers.	她写了十多本书,其中两本是我们的儿童书籍,她用笔名Charlie Ayers出版.
17	So quite a broad resume there and very fun as well.	因此,一个相当广泛的恢复那里,并且非常有趣。
18	So I'm excited to hear from her today.	所以今天我很高兴听到她的消息
19	Before we begin a quick housekeeping note for those of you guys that are able to, we would ask that you please turn on your webcams.	在我们开始一个简短的户口记录之前, 你们这些可以的人, 我们会要求你打开你的网络摄像头。
20	Of course, you know in the time of zoom I think we're all used to talking to a computer screen, but it's always nice to be talking to at least some faces instead of just a screen of random names, so please, for the sake of the speaker to make her feel mor	当然,你知道,在缩放的时候我想我们都习惯于和电脑屏幕说话, 但是,它总是很好与至少一些面孔说话而不是仅仅是一个屏幕随机的名字,所以请,为了发言者让她感觉更多
21	welcome, please turn on your webcams if you're able to.	欢迎,请打开你的摄像头如果你能。
22	And so with that, I will turn it over to our speaker today.	因此,今天我将把它交给我们的发言者。
23	Thank you very much, Devin.	非常感谢,德文
24	Hello everybody, my name is Charlotte Mullins.	大家好,我叫夏洛特·穆林斯
25	I'm going to talk to you today about some alternative histories of art so Devin's very kindly introduced my book.	我今天要和你们谈谈一些艺术的另类历史德文非常客气地介绍了我的书
26	And although the book is called A Little History of Art, what I've tried to do is expand that idea of art and produce something more up to date that shows there are lots of different ways to look at art.	虽然这本书叫做"艺术的小历史",但我努力的就是扩展这种艺术思想,并产生一些更最新的东西,表明有许多不同的方法来看待艺术.
27	I'm going to share my screen to show you some slides.	我要分享我的屏幕给你看一些幻灯片。
28	Don't panic, the first screen is black, and there's a reason for that.	别惊慌,第一屏为黑色,有其原因.
29	So I'm going to share it, and then I'll explain.	所以我要分享它,然后我会解释。
30	So the reason for giving the first slide as black is so I'm going to read you a little bit from the very introduction of the book, and I just want you to try and imagine yourself there where the scene of the action is.	所以第一张幻灯片是黑的, 所以我要从这本书的介绍中略读一下你, 我只是想你试着想象一下自己在那里的动作场景。
31	I want you to imagine you're in a long winding passageway deep within a cave system in southern France.	我要你想象你在法国南部的洞穴系统深处的一条漫长的通道里
32	It's 17,000 years ago.	一万七千岁.
33	In front of you, a person holds a burning torch, and you follow behind, glancing at the engravings of bison and reindeer carved into the walls.	在你面前,一个人拿着一把燃烧的火炬, 你跟着后面, 闪闪闪闪地闪闪地闪烁着野牛和驯鹿雕刻在墙上。
34	Together you head to the furthest point in the cave system, over half a kilometer from the entrance there balancing on your heels so your feet don't get stuck in the mud, you squat down and cut a clay slab from the damp floor.	一起走到洞穴系统中最远的地方, 离入口半千米多的地方, 在你的脚跟上保持平衡, 这样你的脚就不会被卡在泥土里, 你蹲下,从潮湿的地板上切一个粘土板。
35	Slowly, you help transform the soft material into two sculptures, two bison, each the length of an arm.	慢慢地,你帮助将软材料转化为两个雕塑,两个野牛,每个手臂的长度.
36	The bison follow the contours of the rock but stand proud of the surface, the male rearing up behind the female.	野牛跟随岩石的轮廓却以表面为荣雄鸟在雌鸟后面长大
37	They seem to come to life before your eyes, their mane standing up on their necks, their tails twitching in the flickering torchlight.	他们似乎在你的眼前复活他们的胸罩站在脖子上尾巴在闪烁的火炬中颤抖
38	We don't know who made these bison and we don't know why.	我们不知道是谁做的野牛我们也不知道为什么
39	Two sets of heel prints in the clay floor tell us there were two artists.	粘土地板上的两组脚跟指纹告诉我们有两位艺术家。
40	One was a teenager and the other a mature adult.	一个是青少年,另一个是成熟的成年人。
41	Were these bison created as a rite of passageway, a rite of passage to adulthood, or were they part of fertility ritual?	这些野牛是作为过路仪式, 成年仪式, 还是生育仪式的一部分?
42	What we do know is that these bison are early examples of art's power, its magic.	我们知道这些野牛是早期艺术的力量和魔法的例子。
43	Since prehistoric times, artists helped us express ourselves and navigate our place in the world.	自史前时代以来,艺术家们帮助我们表达自己,导航我们在世界中的地位.
44	It has this incredible power to speak to our emotions directly, to speak to us beyond words.	它拥有这种不可思议的力量,可以直接与我们的情绪交谈,与我们交谈,超越语言.
45	Art has been made for thousands of years and is far older than writing.	艺术创作已有数千年历史,远比写作要老.
46	It was one of the earliest forms with which to communicate beyond the everyday, a way of considering ideas bigger than us.	这是超越日常交流的最早形式之一,是考虑比我们更大的思想的一种方式。
47	It's been made in every country, by every ethnicity and by every gender, although it hasn't always seen this way in the history books.	虽然在史书中并不总是这样看待,但是在每一个国家,每个民族和每个性别中都是这样做的.
48	So you can see My Little History of Art on top of three earlier examples, slightly larger ones.	因此,你可以看到我的艺术小史在前三个例子之上, 稍大一些。
49	And despite these signs, their size, these earlier books on art history often ignored whole areas of art.	而尽管有这些标志,其规模,这些早期的艺术史书籍往往忽略了整个艺术领域.
50	For example, Gombrich's Story of Art only famously had one woman artist in the entire book.	例如,贡布里希的"艺术故事"(The Story of Art)在全书中只有一位女性艺术家出名.
51	My Little History of Art by comparison has big ambitions.	相较而言,我的艺术小史有巨大的野心.
52	It explores the contradictory, complex, fizzing centers of art across the world and through time.	它探索了世界和时间中相互矛盾,复杂,飞扬的艺术中心.
53	It shows that art has always been a network that stretches beyond borders, generations, class and gender.	它表明,艺术始终是一个跨越国界、世代、阶级和性别的网络。
54	And it shines a light, I hope, on forgotten or overlooked artists and celebrates art in all its forms.	我希望它能照亮被遗忘或被忽略的艺术家颂扬各种形式的艺术
55	So I'm going to try and give you a flavor of this today and where more fitting to begin than in ancient China.	所以我今天想给你一个味道, 以及比中国古代更适合开始的地方。
56	So each chapter in the book is accompanied by a lino cut print by British illustrator Matt Pringle.	因此书中的每一章都附有英国插画家马特·普林格(Matt Pringle)的利诺剪印.
57	And each chapter in the book takes you back in time to the very spot where art is made.	书中的每一章都会让你回到艺术创作的地方。
58	I want to give you a sense of these chapter openers.	我想给你一个开篇感
59	So we're going to join Emperor Qin's workforce over 2000 years ago.	所以我们要加入秦始皇2000多年前的劳动力队伍.
60	I'm just going to read a short extract from the book.	我只是要读一本书的短篇摘录。
61	The year is 210 BCE and the ruthless Chinese Emperor Qin has just died.	这一年是BCE210,无情的中国皇帝秦国刚刚去世.
62	An army has amassed to guide him to the afterlife and thousands now stand in ordered ranks.	一支军队集结起来,引导他走向来世,现在有数千人排成一队。
63	There are archers and officers, infantry and cavalry, all facing the land Qin conquered as he united the whole of China under his banner.	有弓箭手和军官,步兵和骑兵,都面对着秦国征服的土地,因为秦国将整个中国统一在他的旗帜下.
64	The Imperial Guard stands four abreast in ten seemingly endless columns, spears in hand to guard against attack.	帝国卫队在10个看似无尽的纵队中站在4个位置上手持长矛来防范攻击
65	This army never sleeps for these are no ordinary soldiers, but life size painted replicas made from terracotta or clay.	这支军队从不为这些普通士兵而睡觉,但生命大小是用陶瓷或粘土制作的复制品。
66	They are part of a vast mausoleum that the Emperor first ordered to be built when he took power as a regional king of the state of Qin, age just 13.	它们是大陵的一部分,皇帝在夺取秦国地区王权时,刚13岁就下令修建大陵.
67	Thirty six years later, the army now guards a replica of Qin's capital city that includes his palace where his body has been laid to rest.	三十六年后,军队现在看守着秦始皇城的复制品,其中包括他的宫殿,他的身体被安放在那里休息.
68	Passageways connect the entombed palace to the rest of the duplicate city, which stretches for miles.	通道连接通宝宫与复式城市的其余部分,后者绵延数英里.
69	Bronze chariots are parked in pits with bronze horses in full harness and a coachman ever ready to drive the dead Emperor around.	青铜战车停在坑里满身是青铜马还有一个教练可以驾车绕过死去的皇帝
70	Terracotta musicians and acrobats are on hand for entertainment.	Terracotta音乐家和杂技演员在现场进行娱乐.
71	Replicas of Qin's courtiers and employees mill about, ready to offer service.	复制了秦国的侍从和员工磨坊,准备提供服务.
72	Clay geese and swans swim on an underground lake so the Emperor will never run out of food.	克莱鹅和天鹅在地下湖上游泳,这样皇帝的食物就永远不会用完.
73	This terracotta army was only rediscovered in 1974.	这支德雷科塔军队直到1974年才被重新发现.
74	They think now a thousand people, over a thousand people made these figures.	他们认为现在有一千人, 一千多人创造了这些数字。
75	They use centralized materials so the figures had the same consistency and they cast the same body parts but put them together differently.	他们使用集中的材料,所以数字具有相同的一致性,并投出相同的身体部位,但把它们组合在一起的方式不同.
76	So in the two, the example we have on the right, you can see that although their bodies are similar, their faces and their top knots are very different.	因此,在两个例子中,我们右侧的例子,你可以看到,虽然它们的身体相似,但它们的面部和顶部结非常不同.
77	These figures were then painted so they look, they would look as lifelike as possible.	这些数字被画出来,让他们看起来像生活一样。
78	So they wouldn't look all like the same cast figure but would actually look like people guarding the Emperor.	所以他们看起来并不像是同一个铸造师但实际上看起来像是看守皇帝的人
79	Qin had united China for the first time but this new country had already started to trade with others using early trade routes.	秦国第一次统一了中国,但这个新国家已经开始利用早期的贸易路线与其他国家进行贸易.
80	And ideas and supply moved both ways along this route.	想法和供给都沿着这条路移动。
81	This route we of course now know as the Silk Road.	我们当然知道这条路线是丝绸之路。
82	If we just look at the path on the right from India up to China, that's the route I'm going to talk about briefly now.	如果我们看看从印度到中国的右边的路径, 这就是我现在要简短谈论的路线。
83	Indian Buddhism spread along this route.	印度佛教沿着这条路线传播.
84	Temples were built at various way stations along the way.	沿途各车站均建有寺庙.
85	And Buddhist monasteries and halls for worship were hewn out to the cliffs.	而佛教寺院和供礼拜的堂堂则被绞到悬崖上.
86	So first I'm going to show you an example from India.	首先我要给你们展示一个来自印度的例子。
87	So you can see around the half kilometer river, the Ajanta Caves just northeast of Mumbai have been cut literally into the side of the rock.	在半公里长的河边, 孟买东北部的阿让塔洞穴被切入岩石的边缘。
88	I mean, imagine how long that must have taken.	我的意思是,想象这需要多长时间。
89	And in all these temples, they would be filled with sculpture and painting.	在所有这些寺庙里,它们会充满雕塑和绘画.
90	We see a small example on the right from Cave 17, which is the best preserved.	我们看到17号洞右侧的一个小例子,这是保存最好的.
91	And you can see a procession in place with elephants and horses.	亦可见有象与马俱现游行.
92	These were scenes from the Jataka, the popular stories of Buddha's former lives.	这些是来自贾塔卡的场景,佛陀前世的流行故事.
93	By the time this cave was finished in the fifth century CE, Buddhism had spread to China.	到了5世纪CE完成这个洞穴时,佛教已经传到了中国.
94	And I'm sure you all know the most famous example in China at the Mogao Cave complex at Dunhuang, a city on the Silk Road.	我相信你们都知道中国最有名的例子是位于丝绸之路上的城市敦焕的摩高洞建筑群
95	So just after you get through the desert from India, you would reach Dunhuang.	所以,就在你从印度穿过沙漠之后, 你会到达敦焕。
96	Here there are not 30 caves, there are 500 caves, nearly 500 caves in a one kilometer stretch of cliffs filled with Buddhist murals.	这里没有30个洞穴,有500个洞穴,近500个洞穴,在一公里长的悬崖上布满了佛教壁画.
97	Initially, the influence of the Indian caves dominated, and they also had scenes from the Jataka.	最初,印度洞穴的影响占了主导地位,他们也有来自贾塔卡人的场景.
98	But from the sixth century, we get to see new developments in Chinese painting.	但从6世纪开始,我们可以看到中国画的新发展.
99	For example, in the large picture I'm showing you, you can see the Buddha sitting in a landscape that stretches back almost like we're looking at him from above.	例如,我所展示的大图中,你可以看到佛像坐在一个地貌上,几乎像我们从上面看他一样向后伸展.
100	Writing about art in China has a long and illustrious history, but art history is a relatively new discipline in the West.	中国的艺术写作历史悠久,辉煌,但艺术史是西方比较新的学科.
101	It wasn't really formalized until the 18th century, and was built around ideas of progress and development, with classical mimesis as the ultimate goal.	它直到18世纪才真正被正式化,而是围绕进步与发展的理念而建,以古典主义的模棱两可为最终目标.
102	Art challenged this premise in the 19th century, but only in the last few decades has art history itself been scrutinized and challenged in the West.	艺术在19世纪对这个前提提出了挑战,但直到最后几十年,艺术史本身才在西方受到审查和挑战.
103	I have to admit though, it's still tricky to fit some Chinese artists into books structured in a Western way around chronology, because of the long timeframes.	不过,我不得不承认,将一些中国艺术家融入按纪年按西方方式编排的书籍中,仍然很困难,因为时间很长。
104	For example, the literati tradition, which existed for a thousand years.	例如,存在一千年的文学传统。
105	I did put literati artists in the book, but I had to choose just one example, and I chose the art couple Zhou Mengfu and Guangdao Sheng from the 13th century.	我确实在书中加入了文学艺术家,但是我只得选择一个例子,我从13世纪就选择了艺术夫妇周孟福和广道胜.
106	Zhou was an artist and court official, and he was persuaded to join the Mongol administration in 1286, the year he married Guan, who was an artist in her own right.	周世宗时为艺人兼宫廷官吏,1286年被说服加入蒙古政府,同年娶关氏为妻,关氏以自己为艺人.
107	And this is a detail from Guan's Bamboo Groves in Mist and Rain from 1308.	这是1308年"雾雨"中的关竹树林的详情.
108	I became particularly interested in her, how she enjoyed the support and patronage from men and women at court, and how she worked alongside her husband on poetry, calligraphy and paintings, the three pursuits of the literati.	我对她特别感兴趣,她是如何在法庭上得到男女的支持和赞助的,以及她如何与丈夫一起从事诗歌、书法和绘画,即文学的三项追求。
109	She's credited with inventing the tradition of painting bamboo on riverbanks, which is what we can see in the scroll in front of us.	在河岸上画竹子的传统被她发明了,这是我们在前面的卷轴上可以看到的.
110	Bamboo growing alongside the edge of a river with a swathe of what looks like low lying fog in the middle, but actually is created by just leaving that part of the scroll blank.	竹子生长在河边上, 中间有一片低沉的雾, 但实际上,它只是通过把卷轴的这一部分留下空白来创造的。
111	The scroll of course would be unrolled from the right to the left and we'd follow on this journey, this very meditative journey.	卷轴当然会从右到左不卷走, 我们会继续这个旅程, 这个非常沉思的旅程。
112	The literati would all load meaning into these delicate monochrome landscapes, and bamboo could embody a desire for endurance to bend without breaking.	竹子可以体现一种耐力的欲望不破裂地弯曲
113	So we're going to go back in time a little from Guan and then we're only going to go forwards in time.	所以我们要从关中回过头来一点,然后才及时前进.
114	We're going to go back to another ancient civilization and consider ancient Rome through a broader lens than normally is apparent.	我们要回到另一个古老的文明中去,通过比通常看起来更广阔的透镜来考虑古罗马.
115	My favorite sculpture from ancient Rome has to be the Laocoon and there are two reasons for this.	我从古罗马最爱的雕塑必须是老挝的雕塑,有两种原因.
116	I mean first just look at it.	我的意思是首先看看它。
117	This is full of energy and high drama.	充满能量和高戏剧性
118	Look at the muscle definition on the legs, the lats on the chest, the veins on his arms, and the way the face is expressing absolute torment.	看看腿部的肌肉定义,胸口的纹章,手臂上的血管,以及面部表现绝对折磨的方式.
119	I don't know if you can see but actually Laocoon the priest in the center and his twin sons are being bitten by sea snakes.	我不知道你们能不能看见但实际上Laocoon在中心和他的双胞胎儿子被海蛇咬了
120	The reason for this, Laocoon was sentenced to death by a vengeful god for trying to warn his besieged city of Troy not to accept the Greek gift of a giant wooden horse.	其原因,劳孔因试图警告其被围困的城市特洛伊不要接受巨型木马的希腊礼物而被复仇神判处死刑.
121	Laocoon unfortunately died, he was attacked, and at that time Greek soldiers poured out the belly of the horse and captured Troy and won the war.	劳孔不幸去世,他遭到袭击,当时希腊士兵倒出马的肚子,俘虏特洛伊,赢得战争.
122	This sculpture was lost for over a thousand years and only rediscovered during the Renaissance in 1506.	这座雕塑已经失传了一千多年,直到1506年文艺复兴时期才重新发现.
123	It was discovered under a vineyard in Rome and the Pope sent Michelangelo to take a look at it, immediately bought it and you can see this sculpture today in the Vatican in Rome.	它在罗马一个葡萄园下被发现,教宗派米开朗基罗去查看,立即买下了它,今天在罗马梵蒂冈可以看到这个雕塑.
124	The other reason I like it beyond it being a stunning piece of sculpture is because it gets to the nub of the difficulty when looking at Roman art.	另一个原因我喜欢它超越它是一个令人惊叹的雕塑因为它在看罗马艺术时得到了困难的微弱。
125	This is about dating.	这是关于约会。
126	Stylistically this could be from the third century BCE, but some experts believe it's 200 years later and Pliny the Elder writing in the first century CE seems to date it 100 years after that.	从风格上说,这可能是从3世纪BCE开始的,但一些专家认为这是200年后的,而Pliny the Elder在1世纪CE中写作似乎在100年后的日期.
127	So why is this?	为什么?
128	The reason is because Romans didn't differentiate between an original work of art and a copy.	原因是罗马人没有区分艺术作品的原作和复制品.
129	They wanted ancient Greek sculptures, but they weren't enough around, they weren't enough around so they had to copy them.	他们想要古希腊的雕塑,但周围的雕塑还不够,周围的雕塑也不够,所以不得不复制.
130	Rome grew from a small town to an imperial superpower with a million people living in the city, and the appetite for sculpture was voracious, so copies were made of the most famous works and shipped to Rome.	罗马从一个小镇发展成为帝国主义的超级大国,有100万人口生活在城市中,对雕塑的胃口是贪婪的,因此复制了最著名的作品,被运往罗马.
131	The works we can see here, on the left you can see the spear thrower of Polykleitos.	我们可以看到的作品, 在左边,你可以看到抛矛 Polykleitos。
132	There are 65 known copies of this, Roman copies.	这个已知的有65本,罗曼本.
133	The original was a bronze work, a Greek work from the fifth century BCE, but this is a marble Roman copy, and on the right, this would have been seen as a Roman Venus, but is a copy of the Greek Aphrodite, and there are literally thousands of these being	原作是一部青铜作品,是五世纪BCE时期的希腊作品,但这是一本大理石罗马复制品,在右侧,这本本会被视为罗马金星,但是是希腊阿佛洛狄忒的复制品,实际上在罗马发现了数千本这些.
134	Greece is all about this ideal body type, this ideal, but Romans were also interested in portraiture.	希腊完全是关于这种理想的身体类型,这种理想,但罗马人也对肖像感兴趣.
135	We don't often see women in sculptures from this period, but this is a portrait of Plancia Magna.	这个时期我们不常见到雕塑中的女性,但这是普兰西亚·马格纳的肖像.
136	Portraits were important for capturing a person's likeness, for posterity of course, and marking their importance, and Plancia Magna was the highest ranking government official, and she was a powerful figure in purge.	肖像对于捕捉一个人的相似性,对于后代来说,当然是重要的,并标出他们的重要性,普兰西亚·马格纳是政府最高层的官员,她也是清洗中一个强大的人物.
137	Perj was in Turkey, but was part of the Roman Empire, and her family were Roman citizens, so they sat in the Senate in Rome, but they were also part of the purge elite.	佩尔吉虽然在土耳其,但还是罗马帝国的一部分,她的家族是罗马公民,所以他们在罗马的参议院中任职,但他们也是清洗精英的一部分.
138	Plancia Magna paid for the city's gates in purge to be refurbished, and so this sculpture was erected in her honour, slightly larger than life size.	普兰西亚·马格纳(Plancia Magna)在清洗中支付城门进行整修,因此这个雕塑是为了她的荣誉而竖立的,略大于生命体积.
139	It shows her with a crown, a diadem on her head, and marks her as the priestess of the imperial cult.	它向她展示了一个王冠,头上的饰物,并标记她为帝国邪教的女祭司.
140	There's also an inscription around the bottom saying she was the daughter of the city, and worked for the good of the people.	底层还有铭文称她是城中之女,为民谋福利.
141	It wasn't just wealthy women who were depicted in Rome, but you could also see less powerful women remembered on tomb sculptures.	在罗马被描绘的不仅仅是富裕妇女,你也可以看到墓雕刻中被铭记的实力较弱的妇女.
142	So the quality of course is not quite as defined, but the woman on the left we can see is selling flowers and vegetables from a market stall.	所以,当然,质量并不完全如定义, 但左侧的女人,我们可以看到是卖花和蔬菜从市场摊位。
143	And the woman on the right, she's called Scribonia Attica, and she's shown in her role as a practicing midwife, actually helping someone give birth as she's dead in her tomb.	而右边的女子,叫做Scribonia Attica,她以练习助产士的角色表现出来,实际上帮助某人在坟墓里死去时分娩.
144	Western art histories often begin with sculptures from ancient Greece and Rome.	西方艺术史经常以古希腊和罗马的雕塑为开端.
145	It sort of indicates the classical pinnacle of art that Western art history is founded on.	可以说是古典艺术的顶峰西方艺术史的奠基
146	The idea that we trick the eye and make life like sculptures and paintings that look like windows onto other worlds.	我们把眼睛弄巧成拙使生活变得像雕塑和绘画看上去像窗子一样
147	But in my book I really wanted to point out there are other narratives than just the Western art history narrative, and these narratives run parallel to this version of art history.	但在我的书中,我确实想指出,除了西方艺术史的叙述之外,还有其他的叙述,这些叙述与这个艺术史的版本平行.
148	One such narrative is the history of African art.	非洲艺术史就是其中之一。
149	This work on the right is a Nock sculpture from around 2000 years ago.	这个右边的作品是2000年前左右的诺克雕塑.
150	As Chin was building his empire, the Nock culture was flourishing in West Africa, north of the Niger River in what's now Nigeria, and from the map you can see where these sculptures have been found.	当钦在建立自己的帝国时, 诺克文化在西非兴盛, 在尼日尔河以北的尼日利亚, 从地图上可以看到这些雕塑的发现地点。
151	They're hollow, they're made from terracotta, coiled ropes of clay.	它们是空心的,它们是由铁丝网制成的粘土的绳子
152	As they were drying out, the details were cut into them, so textured necklaces we can see on this example, hair braids.	当它们干涸时,细节被切入其中, 所以我们可以看到这个例子上的纹饰项链, 发辫。
153	They also had really stylized faces, so very arched eyebrows, triangular eyes, and their mouths and eyes would be drilled so the air could vent from inside when the sculpture was fired to prevent it from cracking.	他们也有非常花纹化的面孔, 所以非常拱形的眉毛,三角眼睛, 和他们的嘴和眼睛将被钻孔, 这样,当雕塑被发射时,空气就可以从内部排气,防止它破裂。
154	Some of these Nock sculptures stood at a meter tall but they only really exist now in fragments, and that's because there's a belief that these sculptures were purposefully destroyed, or at least broken, when they were used to mark a funeral,	这些诺克雕塑中有些站在一个高的米数上,但现在它们实际上只存在于碎片中,这是因为人们相信这些雕塑在用来纪念葬礼时被故意破坏,或者至少被打破了,
155	or commemorate an ancestor.	或纪念祖先。
156	The Nock left no written records, so this art I feel is doubly important because it reveals the details of these, the lives of these ancient cultures.	诺克没有留下任何书面记录, 所以我觉得这种艺术具有双重的重要性,因为它揭示了这些细节, 这些古代文化的生活。
157	In this example you can see there's a seashell on the head of this sculpture.	在这个例子中,你可以看到这个雕塑头部有一个贝壳.
158	Another one has an armlet in the shape of a pharaoh's crook, and these give indications that the Nock had a really substantial trade network that stretched from the Atlantic Ocean in the	另有一臂臂形似法老的骗子,这些迹象显示,诺克号有一个非常庞大的贸易网络,从大西洋伸展在大西洋上。
159	west to Egypt in the east.	西到东部的埃及.
160	The history of art in Africa is very rich.	非洲艺术史非常丰富.
161	1500 years later, also now in modern Nigeria, but in the state of Benin, artists preferred to work in bronze.	1500年后,现在同样在现代尼日利亚,但在贝宁州,艺术家更喜欢在青铜器中工作.
162	They'd worked this way since the 13th century and you may well know these works as the Benin bronzes today.	他们从13世纪就开始这样工作了你可能知道这些作为贝宁青铜器的作品
163	Benin artists were highly valued.	贝宁艺术家受到高度重视。
164	They had their own city guilds and lived on Egan Street, close to the King's Palace.	他们有自己的城市盾,住在靠近国王宫的伊根街.
165	They made hundreds of war plaques that hung on the pillars of the palace, the King's Palace, the King was called the Oba.	他们制造了数百块挂在宫殿柱子上的战争牌匾,国王的宫殿,国王被称为"奥巴".
166	So we'll have a look at the Oba here.	我们来看看奥巴河
167	You can just see four examples of him in this slide.	您可以在此幻灯片中看到四个他的例子。
168	I took these photographs in the British Museum, but the Benin bronzes occur all over the world at the moment.	我在大英博物馆里拍了这些照片,但贝宁青铜器目前在世界各地都出现.
169	The first thing I think you notice about the Oba, he's the central figure in these plaques, is that he's larger than everybody else.	我认为你首先注意到奥巴号, 他是这些牌匾中的核心人物, 是他比其他人都大。
170	This is to make you know that he's the most important figure there.	这是让你知道他是那里最重要的人物
171	The next thing you notice is that he's heavily armed.	接下来你注意到的是他全副武装
172	He always carries a spear or club.	他总是带着长矛或俱乐部。
173	He has leopard claws around his plaited helmet and around his neck, so this is not a man to be messed with, and quite a lot of these plaques recorded important battles.	他戴着豹爪环绕着他的披肩头盔和脖子,所以他不是一个可以乱搞的人,很多这些牌坊记录了重要的战斗.
174	They also recorded meetings, meetings between other cultures, even between the Benin people and the Portuguese.	他们还记录了其他文化之间的会议,甚至贝宁人民与葡萄牙人民之间的会议。
175	Portuguese had traveled from Europe and by 1520 had established trade links with West Africa.	葡萄牙人从欧洲旅行,到1520年与西非建立了贸易联系。
176	And actually, if we look at this example, we can see a Portuguese merchant standing tall with his skinny spear, his very slim nose, his long straight hair, his beard, very different from how the Oba is presented.	实际上,如果我们看看这个例子, 我们可以看到一个葡萄牙商人高高地站着他的瘦长矛, 他的鼻子很瘦, 长长的直发,他的胡子, 与奥巴人的表现非常不同。
177	He's in a tight fitting jerk in with a pleated skirt, and he stands here and in many of the other plaques to show that these important meetings happened.	他身处一个紧身的缝合器穿着漂亮的裙子他站在这里和许多其他的牌匾上显示这些重要的会议都发生了
178	I was really keen to discuss the Benin bronzes when they were first made around the 15th and 16th century in the book, but I also couldn't ignore the moment when they entered Western art history for the first time.	我非常热衷于讨论贝宁的青铜器,当时这些青铜器是在书中第一次在15世纪和16世纪左右制作的,但我也不能忽视他们第一次进入西方艺术史的时刻.
179	This was when they were looted by British forces in 1897.	就在1897年他们遭到英国军队的洗劫.
180	I'm going to let the book explain and read you another example from the book.	我要让这本书解释并读你的另一个例子从书。
181	On 9th of February 1897 British troops arrived at the Niger Delta in West Africa.	1897年2月9日,英国军队抵达西非的尼日尔三角洲.
182	They disembarked and proceeded towards Benin City.	他们下船前往贝宁城。
183	A small British raiding party had been murdered by Benin City guards a month earlier, and this new attack was a vastly inflated retaliation.	一个小型的英国突袭党一个月前就被贝宁城守军杀害了,这次新的袭击是一次极其夸张的报复.
184	The British were armed with rocket launchers and machine guns, and they annihilated the Edo soldiers who fought back from the surrounding trees.	英国人装备了火箭发射器和机枪,他们消灭了从周围树木上反击的江户士兵.
185	Ultimately Benin City was captured and its royal palace complex burned to the ground after being systematically looted of all its treasures.	贝宁城最终被攻占,其皇家宫殿建筑群在被系统掠夺后被烧毁。
186	There was no archaeological cataloguing of the sculptures before they were removed from shines or plaques from storehouses.	在将雕塑从储藏室的闪光或牌照中移除之前,并没有对雕塑进行考古分类.
187	Rather, they were gathered in courtyards and divvied up according to Western ideas of value, with the most ornate works reserved for Queen Victoria, such as a pair of ivory leopards inlaid with copper spots.	相反,它们被聚集在庭院中,并按照西方有价值的想法进行挖掘,最原始的作品保留给维多利亚女王,如一对嵌有铜斑的象牙豹.
188	The most complex plaques were taken back to the Colonial Office in London to be sold to help finance the expedition.	最复杂的牌坊被带回伦敦殖民地办事处出售,以帮助资助远征.
189	Two thirds of these plaques entered the collection of the British Museum, and an exhibition was held there seven months later.	其中三分之二的牌匾进入了大英博物馆的收藏,七个月后在那里举行了展览.
190	When people saw the bronzes, they were amazed.	当人们看到青铜器, 他们惊讶。
191	Europeans didn't think African art was so sophisticated or technically advanced.	欧洲人并不认为非洲艺术如此精密或技术先进.
192	At this time African art wasn't even considered art at all.	此时的非洲艺术甚至不被认为是艺术.
193	It was labeled primitive and filed away in ethnographic museums.	它被贴上原始的标签并存档于人种学博物馆
194	But the Benin bronzes made it obvious that a high level of artistry had developed in Africa, independent of Western art.	但贝宁青铜器显然表明,非洲已经发展出独立于西方艺术的高水平的艺术家.
195	It turned out Africa had its own art history.	结果发现非洲有自己的艺术史。
196	The Benin bronzes were the continent's masterpieces, and the British had just stolen them.	贝宁的青铜器是大陆的杰作,英国人刚刚偷走了它们.
197	African art appears throughout the book, from the earliest known paint retrieved from the Blombos cave in South Africa 100,000 years ago, to the work of contemporary artists Zanile Maholi and Yinka Shani Bari.	非洲艺术在整个书中出现,从10万年前从南非的布隆博斯洞穴回收的已知最早的颜料,到当代艺术家扎尼莱·马霍利和英卡·沙尼·巴里的作品.
198	Even at historical periods we think we know well, such as the European Renaissance, benefit from reassessment and expansion.	即使是在历史时期,我们认为我们很了解,例如欧洲文艺复兴,从重新评估和扩大中获益。
199	A little history of art includes the artists you will have heard of, I'm sure.	我敢肯定,艺术史上有你听过的艺术家
200	Oh sorry, this is a photograph of the Lute, of the Benin Lute.	哦,对不起,这是一张照片卢特,贝宁卢特。
201	So here are the artists you will have heard of, I'm sure.	我敢肯定,这是你听过的艺术家们。
202	This is, of course, Leonardo da Vinci's Mona Lisa and Michelangelo's giant sculpture of David.	这当然是莱昂纳多·达·芬奇的蒙娜丽莎和米开朗基罗对大卫的巨型雕塑.
203	And here's a work by Raphael.	这是拉斐尔的作品
204	Three Renaissance artists we know so well, we know them only by their first names, Michelangelo, Leonardo, Raphael.	三位文艺复兴艺术家,我们非常熟悉,我们只认识他们的名字,米开朗基罗,莱昂纳多,拉斐尔.
205	In this painting, I think I can show you, this is, Raphael included Michelangelo's portrait, I'm just circling it with the cursor now.	在这幅画里,我想我可以告诉你, 这是,拉斐尔包括米开朗基罗的肖像, 我只是在用光标环绕它。
206	He also included Leonardo's portrait back here, disguised as Plato, and his own portrait just over here in a black beret surrounded by mathematicians.	他还把莱昂纳多的肖像装扮成柏拉图和他自己的肖像装扮成黑色贝雷帽被数学家包围在这里
207	So of course, these artists remain important to any consideration of the Renaissance and they all feature in the book, but they don't give us the whole picture.	当然,这些艺术家对于任何对文艺复兴的考虑都仍然很重要,他们都在书中独具特色,但他们并没有给我们全貌.
208	I thought it was important, now actually crucial, to reinstate the overlooked women artists from this period and explore art networks that show how Renaissance artists connected with artists in Asia and Africa.	我认为重要的是,现在实际上重要的是, 恢复这个时期被忽略的女艺术家, 并探索艺术网络, 展示文艺复兴艺术家如何与亚洲和非洲的艺术家联系起来。
209	So we're going to look at one example of this network first.	我们先看看这个网络的一个例子。
210	This network saw the Venetian Gentile Bellini work alongside the Persian artist Sinem Beg in Constantinople, now Istanbul, in 1480.	这个网络在1480年看到威尼斯人Gentile Bellini与波斯艺术家Sinem Beg一起在君士坦丁堡(现在的伊斯坦布尔)工作.
211	Gentile Bellini traveled to Constantinople from Venice as part of ongoing peace negotiations.	詹蒂尔·贝利尼从威尼斯前往君士坦丁堡,作为正在进行的和平谈判的一部分.
212	These two cities had been at war for 15 years and the coffers were empty for Venice.	这两座城市已经战乱了15年,国库为威尼斯空置.
213	Bellini was one of Venice's leading artists, so it was a big sacrifice for the city to send him, but he was sent to paint the portrait of the Sultan, Sultan Mehmet II.	贝利尼是威尼斯的主要艺术家之一,因此是城市派他去大祭祀,但他被派去画苏丹苏丹穆罕默德二世的肖像.
214	So we see the Sultan in front of us now, wrapped in a very heavy red caftan and a sleeveless fur coat, wearing the turban that all Ottoman men wore, the red felt cap wound with a white cloth.	所以我们看到苏丹现在在我们面前, 包裹着一个非常沉重的红色咖啡馆和一件无袖的毛衣, 戴着所有奥斯曼人所戴的头巾, 红色的衣帽伤口是白色的布。
215	Bellini has employed the Renaissance technique, the very new scientific technique of perspective, not altogether successfully, but he creates a parapet or a balcony from which the Sultan sits behind to give the Sultan some space as if we're looking litera	贝利尼运用了文艺复兴的技巧, 一种全新的视角科学技术, 并不完全成功, 但他创造了一个木板或阳台, 从那里苏丹坐在那里给苏丹一些空间, 就像我们从字面上看在另一个世界,苏丹的世界上。
216	Now I want you to compare it to this work.	现在我要你把它和这份工作比起来
217	This is a work by Sinem Beg.	这是西内姆·贝格的作品.
218	So Sinem Beg was a Persian artist.	因此西内姆·贝格是一位波斯艺术家.
219	He doesn't make use of Renaissance perspective in the way that Bellini does.	他没有像贝利尼那样利用文艺复兴视角.
220	But the face, look at the face, the face is as characterful I think as Bellini's, he has the Sultan here sniffing a rose.	但脸,看脸,脸和贝利尼一样有性格我想,他让苏丹在这里闻到一朵玫瑰。
221	Almost as if he's been looking at Western naturalism, even though he's a Persian miniature painter by trade.	几乎仿佛他一直在观察西方的自然主义,尽管他通过贸易成为波斯的微型画家.
222	The body, however, looks much more like a body from Persian miniatures, it's folded into the available space with a disregard for realism really if the focus is on the flat folds and the form.	然而,身体看起来更像来自波斯迷你体的躯体,它被折叠到可用的空间中,而真正无视现实主义,如果焦点是平折和形式.
223	I wonder if the two artists interacted at court.	我想知道两位艺术家是否在法庭上互动.
224	Here's another example.	这是另一个例子。
225	This is a beautiful drawing by Bellini called Seated Scribe from the same trip to Constantinople, now Istanbul.	这是贝利尼从同一次君士坦丁堡之行(即现在的伊斯坦布尔)上绘制的一幅美丽的画,名为"Seated Scribe".
226	And here we see the scribe, the writer, cross legged in a velvet robe, wearing a turban.	在这里,我们看到文士,作家,穿着丝绒长袍横腿,戴着头巾.
227	He's got a solid presence.	其身坚固.
228	We can see this is painted by a Western artist well versed in naturalism and Renaissance skills.	我们可以看到这幅画是由一位精通自然主义和文艺复兴技巧的西方艺术家画的.
229	But yet look how flat the surface of the robe is, and look at the Arabic lettering on the right.	但看看长袍的表面有多平坦看看右边的阿拉伯字母
230	This artist I think was knowledgeable of Persian and Turkish miniature painting too.	我想这位艺术家也懂得波斯和土耳其的微型画。
231	Now compare it to one painting from the same time by the artist Sinan Beg, and you can see how these artists were were playing off each other or certainly playing off examples of Western and Eastern art.	现在把它和艺术家Sinan Beg同时期的一幅画作比较, 你可以看到这些艺术家是如何玩弄彼此的, 或者肯定玩弄西方和东方艺术的例子。
232	Here in Sinan Beg's version we see it's a lot flatter, with solid blocks of color, but look at the face again the face is modeled very naturalistically, like an Italian portrait perhaps.	在Sinan Beg的版本中,我们看到它非常受宠若惊,有坚固的颜色块,但再次看一看脸部,其造型非常自然,也许像意大利的肖像.
233	I think it's important to see this isn't there's not a one way influence here these artists learned from one another and were influenced by one another.	我认为重要的是要看到,这不是没有一种方法影响在这里这些艺术家从彼此学习, 并受到彼此的影响。
234	Bellini returned home to Venice in 1481, and he may have been struck by the similarities between Constantinople and Venice.	1481年贝利尼回到家乡威尼斯,他可能为君士坦丁堡和威尼斯的相似之处所震撼.
235	They were both vast trading centers of course thronged with people from different cultures who spoke many languages.	他们都是庞大的贸易中心,当然是由讲多种语言的不同文化的人组成的。
236	The Greek Cardinal Bessarion offered high praise to Venice, when he called it another Byzantium, Byzantium being the old name for Constantinople.	希腊红衣主教贝萨里翁对威尼斯表示高度赞扬,当时他称之为另一个拜占庭,拜占庭是君士坦丁堡的旧名.
237	This is an example of Gentili Bellini's paintings from Venice a little bit later, and this shows Venice's central square the Piazza San Marco.	这是Gentili Bellini稍晚一点从威尼斯绘画的例子,这展示了威尼斯的中心广场圣马可广场.
238	We can see behind it the Byzantine Basilica, which is just here, and over here to the right the Doge's Palace, which is really a mix of Gothic and Islamic architecture.	我们可以看到它的后面是拜占庭式的巴西利卡, 它就在这里, 右侧是道格的宫殿, 这其实是哥特式和伊斯兰式建筑的混合体。
239	And if we look at this giant procession goes round the whole square, but over here not really paying any attention, there are four Greek merchants standing chatting and right over here, there are three men in turbans standing in front of the basilica.	如果我们看看这个巨大的游行队伍环绕整个广场, 但在这里,没有真正注意, 有四个希腊商人站在这里聊天, 就在那边, 有三个戴头巾的人站在basilica前面。
240	If we look to the far left, we can also just about make out Persian rugs hanging over the balconies that flank the square, and although you can't see it in my slide in the in the original, you can see two women veiled in the Islamic veil.	如果往左边看,我们也可以把波斯地毯挂在广场旁的瓦房上, 尽管你看不到它在我的幻灯片里, 在原始的,你可以看到两个女人戴着伊斯兰面纱。
241	We're just going to quickly look at another German Renaissance painter, Albrecht Dürer, just to get an idea of this network that artists were involved in.	我们只是要迅速看看另一位德国文艺复兴时期的画家阿尔布雷希特·迪雷尔(Albrecht Dürer),只是为了获得艺术家们参与的这个网络的想法.
242	He, Dürer, spent time in Venice when he was younger, but he settled in Nuremberg in Germany, where he was from.	他,Dürer,年轻时在威尼斯度过时间,但他定居在德国的纽伦堡,他来自那里.
243	He also traveled to the Netherlands and became friends with the Portuguese trade secretary in Antwerp, and so he bought works from the Portuguese trade secretary that would have been traded in those networks we saw in Benin between the Portuguese and Afri	他还到荷兰旅行,与安特卫普的葡萄牙贸易秘书成为朋友,因此他从葡萄牙贸易秘书那里购买了本来可以在我们在贝宁看到的葡萄牙和非洲艺术家之间的网络中交易的作品.
244	And this is something similar to what Dürer bought, it's an African salt seller.	这和杜勒买的类似,是非洲盐商。
245	Dürer was also in Brussels when Moctezuma's treasure was looted by the Spanish conquistador Hernan Cortes and shown to the whole of Europe.	杜雷尔也在布鲁塞尔,莫克特祖马的宝藏被西班牙征服者赫南·科尔特斯洗劫一空,并展示给整个欧洲.
246	So you can just see how connected these artists were with the world beyond Europe's borders.	所以,你可以看到这些艺术家是如何与欧洲边界以外的世界联系在一起的。
247	We have to remember the Renaissance wasn't a neat period in Italian art history.	我们必须记住文艺复兴在意大利艺术史上并不是一个整洁的时期.
248	It was an awakening that spiraled across Europe from the late 13th century with the artists like Giotto and Cavallini and their renewed interest in naturalism, all the way to the late paintings of Titian, who created them for Philip II in Spain.	这是一场觉醒,从13世纪后期开始,与吉奥托和卡瓦利尼等艺术家一起在全欧洲螺旋状地上升,并重新对自然主义产生了兴趣,一直到蒂蒂安的后期画作,蒂蒂安为西班牙的腓力二世创作了这些画作.
249	But the Renaissance also saw the establishment of women artists, and this is a work by Plautilla Nellie, who painted biblical scenes and this is a last supper of course.	但文艺复兴时期也看到了女性艺术家的建立,这是普劳蒂拉·内莉的作品,他描绘了圣经的场景,这是当然的最后晚餐.
250	Plautilla Nellie entered the Dominican convent as Santa Caterina of Florence, aged just 14.	普劳蒂拉·内莉作为佛罗伦萨的圣卡特琳娜进入多米尼加修道院,年仅14岁.
251	She taught herself to paint by looking at art that was on public view in the city.	她自学画画,通过看艺术在城市的公众视野。
252	And she became the prioress of her convent.	她成为修道院的先导
253	She ran a team of artists and they painted works for merchants and religious centers, so she was a very significant figure.	她管理着一群艺术家他们为商人和宗教中心画画画所以她是一个非常重要的人物
254	This last supper is unbelievably seven meters wide and is very important today because it's the first known last supper by a woman artist.	这最后的晚餐是令人难以置信的7米宽,今天非常重要,因为它是一位女艺人已知的第一个最后的晚餐.
255	It was painted in 1568, so right at the tail end of the Renaissance.	画于1568年,所以正值文艺复兴时期的尾部.
256	And it was installed appropriately in the convent's refectory, so where the nuns would eat, so they would eat and reflect on Jesus's last supper in a relatively simple staging.	它被妥善安置在修道院的教区, 所以修女们会在那里吃饭, 他们会吃东西, 并在一个相对简单的节奏中反省耶稣最后的晚餐。
257	They may be mesmerized by that beautiful tablecloth, but really they would be looking at the religious message of this painting.	他们也许被那美丽的桌布迷惑了, 但实际上他们将会看到这幅画的宗教信息。
258	Italian women artists really flourished at the tail end of the Renaissance, despite the odds stacked against them.	意大利女性艺术家在文艺复兴的尾声中真正繁荣起来,尽管她们面临重重困难。
259	They couldn't train in the workshops of male artists or study in the new academies.	他们不能在男艺人讲习班上训练也不能在新的学院学习
260	They had to be taught privately at home, like this artist, a wonderful artist, Sofonispa Anguissola.	他们不得不在家中被私下传授,就像这位艺术家,一位出色的艺术家索福尼斯帕·安吉索拉.
261	In this painting, a self-portrait, she is in her early 20s and already working as a successful artist.	在这幅画中,她是一个自画像,她20多岁时就已经是一位成功的艺术家了.
262	She came from a large family of artists, several of her sisters were artists, and she was very ambitious, as was her father.	她出身于一个庞大的艺术家家庭,她的几个姐妹是艺术家,她与她的父亲一样非常雄心勃勃.
263	So her father sent her drawings when she was a teenager to Michelangelo, the great famous Michelangelo.	于是她父亲在少年时期将她的绘画送给了米开朗基罗,这个伟大的著名米开朗基罗.
264	Her father sent a drawing of a laughing girl, and Michelangelo responded with a challenge.	她的父亲送来一幅笑女的画,米开朗基罗以挑战回应.
265	Okay, it's fine, you can do a laughing girl, but can you do a crying boy?	好吧,没关系,你可以做一个笑女孩, 但你可以做一个哭男孩?
266	So she took her brother, who was very young at the time, as a model, and her sister, who had a basket, and in the basket, the boy poked his finger in, and this was the result.	于是她把当时非常年幼的弟弟当模特儿,和妹妹当篮子,在篮子里,男孩插了手指,这就是结果.
267	In the basket was a crayfish, or a lobster, and the boy, boys will be boys, put his finger in the basket, and the crayfish snipped his finger, and he pulled his finger out.	篮子里是一条龙虾,或者一条龙虾,男孩,男孩会是男孩,把他的手指放在篮子里,龙虾把手指抽了出来,他把手指拔了出来.
268	And you can see in this drawing how she's captured the pain and the shock and the horror on the little boy's face, his sort of frown appearing on his brow and his nose wrinkled in pain.	从这幅画中可以看到她是如何捕捉到小男孩脸上的疼痛、惊吓和恐怖的,他那种皱眉出现在他的眉毛上,他的鼻子在痛苦中皱皱.
269	Michelangelo was very impressed.	米开朗基罗印象非常深刻.
270	He gave this drawing with a drawing of his own to Cosimo de Medici, his patron in Florence.	他用自己的画把这张画送给了他在佛罗伦萨的赞助人科西莫·德·美第奇.
271	And this drawing entered the collection of Fulvio Orsini, who is librarian to a powerful cardinal, Cardinal Farnese in Rome.	这幅画进入了富尔维奥·奥尔西尼的收藏,他是罗马一位强大的红衣主教法尔内塞的图书管理员.
272	The reason that's important is it was later seen by Caravaggio, who responded with his own interpretation, and this is Caravaggio's boy bitten by a lizard from around 1595, 40 years later.	重要的原因是后来被卡拉瓦乔(英语:Caravaggio)看到,卡拉瓦乔用自己的解释来回应,这就是卡拉瓦乔的男孩在1595年左右,40年后被蜥蜴咬伤.
273	So you can see how important Anguissola was both in her lifetime and afterwards.	所以你们可以看到安吉索拉在她一生中和之后都有多重要。
274	She was highly skilled in capturing fleeting emotions, and this is her chess game from 1555.	她擅长捕捉短暂的情感这是她1555年的棋局
275	Here we see two of her sisters, Minerva and Lucia, playing chess, while a younger sister, Europa, watches on.	在这里,我们看到她的两个姐妹,米涅娃和露西娅在下棋,而一个妹妹,欧罗巴在看棋.
276	This is the laughing girl from the drawing that Michelangelo has sent.	这是米开朗基罗送来的画中的笑女.
277	Minerva raises her right hand in protest, but Lucia is looking out at us, making sure we're watching her before she makes her move.	Minerva举起她的右手抗议, 但是Lucia在看着我们, 确保我们在她动之前看她。
278	Now has she got her hand on the queen?	现在她手放在皇后身上了吗?
279	In Italy, the rules in chess had recently changed to create an all-powerful queen, the game we know today and play.	在意大利,国际象棋的规则最近有所改变,创造了一个全能的王后,即我们今天所知道和玩的游戏.
280	Now I've asked chess experts if her hand is on the queen, because I really wanted it to be, but they cannot come to any conclusions, so that just has to exist in our imagination.	现在,我已经问过国际象棋专家她的手是否在皇后身上, 因为我真的希望如此, 但他们不能得出任何结论, 所以,只要存在在我们的想象中。
281	Paintings like this brought Anguissola to the attention of Philip II of Spain, and she moved to his court in 1559, just as Titian was painting his final giant masterpieces for the king.	这样的绘画让安吉索拉引起了西班牙的腓力二世的注意,她于1559年搬到他的宫廷,就像提提安正在为国王画他最后的巨型杰作一样.
282	Anguissola painted all the royal family and ended her days in Palermo, painting well into her 90s, when Antony van Dyck met her just the year before she died and sketched this drawing of her before he painted her.	安吉索拉画了所有的王室,结束了她在巴勒莫的日子,在她90多岁的时候,安东尼·范·戴克(英语:Antony van Dyck)在她去世的前一年就遇见了她,并在他画她之前画了这幅她的画.
283	Anguissola was taught privately at home, but other artists such as Artemisa Gentileschi could enter the studio, Gentileschi could enter her father's studio because he was a painter.	安吉索拉在家中被私下传授,但其他艺术家如阿特米萨·根蒂莱斯奇可以进入工作室,根蒂莱斯奇可以进入她父亲的工作室,因为他是画家.
284	So Orazio Gentileschi was one of Caravaggio's friends, and he became an ardent follower, known as a Caravaggisti.	因此,奥拉齐奥·根蒂莱斯奇是卡拉瓦乔的朋友之一,他成为了一位热心的追随者,被称为卡拉瓦格斯蒂.
285	This is an example of a painting by Caravaggio full of drama.	这是卡拉瓦乔一幅充满戏剧色彩的画作的一个例子.
286	It's from 1599, it's called Judith Beheading Holophonies, and you can see how he uses dark black shadows and dramatic lighting to create an almost theatrical event.	其起源于1599年,被称为"朱迪思·贝希宁·霍洛普霍尼斯"(Judith Beheading Holophonies),你可以看到他如何使用暗黑的阴影和戏剧性的照明来创造出几乎是戏剧事件.
287	So you can just imagine Artemisa Gentileschi as a young woman, a young painter, deciding to take Caravaggio on at his own game.	所以你可以想象Artemisa Gentileschi是一个年轻的女人, 一个年轻的画家, 决定让卡拉瓦乔在自己的游戏。
288	A decade after this work was done, just a bit longer, she painted the same subject.	在这项工作完成十年后,仅仅更长一点的时间,她画了同样的题材.
289	I'm going to read another extract from the book to explain why this was significant.	我要读另一本书的摘录来解释为什么这很重要
290	So we can see Caravaggio's painting on the left and Gentileschi's on the right.	这样我们就能看到卡拉瓦乔的画在左边,而外邦蒂莱斯奇的画在右边.
291	Gentileschi's time in Florence secured her reputation as an exceptional painter.	外邦蒂莱斯奇在佛罗伦萨的时间确保了她作为杰出画家的声誉.
292	She responded to the work of Caravaggio and created paintings that were very physical and real.	她回应了卡拉瓦乔的作品,创作了非常物理和真实的画作.
293	Taking a subject painted by Caravaggio in 1599, Judith Beheading Holophonies, she reinterpreted it, giving far more credibility to the Jewish widow Judith as she slices through the neck of the drunk Assyrian general Holophonies, a man about to destroy a h	她取自卡拉瓦乔在1599年画的一个题材,朱迪思·贝希宁·霍洛霍尼斯(英语:Judith Beheading Holophonies),重新诠释了这个题材,让犹太遗孀朱迪思在醉酒的亚述将军霍洛霍尼斯的脖子上切片时更加可信,一名即将摧毁贝图利亚一个家乡的人.
294	In Gentileschi's first version, Holophonies lies on a bed, his head towards the viewer, with Judith and her maid Abra the only other figures in the dark tent.	在Gentileschi的第一个版本中,Holophonies躺在一张床上,他的头朝着观众,朱迪思和她的女仆Abra是黑暗帐篷中唯一的其他人物.
295	Knowing that a woman such as Judith could not match the strength of a combat soldier, Gentileschi has the maid pin him down as Judith draws the sword across his throat.	知道像朱迪思这样的女人无法与一名战斗士兵的实力相匹配,任蒂莱斯奇在朱迪思拔剑过他的喉咙时,让女仆将他钉住.
296	Judith grasps a handful of his hair with her left hand and pulls and twists at the blade, one knee on the bed for counterbalance.	朱迪思用左手抓住他的几根头发,在刀片上拉动和扭动,单膝跪在床上进行制衡.
297	In her painting, Gentileschi transfers the energy Caravaggio gave to the dying Holophonies to the two women who murder him.	在她的画中,Gentileschi将卡拉瓦乔给临终的Holophonies的能量转移给了谋杀他的两名女性.
298	Within a year, the 20 year old Gentileschi had painted the scene again.	在一年之内,20岁的Gentileschi再次画了这个场景.
299	So these are both by Gentileschi these paintings.	这些都是外邦人画的
300	In it she gave even more force to Judith, who now twists a whole body behind the lengthened sword.	在其中,她给朱迪思更多的力量,朱迪思现在把整个身体曲折在被拉长的剑后面.
301	Blood stains the sheets and spurts up from his neck, splattering her arms, dress and breasts.	血迹染上床单,从他的脖子上喷出,溅出她的手臂,衣服和乳房.
302	Gentileschi doesn't hold back from showing what an active woman's body looks like.	Gentileschi不会阻碍显示一个活跃女性的身体是什么样子.
303	Judith's brow is furrowed and her chin is doubled as she strains with the blade, her breasts crushed and rolled inside her bodice as she turns.	朱迪思的眉毛是毛的,她的下巴是双倍的,因为她用刀刺着,她的乳房在她转弯时被压碎并卷进身体.
304	You can't help feeling Gentileschi spent time in front of a mirror, studying herself in this pose to make the scene as realistic as possible.	你无法不感觉到外邦人花时间在镜子前,在这种姿势中学习自己,使场景尽可能现实.
305	I don't know if any of you saw the recent exhibition of her work at the National Gallery in London, but this underlined her significance as an artist, not just as a great woman artist, but of one of the best European painters of the 17th century.	我不知道你们中是否有人看到她最近在伦敦国家美术馆的作品展出,但这突出了她作为一个艺术家的重要性,不仅是一位伟大的女性艺术家,而且是17世纪最优秀的欧洲画家之一.
306	Europe remained under the spell of Renaissance and classical art paintings like these into the 19th century.	欧洲一直处于文艺复兴和类似这样的古典艺术画的魔咒下,直到19世纪.
307	But throughout this time some artists use their voices to support change or expose injustice.	但在这期间,一些艺术家利用自己的声音来支持变革或揭露不公正.
308	This is a large painting, seven meters wide, by the young French artist Theodore Jericho.	这是法国青年艺术家西奥多·杰里科的一幅宽7米的大型画作.
309	It's vast and it's passionate.	幅员辽阔,充满激情.
310	It's called The Raft of the Medusa and it won the gold medal in the 1819 French Salon.	它被称作"美杜莎的拉夫特"(The Raft of the Medusa),并在1819年法国沙龙中获得金牌.
311	He painted it in a frenzy, took him less than a year.	他画的很疯狂花了不到一年时间
312	And his studio at this time was quite smelly because he took body parts from cadavers, from dead bodies, so he could paint the rotting flesh in an authentic manner.	而他此时的录音室也相当臭,因为他从尸骨,尸骨中取了身体的零件,这样他就可以用真实的方式画出腐烂的肉.
313	It's based on an 1816 disaster when the French frigate Medusa ran aground on the coast of Senegal.	它基于1816年法国护卫舰美杜莎号在塞内加尔海岸搁浅时发生的一场灾难.
314	The officers took the lifeboats and they abandoned the crew, 150 crew and passengers, on a makeshift raft.	军官们抢走了救生艇,把船员,150名船员和乘客弃置在临时木筏上.
315	This raft drifted for 13 days before a passing ship saw it and rescued the people on it, and at that point only 15 people survived.	这只木筏漂流了13天,才有一艘过往船只看到它,并救了船上的人,此时只有15人幸存.
316	So in Jericho's dramatic version we can see African soldiers, Mediterranean sailors, pale French corpses, and they build this crescendo of a bare-chested black man waving a red flag, like a makeshift flag, trying to attract the tiny sail that you can just	在杰里科的戏剧性版本中,我们可以看到非洲士兵,地中海水手, 苍白的法国尸体, 他们建造了一个赤裸裸的黑色男子的重新雕刻, 挥舞着一面红旗, 像一面临时的旗帜, 试图吸引你刚刚可以做的小帆。
317	It's a ship but it's sailing past them and they can't, they won't be spotted.	这是一艘飞船,但是它正在驶过它们他们不能,他们不会被发现。
318	If you see their own sail it's taking them in the other direction.	如果你看到他们自己的船它会带他们往另一个方向走
319	So when this won the gold medal at the Salon, the French government didn't buy it immediately.	因此,当这个在沙龙获得金牌时,法国政府并没有立即购买.
320	They normally did buy the gold medal work, so why was this?	他们通常会买金牌,为什么?
321	Was it because there was a black man in the key position?	是因为有个黑人在关键位置吗?
322	At this time France had resumed its participation in the slave trade after briefly halting it at the turn of the century.	此时法国在世纪之交短暂制止了奴隶贸易之后,又恢复了对奴隶贸易的参与.
323	One of the key figures in the temporary abolition of slavery in France was this man, Jean-Baptiste Bellet.	法国临时废除奴隶制的关键人物之一是这个人让-巴蒂斯特·贝勒特.
324	He was painted by Anne-Louise Girardet, and this painting was exhibited at the 1798 Salon in Paris.	他由安妮-路易·吉拉德(Anne-Louise Girardet)绘画,这幅画在巴黎的1798沙龙展出.
325	Bellet was a child slave from Senegal who'd been freed after years of labour, but he served in the French Revolutionary Army and became deputy in the National Convention, the interim French parliament, after the French Revolution.	贝勒特是塞内加尔的一个童奴,经过多年的劳动才获得解放,但他在法国革命军中服役,在法国大革命后成为国民大会,法国临时议会的副议员.
326	He represented the French colony of Saint-Domingue in modern-day Haiti, and he was present when the Convention abolished slavery in French colonies in 1794.	他在现代海地代表法国殖民地圣多明格,1794年公约废除法国殖民地奴隶制时他在场.
327	He stands as if he were back in Saint-Domingue, we can see it in the landscape at the background, and he leans against the bust of Abbé Reynaud, an early white advocate for the abolition of slavery who'd just died.	他仿佛回到了圣多明格,我们从背景的风景中可以看到,他倒戈了阿贝·雷诺的断裂,这位早期的白人倡导废除刚刚死去的奴隶制.
328	Another artist who painted, whose work was in the Salon at around the same time, is Marie-Guilhem Benoit.	画画的另一位艺术家是玛丽-盖尔海姆·贝诺伊特(Marie-Guilhem Benoit),他的作品大约同时出现在沙龙.
329	So her portrait of Madeleine made her reputation when it was exhibited in the 1800 Salon.	因此,她对玛德琳的肖像在1800年沙龙展出时就获得了她的声誉.
330	She painted a young black woman who sits and looks directly at us in a white robe with an orange sash.	她画了一个年轻的黑人女人她坐着穿着白色长袍直接看着我们用橙色的纱布
331	And what made this stand out was it was unprecedented to have a black sitter as a subject.	最突出的是一个黑人保姆这个话题是前所未有的。
332	Black people had been painted in art, but they'd been a role as a slave or an exotic member of the royal family.	黑人曾被画在艺术中,但他们一直扮演着奴隶或王室异国成员的角色.
333	But here was Madeleine sitting in her own right.	但玛德琳就坐在这里
334	Was she, for Benoit, was she symbolic of Mother France because France was now newly liberated from the monarchy?	她,对贝诺伊特来说,是象征着法国母亲,因为法国现在刚刚从君主制中解放出来吗?
335	Or was it because the country had abolished slavery?	还是因为国家废除了奴隶制?
336	Or did she signify emancipation for women, for black people?	还是说她代表了女性解放,黑人解放?
337	Or was it just a liberated portrait?	还是只是一张解放的肖像?
338	Unfortunately for Benoit, liberation didn't last long.	不幸的是,对于贝诺伊特来说,解放并没有持续多久.
339	Despite winning Salon medals, she was forced to give up painting when her husband was promoted, and slavery sadly was reintroduced by Napoleon in 1802.	尽管她赢得了萨隆奖章,但在丈夫升职时,她被迫放弃绘画,令人痛心的是,奴隶制在1802年被拿破仑重新提出.
340	In America, slavery wasn't abolished until 1865.	在美国,奴隶制直到1865年才被废除.
341	This was the year the sculptor Mary Edmonia Lewis travelled to Europe from America.	这是雕塑家玛丽·埃德莫尼亚·刘易斯从美国前往欧洲的一年.
342	She was a daughter of an African-American father and a Native American mother, and she'd been subject to many prejudices in America.	她是非裔美国人父亲的女儿,也是美国原住民的母亲,在美国她一直受到许多偏见的困扰.
343	She raised the funds to travel by selling busts of Civil War heroes and medals of abolitionists, and she travelled to Rome, the home to a sculptor called Harriet Hosmer and a group of American women artists who appreciated the climate where women could wo	她通过出售内战英雄的胸章和废奴主义者的奖章筹集了旅行资金,她还前往罗马,一个名叫哈丽特·霍斯默的雕塑家的故乡,以及一群美国女艺术家,她们欣赏了女性能够不受性别或肤色影响地工作的气氛.
344	Hosmer wrote, here every woman has a chance if she is bold enough to avail herself of it.	霍斯默写道,在这里,每个女人都有机会,如果她有足够的胆量来利用它.
345	This is a sculpture by Edmonia Lewis called Forever Free from 1867, and it was made two years after slavery was abolished.	这是埃德莫尼亚·刘易斯创作的雕塑,自1867年起称为"永远自由",它是在奴隶制被废除两年后制作的.
346	In white marble, she portrays a black man naked except for his shorts, holding up his left fist to the sky, and from it we can see hanging the shackles of slavery.	在白色的大理石中,她描绘了一个除了短裤外的黑人裸体,将他的左拳握在天空上,从中可以看到悬挂着奴隶制的枷锁.
347	The woman at his side echoes his gaze, has her hands clasped in prayer.	他身边的女人呼应着他的目光她的双手在祷告时被揭开
348	In some respects, America hardly changed in the years since Mary Edmonia Lewis left.	在某些方面,美国在玛丽·埃德莫尼亚·刘易斯离开后的几年里几乎没有改变.
349	It maintained a segregated society and racial tension ran high.	它维持着一个隔离的社会,种族关系紧张。
350	It also experienced great poverty in the late 1920s as the Great Depression hit.	在1920年代后期,随着大萧条的冲击,它也经历了巨大的贫困.
351	I think if we have an image of this time in our minds, it's possibly this painting, which is Grant Wood's American Gothic from 1930.	我想如果我们有这个时代的影像在我们的脑海里, 它可能是这幅画, 这是格兰特伍德的美国哥特式从1930年。
352	Or it might be the work of Edward Hopper.	或者可能是爱德华·霍伯的作品
353	Hopper's paintings were equally well known and he enjoyed enormous success in the 1930s.	霍珀的画作同样广为人知,他在1930年代获得了巨大的成功.
354	For the Great Depression fuelled a desire for an authentic, realistic art of America.	大萧条激发了对美国真实现实艺术的渴望。
355	Hopper's world was one of cramped New York apartments, late night cafes and empty cinemas, and it had widespread appeal, but it showed the growing alienation of modern American life.	霍珀的世界是拥挤的纽约公寓,深夜咖啡馆和空荡荡的电影院之一,它具有广泛的吸引力,但它显示了现代美国生活的日益疏远.
356	However, there's another vision of America, much less well known, I think, that also has connections to the Great Depression, and this is the Migration series of Jacob Lawrence.	然而,还有另一个对美国的看法, 更不为人所知, 我认为,它也与大萧条有关, 这是雅各布·劳伦斯的移民系列。
357	This is a series of 60 paintings that are now housed in the Museum of Modern Art in New York and the Phillips Collection in Washington DC.	这是一系列60幅绘画,现收藏于纽约现代艺术博物馆和华盛顿特区菲利普斯收藏馆.
358	They're not polished or refined, but they are raw and powerful works.	它们没有被抛光或精炼,但它们是原始的和强大的作品.
359	The Great Migration saw six million African American people move from the rural South America to the northern industrial cities for work.	"大移民"目睹600万非裔美国人从南美农村迁往北方工业城市就业.
360	Migration was fuelled by drought and disease.	干旱和疾病助长了移徙。
361	It destroyed crops and livelihoods of the poor tenant farmers, and they moved from around World War I right the way to 1970.	它摧毁了作物和贫穷的佃农的生计,他们从第一次世界大战到1970年左右。
362	Jacob Lawrence was an African American artist and grew up in Harlem.	雅各布·劳伦斯(Jacob Lawrence)是一位非裔美国艺术家,在哈林长大.
363	He saw these families move into New York, move up from the South, and he listened to their stories, and this series, the 60 panels, was his response.	他看到这些家庭搬进纽约,从南方向上移动,他听了他们的故事,这个系列,60块板,是他的回应.
364	This is his first painting in the series, and these figures aren't portraits, they're anonymous people, but the reason for doing that is that they could stand in for any one of the six million people who are making this move from the South to the North.	这是他在系列中的第一部画作, 这些数字不是肖像画,而是匿名的人, 但这样做的理由是, 他们可以站出来支持600万人中的任何一个从南方向北方移动。
365	We can see them pushing through gateways to Chicago, New York, St. Louis, trying to get away, have a better life.	我们可以看到他们通过网关向芝加哥,纽约,圣路易斯推进,试图逃跑,过上更好的生活.
366	Each painting that Lawrence did was accompanied by a caption, and these captions laid out the reality of the migration.	劳伦斯做的每幅画都附有字幕,这些字幕描绘了迁徙的现实.
367	So this is panel one, and this is panel 10, and clearly showing people staring at empty bowls, the people left the South because they had to, because they had to, but not because they wanted to.	所以这是第一小组,这是第十小组, 清楚显示人们盯着空碗, 人们离开南方是因为他们必须的,因为他们必须的, 但不是因为他们想要的。
368	And they moved up to the north and found the cities not particularly welcoming.	他们向北迁移,发现城市并不特别欢迎.
369	They often face segregation and if white people were in the series, they were in positions of power or involved in racist abuse.	他们经常面临隔离,如果白人在系列中,他们处于权力地位或参与种族主义虐待.
370	Ultimately, however, the series ends with a hopeful note.	然而,该系列最终以充满希望的音符结束.
371	There were more opportunities for education, and one of the final paintings in the series says, in this painting, in the North they had the freedom to vote.	有更多的教育机会, 系列的最后一幅画说, 在这幅画里,在北方,他们有选举权。
372	Another African American artist who exposed ongoing racism was Elizabeth Catlett.	另一个揭露持续种族主义的非裔美国艺术家是伊丽莎白·卡特利特.
373	She was a sculptor, and she also made prints.	她曾经是雕塑家,她也做了指纹.
374	Her series, The Black One, was highly charged, and this is a linocut again by Matt Pringle.	她的系列"黑色一号"(The Black One)受到高度指控,这是马特·普林格(Matt Pringle)的一次利诺切片.
375	This print shows her inking the plate before she rolls it through the printing press.	这个指纹显示她在通过印刷机卷进盘子之前就将盘子吸进去了.
376	I think we'll join her in the studio now.	и稱и瞷碞蛤癬
377	Catlett's 15 prints are linocuts, like the illustrations to this book.	卡特利特的15个指纹是利诺切特,就像这本书的插图.
378	She made them by cutting into linoleum, a flooring material that offers artists a cheap and quick alternative to carving into wood.	她通过切入木头来制作它们,这种地板材料为艺术家提供了廉价和快速的替代木刻.
379	She used simple compositions to maximize the impact of her figures.	她使用简单的组成来最大限度地发挥自己数字的影响.
380	Four women sit on a bus behind a sign saying colored only.	四个女人坐在一辆公共汽车上后面的标志说只有颜色。
381	In another, a man lies dead, a rope around his neck, three men hanged above him.	在另一个地方,一个人躺在地上,他的脖子被绳子缠住,三个人吊在他上面.
382	Catlett has given her prints individual titles that together tell a story of the injustices faced by black women, from social segregation on the bus in I Have Special Reservations, to the brutal murder of husbands, brothers and fathers, and a special fear	Catlett提供了她个人头衔的印记,这些印记共同讲述了黑人妇女面临的不公正,从《我拥有特殊保留地》的公共汽车上的社会隔离,到对丈夫、兄弟和父亲的残酷谋杀,以及对我所爱的人的特别恐惧。
383	Now Catlett looks at this print, as I have given the world my songs, the fifth print in the series.	现在卡特利特看着这个印刷品, 正如我给世界我的歌曲, 系列的第五个印刷品。
384	A woman bends over a guitar, her face lined with sorrow.	一个女人弯曲在吉他上, 她的脸线与悲伤。
385	Catlett has printed a blue edge to the guitar, suggesting that the woman is playing the blues, and she has reason to.	Catlett在吉他上印了一个蓝色的边缘,暗示这个女人在演奏蓝色,她有理由这样做.
386	Her memories float behind her, also printed in blue, and show a burning crucifix, and a black man being cuddled by a white man who wears the distinctive hooded costume	她的记忆漂浮在她身后, 也印着蓝色, 并显示一个燃烧的十字架, 一个黑人被一个白人抱住, 他穿着独特的头罩服装
387	of the Ku Klux Klan.	三K党党员
388	Catlett was an incredible woman.	Catlett是个不可思议的女人
389	She grew up in Washington DC and wanted to be an artist despite there being few African American women artists working professionally at this time.	她成长于华盛顿特区,想成为一名艺术家,尽管此时只有很少的非裔美国女艺术家从事专业工作.
390	She grew up with racial segregation so bad that African Americans still couldn't go to museums, but she circumnavigated that, and when she was teaching, she would take her students while the museums were closed.	她成长时的种族隔离非常糟糕,以至于非裔美国人仍然无法去博物馆,但她绕过这个方向,在她教书时,她会在博物馆关闭时带走她的学生.
391	The last print in her series, I think, expresses her desire for the future.	我认为,她系列的最后一张印刷品表达了她对未来的渴望。
392	My right is a feature of equality with other Americans.	我的权利是与其他美国人平等的特征.
393	So I want to end today with a quick trip to the present, the global contemporary art world.	所以今天我要以快速的旅程结束, 即全球当代艺术世界。
394	The art we see around us today now embraces every medium and every scale.	我们今天看到的艺术现在包含了每一个媒介和每个尺度。
395	It's made by all genders, all ethnicities, and exists in a global environment, both physical and digital.	它由所有性别,所有种族组成,并存在于一个包括物理和数字的全球环境中.
396	The last chapter of my book is titled Art as Resistance, and it brings together art from all over the world that challenges current thinking.	我书的最后一章题为“反抗艺术”,它汇集了世界各地挑战当前思想的艺术。
397	It features post-colonial artists from Australia and New Zealand, America and Britain.	它以来自澳大利亚和新西兰,美国和英国的后殖民时期艺术家为特色.
398	It includes artists exposing persecution in their home countries of South Africa and Uganda.	包括在南非和乌干达揭露迫害的艺术家。
399	And it includes artists tackling the world's hottest topic, climate change.	它包括艺术家处理世界上最热的话题,气候变化。
400	British artists Heather Ackroyd and Dan Harvey explore environmental concerns in their joint practice.	英国艺术家希瑟·阿克罗伊德(Heather Ackroyd)和丹·哈维(Dan Harvey)在联合练习中探索环境关切.
401	They've created ice sculptures in the Arctic and grown crystals over the skeletons of stranded whales.	他们在北极创造了冰雕,并在搁浅鲸的骨架上生长了结晶.
402	They've even made coats from living grass that are now worn by Extinction Rebellion activists and shared on Instagram to draw attention to climate change.	他们甚至用活草制成大衣,现在被灭绝叛乱活动家所穿,并在Instagram上分享,以引起人们对气候变化的关注.
403	The Icelandic Danish artist Oliver Larsen transported 12 chunks of the Greenland ice sheet that had broken off to Copenhagen in 2014.	冰岛裔丹麦艺术家奥利弗·拉森(Oliver Larsen)将2014年断裂至哥本哈根的12块格陵兰冰盖运送至哥本哈根.
404	This was to coincide with the publication of a major United Nations climate report.	这与主要联合国气候报告的出版同时进行。
405	Every second, 10,000 tons of ice is lost in Greenland because of climate change.	由于气候变化,格陵兰每秒损失1万吨冰块.
406	Ice watch was arranged like a clock in City Hall Square, where the block slowly melted, a reminder of what climate change is doing to the Arctic.	冰表在市政厅广场上像钟一样排列,街区慢慢融化,这提醒了气候变化对北极的影响.
407	This final chapter in the book on art and resistance opens at the Louvre in Paris.	这本书中关于艺术和抵抗的最后一章在巴黎卢浮宫开幕.
408	The scene is an unusual one for the world famous museum because it's the staging of a pop video.	这个场景对于世界著名的博物馆来说是不寻常的,因为它是一个流行视频的播放.
409	Now, why, you may think, did I include this in a book about art?	现在,为什么,你可能会认为,我是否把这个列入一本关于艺术的书?
410	Because the video highlighted art that could change how we saw and how we thought.	因为视频强调的艺术可以改变我们的看法和想法。
411	I'm going to read you a tiny extract.	我要给你读一篇小摘要
412	It is late May 2018 and the gallery is completely empty except for two people standing in front of a painting.	2018年5月下旬,美术馆除两人站在一幅画前外,完全空置.
413	It isn't just any painting.	不只是画
414	It's Leonardo da Vinci's Mona Lisa, one of the most famous paintings in the world.	它是莱昂纳多·达芬奇的蒙娜丽莎,世界上最著名的画作之一.
415	And they aren't just any people.	他们不仅仅是任何人。
416	They are Beyonce and Jay-Z, wife and husband, two of the biggest musical artists on the planet.	他们是碧昂丝和Jay -Z, 妻子和丈夫, 两个最大的音乐艺术家在地球上。
417	They stare calmly, directly at the camera, looking at you, looking at them.	他们冷静地凝视着镜头看着你看着他们
418	Slowly, they turn to look at each other and then at the Mona Lisa.	慢慢地,他们转过来互相看然后看蒙娜丽莎。
419	Her fame has led to a life cooped up in a bulletproof glass box, the star of thousands of photos a day.	她的名声导致生活陷入一个防弹玻璃盒,每天有数千张照片的明星.
420	Beyonce and Jay-Z, by comparison, are fully in control of their fame.	相较之下,碧昂斯和杰伊-Z完全控制了他们的名声.
421	This video presents them as all powerful, able to empty this usually packed gallery and claim it for themselves.	这段影片展现出他们的力量, 能够清空通常被包装的画廊,
422	They have filmed the Louvre's priceless art collection from a new perspective,	他们从新的视角拍摄了卢浮宫的无价艺术品收藏,
423	highlighting the black sailor at the top of the raft, the Medusa, the black woman who posed for Benoit, ancient Egyptian art taken from Africa.	强调木筏顶部的黑水手,美杜莎号,为贝诺伊特作画的黑女人,古埃及艺术取自非洲.
424	Napoleon now crowns Queen Bey instead of Josephine.	现在拿破仑加冕为贝伊女王,而不是约瑟芬.
425	Jay-Z takes his place on Jericho's raft and is rescued.	Jay -Z在杰里科的木筏上取而代之,获救.
426	A new art history sparks into life.	一部新的艺术史燃起了生命的火花
427	Beyonce and Jay-Z curated the Louvre collection in a new way in their video, creating a new path into art.	碧昂丝和Jay-Z在他们的视频中以新的方式整理了卢浮宫的藏品,创造了一条进入艺术的新道路.
428	Footfall at the museum went up 25% as visitors followed bespoke trails that highlighted the art featured in the video,	博物馆的落脚率上升了25% 因为参观者们走的是突出在影片中展示的艺术
429	art we've looked at today, Benoit's portrait of Madeleine and Jericho's raft, the Medusa.	我们今天看到的艺术,贝诺伊特的肖像玛德琳和杰里科的木筏,美杜莎。
430	With the making of this video, Beyonce and Jay-Z became part of a global movement to retell history with the blinkers removed, to offer new perspectives and fresh approaches.	随着这段视频的制作,碧昂丝和Jay-Z成为全球运动的一部分,用被移除的闪烁器重述历史,提供新的视角和新的方法.
431	Just last week, black women artists Sonia Boyce and Simone Lee both won coveted Golden Lion Awards at this year's Venice Biennale.	就在上周,黑人女艺人索妮娅·博伊斯和西蒙娜·李都在今年的威尼斯比恩纳里赢得了贪婪的金狮奖.
432	They are proof of the ongoing impact of this global movement.	它们证明了这一全球运动的持续影响。
433	Thank you.	谢谢
434	I'm going to end the slides and then hopefully we've still got time for questions.	我要结束幻灯片希望我们还有时间提问
435	Thank you so much.	非常感谢
436	That was fantastic.	这太棒了。
437	Great.	不错
438	So we do have some time for any questions from the audience.	因此,我们有一些时间来回答观众提出的任何问题。
439	So if people have questions, please feel free to either type them out in the chat box, or you can raise your hand and I'd be happy to call on you and unmute you so that we can have some time to interact directly with Charlotte here.	所以,如果人们有问题,请随便在聊天箱里输入, 或者你可以举起手来,我很乐意呼唤你,并揭穿你,这样我们就可以有时间和夏洛特直接互动。
440	Okay, got a question.	好吧,有一个问题。
441	Oh, hi.	顿
442	I'm really interested in the Persian arts and I think it's kind of mysterious to me because I think that one of the most notable characteristic characteristic of the Persian artists diversity because, you know, and like incorporates of many Chinese maybe	我对波斯艺术非常感兴趣我觉得这对我来说有点神秘因为我认为波斯艺术家多样性最显著的特征之一
443	strategies or, or all kinds of patterns from the Western like the Rome and the Greece.	战略或,或各种模式从西方像罗马和希腊。
444	So, I'm really, I'm really wondering that whether, like the diversity means it doesn't really have some its own style or characteristic, just as others like other	所以,我真的,我真的在想, 是否,像多样性意味着它真的没有一些自己的风格或特征, 就像其他人一样
445	art do like African art like Greek art, you know, when you mentioned them, you will have some impressions or some certain features of them but when I mean when it came to the Persian art.	艺术就像非洲艺术一样像希腊艺术,你知道,当你提到它们的时候, 你会有一些印象或者某些特征, 但当我指波斯艺术的时候。
446	I have not much idea.	我没什么想法
447	I think you're right that they were influenced by lots of cultures around them.	我认为你是对的他们受到周围许多文化的影响
448	But I think, actually, if you look at Persian miniature painting, they are they stand very distinctly from European Renaissance painting for example the examples I showed showed quite	但我认为,事实上,如果你看看波斯的迷你画, 它们与欧洲文艺复兴画非常不同, 例如我展示的例子
449	a difference didn't they between those two styles.	这两种风格没有区别
450	And I think Persian miniature painting or certainly the at the court of the Sultan.	我认为波斯的迷你画或者在苏丹的宫廷里
451	There were so many different artists of all different from all different cultures that you're right you couldn't help but be influenced.	有这么多不同的艺术家与所有不同的文化你是对的你无法不受到影响。
452	But I think that's the same or something I learned writing this book that's the same for all artists in all countries.	但我认为这和我所学的一样, 写这本书对所有国家的所有艺术家都是一样。
453	It's very difficult to actually put a label on someone because of where they're physically geographically living.	很难在某个人身上贴上标签因为他们在地理上生活的地方
454	So in the Renaissance they were, they were artists who would come from all over Italy but also further afield.	所以在文艺复兴时期, 他们是来自意大利各地的艺术家, 但也来自远方。
455	So although we think of them as Italian Renaissance artists now, then perhaps not.	所以,尽管我们把他们当成意大利文艺复兴艺术家, 那么也许不是。
456	So, going back to Persian art, I think the Persia was a vast empire, but it could touch on draw from Indian art from European Renaissance art.	所以,回到波斯艺术,我认为波斯是一个庞大的帝国, 但是它可以从印度艺术中汲取欧洲文艺复兴艺术。
457	So you're right, it, it has a more of a feel of a melting pot that artists were influenced by different cultures, but I don't think that's a negative really for it I think that's almost its strength.	所以,你是对的,它更像是一种熔炉的感觉, 艺术家受到不同文化的影响, 但我不认为这是负面的,真的,我认为这几乎是它的优势。
458	I guess what people are thinking of when I'll ask one.	我想人们会怎么想当我问一个。
459	So, you know, obviously, the main thrust of your book is to focus on women and, you know, other people that have sort of been left out of the narrative.	所以,你知道,很明显,你的书的主旨是关注女性,以及,你知道的,其他那些被从叙述中忽略的人。
460	So I'm just curious how you went about finding these people and these artworks that have been left out right because they've been left out for so long that is it the case that they, they just have been like selected out of, you know, what we consider	所以我好奇你是怎么找到这些人的和这些艺术品的被抛在脑后因为他们被抛在脑后太久了
461	canon or is, and they've always been there just know everybody ignored them or did it take a lot of detective work to actually track down a lot of these pieces.	他们总是在那里,他们只知道每个人都忽略了他们或者有没有花费很多的侦探工作来找到很多这些作品。
462	I have to say the detective work is largely been done by other people.	我必须说侦探工作主要是别人做的
463	Thankfully, but what they have what hasn't happened I don't think to this point is it hasn't been knitted together back into the main story.	谢天谢地,但是他们有还没有发生的事情,我不认为在这一点上,它还没有编织回到主要的故事。
464	So the books I showed you at the beginning, the really big fat tomes on art history.	一开始我给你们看的那些书, 艺术史上最肥的书。
465	The male writers who took that on, I think for simplicity sake, if as much as anything else streamlined art, it's much easier to tell a story if you if you cut out a lot of things and go right we're just going to tell the story of these artists.	这些男性作家,为了简单起见,如果像其他任何精简的艺术一样, 说出一个故事就容易得多了, 如果你剪掉很多东西,走正确的路,我们只是来讲述这些艺术家的故事。
466	So whether it's conscious or unconscious bias.	所以无论是意识还是无意识的偏见.
467	These artists have disappeared.	这些艺术家失踪了
468	But, you know, the women I've put in the book I don't want anyone to think that they're in there just because they're women.	但是,你知道,我放进书里的女人... ...我不想任何人认为她们在那里... ...只是因为她们是女人。
469	So these artists at the time when they were painting, well maybe the only women, maybe one or two women in	所以这些艺术家当时在画画, 也许是唯一的女人, 也许一个或两个女人在
470	an all male Academy, but they still managed to get voted in, or they were buried, even though Elizabeth Serrani for example in 17th century Bologna in Italy, she was buried with civil, the highest honors that the city could give her the same	虽然伊莉莎白·塞拉尼在17世纪的意大利博洛尼亚被安葬了她被安葬在民间也是全市最崇高的荣誉
471	honors that the male artist who was the top of his game was buried with.	荣耀的是,作为他游戏顶峰的男艺人被埋葬了.
472	She was only 27 when she died so you just see how much the city valued her at the time, but I mean, have you heard of it as a better Serrani she's not that well known,	她才27岁,当她死了,所以你只是看看城市多重视她当时,但我的意思是,你听说过它作为一个更好的Serrani 她没有那么众所周知,
473	she's certainly not up there with Guido Reni who was the artist that she was, she actually was buried in his tomb.	她肯定不在那里与圭多·雷尼谁是她的艺术家, 她实际上埋葬在他的坟墓。
474	So they were literally buried together.	所以他们真的被埋葬在一起。
475	I think a lot of these artists were written about in have since the 1970s, started to have their histories written.	我认为很多这些艺术家都是从1970年代开始开始写历史的。
476	The thing I found was that they're often written in books on women art, or there may be fantastic books on African art, or, or even Persian art going back to your question, but they haven't been pulled into that central Western art story that historically	我发现的是,他们经常被写在有关女性艺术的书, 或可能有神奇的关于非洲艺术的书籍, 甚至波斯艺术回到你的问题,
477	has prioritized white male artists, so that you know the obvious people that you would expect to find in a history of art are in this book.	将白人男性艺术家放在优先位置这样你就能知道在艺术史上你会发现的显而易见的人就在这本书里
478	So like we do have you know Leonardo and Michelangelo and, and hopefully all your favorites Van Gogh, Van Dyck.	就像我们有你知道莱昂纳多和米开朗基罗还有希望你最喜欢的梵高,范戴克
479	But I wanted to put them alongside these other artists to show that there's a broader art history out there if we go looking for it.	但我想把它们和这些其他艺术家放在一起, 来表明如果我们去寻找它, 有一个更广泛的艺术历史。
480	Fantastic.	厉害
481	There's a question in the chat box, which asks, what was the influence of Chinese ink paintings on Western paintings.	聊天盒里有个问题,问中国的墨画对西方画的影响是什么.
482	That's a really good question.	这是一个非常好的问题。
483	I think the influence kind of came.	我觉得影响有点大
484	The Chinese ink paintings influenced Japanese artists and the Japanese prints that Japanese artists made hugely influenced Western art in the 19th century.	中国的油墨画影响了日本艺术家,也影响了日本艺术家在19世纪制作的巨大影响西方艺术的日本印刷品.
485	So before then, it's interesting because Western art will be taken by, we might call them explorers or merchants but the imperialist West kind of marching on the rest of the world.	所以在那之前,这很有趣, 因为西方的艺术会被人们所接受, 我们可能称他们为探险家或商人, 但是帝国主义的西方那种向世界其他地方进军。
486	They would take British or European paintings with them and try and influence the world that way, and would bring things back but they were often exhibited as being exotic or different.	他们将带着英国或欧洲的画作, 试着用这种方式影响世界,
487	Chinese art influenced Britain in the 18th century with a kind of fashion for design and chinoiserie.	中国的艺术在18世纪对英国产生了影响,以一种时尚的风格来进行设计,并用瓷器装饰.
488	But I would say the art itself, it was clearly heavily influenced Japanese style of painting that influenced Japanese printmaking, and that was imported in the 1850s, 60s into Paris particularly, and those Japanese prints completely revolutionized how Wes	但我要说,艺术本身,它显然对日本的绘画风格产生了很大的影响,影响了日本的印刷业,而这在1850年代,60年代被导入巴黎,尤其是那些日本的印刷品彻底革命了西方艺术家的看法.
489	So yes, it's sort of, it's not a direct influence I would say, but there's definitely an influence there.	所以,是的,它有点, 它不是一个直接的影响我想说,但是那里肯定有影响。
490	So yes, it's not a direct influence I would say, but there's definitely an influence there.	所以,是的,这不是一个直接影响我想说,但是那里肯定有影响。
491	All right, one last chance for people with questions.	好吧,最后一次机会人们有疑问。
492	Well, if not, thank you so much for a fantastic talk.	好吧,如果不是, 非常感谢你的精彩演讲。
493	For those of you guys that are interested again,	你们这些又有兴趣的人
494	this is the book.	这是书。
495	It's fantastic.	这太棒了。
496	There are pictures and everything in there.	里面有照片和东西
497	So good chance to expand your understanding	那么好的机会来扩大你的理解
498	the many narratives of art that need to be told.	艺术的许多叙事需要告诉。
499	And so thank you again, Charlotte, for joining us.	再次感谢你夏洛特加入我们
500	Thank you everybody for joining us.	谢谢大家加入我们
501	One last thing, which is our tradition here,	最后一点,这就是我们的传统
502	which is at the end of a talk,	在谈话结束时,
503	we do like to ask people to turn on their webcams	我们确实喜欢请人们打开他们的网络摄像头
504	so that we can take a group picture	那样我们就可以拍个合影
505	and I'll unmute everybody	我会让大家放松警惕
506	so that they can thank you personally.	这样他们才能亲自感谢你
507	Thank you.	谢谢
508	Thank you so much.	非常感谢

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