Born Again Painters (Ⅱ) “重生”的畫家(下)

By V. M. Hillyer

——V. M. 希利爾（仲秋譯）

The reason other artists studied and copied his pictures is that Masaccio had found out how to do something that no artist before him had been able to do. Masaccios pictures did not look flat. He painted pictures so that you could see back into them . Perspective， you remember， we call it.

For thousands of years artists had tried to? get? per s pec t iv e， but? they? had? not succeeded very well. So the Renaissance artists wanted to find out how Masaccio got perspective.

One of his famous frescoes was a picture of the angel driving Adam and Eve out of the Garden of Eden.One of these painters who studied Masaccios frescoes was a monk named Fra Filippo Lippi—that is， Brother Filippo， which means Philip though it is spelled with an Finstead of Ph. Brother Filippo was， however， not a good and holy monk like that religious painter， Brother Angelico. Brother Filippo was a good painter， but a bad Brother.

畫家們之所以這么鉆研馬薩喬的畫，那是因為在他之前的所有畫家都無法掌握的一種繪畫方法，他卻成功地運用了。馬薩喬的畫看上去不是平面的效果，他畫的畫能讓你感覺躍然紙上。這就是“透視”，你記得嗎，我們曾經(jīng)提到過它。

過去幾千年里，畫家們一直希望自己的畫作能夠具有透視效果，但是，卻沒有人能夠做到這一點。所以文藝復興時期的畫家非常想弄清楚馬薩喬到底是如何做到的。馬薩喬特別出名的壁畫是一幅濕壁畫，場景是亞當和夏娃被天使逐出伊甸園。

在研究馬薩喬壁畫的眾多畫家中，有一個叫弗拉·菲利普·利皮的修士，也就是菲利普兄弟。這個菲利普與常見的名字菲利普的英文拼寫并不相同。它的開頭字母是 F ，而不是 Ph 。（修士就是我們曾提到的基督教修行的人，所以我們叫他“兄弟”。）但是菲利普兄弟卻與圣潔的修士、宗教畫家安杰利科兄弟不同。菲利普雖然是一個好畫家，但卻不是個遵守戒律的好修士。

It is said that he was bored with being good and with being a monk， so he ran away from his monastery. After many wild adventures， he was captured by pirates and made a slave. One day he drew with a piece of charcoal a picture of his master and the likeness was so good that his master set him free.

Brother Filippo made his way back to Italy and was hired to paint a picture of the Madonna for a convent. A convent is a building where women called nuns live. One of the nuns in this convent， a beautiful young girl， posed as the model for Filippos painting of the Virgin. Now， neither a monk nor a nun is supposed to fall in love with any one， but， in spite of what he was supposed not to do， Filippo fell in love with the nun and， in spite of everything， they ran away together. They had a son whom they named Filippino which means “Little Filippo”. Filippino became a great painter， too， even greater than his father.

據(jù)說菲利普厭倦了做修士的枯燥生活，從隱修院逃了出來。菲利普在經(jīng)歷了許多冒險之后，被一群海盜抓去，然后被海盜賣給別人做奴隸。有一天，他用木炭給他的主人畫了一張畫像，因為畫得非常逼真，主人非常高興，就把他給釋放了。

恢復自由之身后，菲利普兄弟終于回到了意大利。接著，他被一個女隱修院雇用，去畫一張圣女像。作畫時，一個年輕美麗的修女奉命作為圣母畫像的模特兒。修士和修女是不允許與任何人相愛的，盡管菲利普不應該這么做，但他還是愛上了這個修女，而且兩個人一起私奔了。他和這個修女后來生了一個兒子，名叫菲利皮諾，就是“小菲利普”的意思。菲利皮諾長大以后，也成了一名畫家，甚至比他爸爸菲利普畫得還要好。

Another artist of this time has a name— or rather two names—I like to say because each name has “ozzo” in it， a kind of rhyme. It is Benozzo Gozzoli.

In the city of Pisa is a peculiar tower that does not stand straight， but leans to one side. In the same city is another peculiar thing. It is a cemetery. The peculiar thing about this cemetery is that the ground for it was brought all the way from Jerusalem so that the earth in which people were buried would be especially holy—the same ground that Christ had trod. It took fifty-three ship-loads of this holy earth to make the cemetery. It is called the Campo Santo， which means Holy Field.

在這個時期的另一位畫家，他有一個我很喜歡念的名字 —— 或者說是兩個字——因為他的姓和名中都有一個“佐” 字，念起來挺上口。他叫貝諾佐·戈佐利。

在比薩城里有一座奇特的塔——比薩斜塔，它的塔身與地面有傾斜角度。比薩城里除了比薩斜塔，還有一個很特別的地方——一塊墓地。這塊墓地之所以特別，那是因為這塊墓地的泥土都是從耶路撒冷運過來的，所以這里用來埋葬人的泥土都是十分神圣的——耶路撒冷是耶穌曾經(jīng)踏過的圣土。比薩城為修建這塊墓地，一共用船運了五十三次耶路撒冷的土。這塊墓地叫作“坎波圣多”，意思就是“圣陵”。

Around the Campo Santo is a wall and on the inside of this wall Benozzo Gozzoli painted scenes from the Old Testament—the story of Noah， the Tower of Babel， David， Solomon， and so on— twenty-two of them. There were crowds of people in each picture and often buildings in the back of the picture.

In most of the pictures which Benozzo Gozzoli painted， as well as in those of other painters of this time， the clothing of the people was not the kind of clothing the people of Bible times wore. And the buildings in the background were not those of Bible times or Bible places at all. The artists had not visited Bible lands and didnt know what kind of clothes the Bible people wore or what kind of buildings they built， so they made the clothes and buildings like the Italian clothes and buildings of their own time.

圣陵四周有一道圍墻，貝諾佐·戈佐利在圍墻的里側(cè)畫了許多畫，描繪的是《舊約》上的故事。比如，諾亞方舟的故事、巴比倫的故事、大衛(wèi)的故事、所羅門的故事等。這些畫一共有二十二幅，每一幅上都有很多人物形象，人物后面還有許多作為背景的建筑。

和當時其他的畫家一樣，貝諾佐·戈佐利的絕大部分畫作中的人物服飾與圣經(jīng)時代人們的穿著差別很大，而且畫作中作為背景的建筑也與圣經(jīng)時代或《圣經(jīng)》中提到的那些地方的建筑完全不同。這些畫家從沒去過《圣經(jīng)》中提到的地方，也不知道《圣經(jīng)》里的人物穿什么樣的服飾、居住在什么樣的建筑里，他們只是按照自己所處時代的意大利人的衣著和建筑風格來畫而已。