耕田精灵

他们在现实中胜利的大军，在历史的记忆里却是无可挽回地彻底失败了，从最后的实际效果来看，他们浩浩荡荡的进军和投降毫无区别。

  　　苏格拉底先生认为：天堂不过是一个群贤毕至、少长群集，可供辩论的地方。也就是说，天堂其实是个聊天室，大家聚在那里分头灌些江水河水矿泉水。如果这个观点成立，喜欢辩论和胡扯的希腊城邦市民、晋朝的清淡家，还有所有年代所有国家的妇女组织肯定是喜欢的。相信上帝万能，安拉伟大，佛法无边，语言的障碍应该不是问题。不过接下来值得好奇的是：他们会在这个天堂聊天室里聊些什幺东东？

      这个问题等价于：对于来自不同文化背景的人们而言，什么话题是普适与通用的，是放之四海而皆准的？我想，可供候选的话题应该不少，比如：可以聊聊自己的父母兄弟、儿女子孙，这些是大家共有的，甚至各种语言称呼妈妈的发音都是相似的；可以聊聊食品与异性，食色性也，地球人都感兴趣，虽然有些文化擅长吃，有些文化擅长性；可以聊聊神话故事与民间传说，所有文化的神话传说都大同小异，也不知道谁抄袭了谁，谁动了谁的奶酪。荣格认为这其实是基于一种“集体潜意识”，一个种族所承继下来的整体记忆，而作家或神话传说的创作者就是集体潜意识的代言人。所以全世界人民都是同一个授权者的代言人，共同语言多了去了。

  　　现在我正在写这篇文章，所以我也是个作者，推而言之，我也是集体潜意识的小小代言人之一，所以我应该对自己的权利和义务有所了解，或者说，应该对神话和传说蕴含的意义和作用作一些思考。前些日子我去了海南三亚，那里有个叫鹿回头的地方，其来源就是一个民间传说，讲的是一个年青的黎族猎手将一头鹿追杀到临海的悬崖上，鹿一看无路可走，就摇身一变为黎族少女，嫁给了猎手，从此两人过着幸福的生活。这个故事的哲学意义是显而易见的，它恰如其分地阐述了一个重要的政治理念：如果你无法战胜敌手，你就应该加入它。或者用更加通俗的话来讲：打得赢就打，打不赢就逃，逃不掉就投降。如果这个鹿坚贞不屈，顽抗到底，无非就是作为鹿肉被烤了吃掉，像泡沫一样消失，不会留下任何影响；但这个鹿及时投降，及时转型，加入对方，结果后代繁衍，千古流芳。

  　　有人认为，在所有的科学理论中，假设最少、结构最简洁、可解释现象最为丰富的理论，当属达尔文关于适者生存的进化理论。请注意：并非勇者生存，并非强者生存，更不是正确者生存、先进者生存，而是适者生存，即适应现实环境者才能生存。而善识时务，及时投降和转型，正是其具备良好适应能力的标志。

　　  当然，投降的形象实在比较负面，但问题不大，很多观念都一直在变化之中。比如周易乾卦曰“见群龙无首，吉”，现在群龙无首却变成了贬义词。任何一种道德观念都不是天生的，而是基于某种现实利益而产生的。比如不能乱伦，不是因为乱伦天生不道德，而是由于近亲繁殖不利于后代的进化，所以我们将它设定为不道德。理论，包括道德和伦理永远是灰色的，惟有现实的生命之树长青。如果以现实的利益为参照基础，让一头羊和一头狼斗争是毫无意义的，因此逃跑才是羊的最佳道德选择；让一头在争斗王位中失败的公猴绝望抵抗，是不符合猴群的利益的，所以这时投降才是它最应遵循的道德准则。

《史记》中写匈奴人“利则进，不利则退，不羞遁走。苟利所在，不知礼义”。如果匈奴朋友们真的知礼仪到羞于遁走的程度，他们早就被汉朝大军消灭在蒙古高原上了。正是由于不羞遁走，他们一路逃到顿河以西多瑙河以东，逼迫东、西哥特人西迁并灭亡了西罗马帝国，完全改变欧洲的历史。有关影响，比鹿回头的那头鹿远为波澜壮阔。因此，勇于逃跑和投降，乐于逃跑和投降，善于逃跑和投降，的确是构造不朽的历史地位的重要途径。

  　　何况，每一种个性或每一个概念，都可以从正面与反面来进行描述，比如坚定或顽固、诚实或迂腐、果断或鲁莽，仁者可以见仁，智者可以见智。投降对应的褒义词汇也有不少，比如弃暗投明、幡然悔悟、及时转型、善于应变，等等。但由于这些概念都要四个字，占地面积比较大，有点浪费，暂且我们还是用投降这个词。

　　　投降大抵包括了两个基本概念：一是妥协，即放弃斗争与放弃抵抗；二是合作，即配合对方乃至加盟对手。

  　　妥协与合作，体现了从独居生活到群居生活、从野蛮时代到文明时代的转变趋势。古代社会组织形态尚处于幼稚期，英雄们只能独立于天地之间，与天空、海洋、神灵、猛兽作战；而现代社会组织形态已经高度发达，所有的一切都已被组合进了巨大而复杂的社会机器，无论敌人还是同伴，都已只是巨大机器上的微小的零件与程序。天空和海洋早已被仔细分割，神灵和猛兽早已逐渐灭绝。我们唯一的成功之道就是把自己纳入社会的普遍价值体系与符号体系，放弃或掩饰自己的大部分个性和习惯，依照和他人同样的模式行为。蒙田先生说得好：“入乡随俗，这是规矩中的规矩，法律中的法律。”艾略特生动地将其描绘为：“你想要进入一个圆洞，就必须把自己变为球形。”

      于是，成万上亿的人听的是同一首歌，说的是同一种语言，崇敬的是同一个明星，欢呼的是同一个球队，大家一起用同一个牌子的剃须刀剃光胡须，用同一个牌子的化妆品打点装饰，换上几乎一模一样的套装和微笑的神情，走进结构格局一模一样的办公室。如果有谁对这种一模一样表示异议，肯定会引起周围众人的惊诧和不解。可以说，在我们走向文明的过程中，我们都在习惯性地、持续不断地、条件反射型地向周围所有的人投降。

　　  战争是没有规则的规则，给大胆假设留下了充分的空间。在三十六计中，最后一计是“走为上”。如果说逃跑是公开版本的第36计，投降就应该是绝密版本中更进一步的第37计，作为潜规则，天机不可泄露，只能做，不必说。《道德经》第六十九章曰：“用兵有言：吾不敢为主，而为客；不敢进寸，而退尺。”用通俗的话来说就是：我们退退就赢了。这是很高深的学问，要慢慢学。萧伯纳说：女人想要指挥丈夫，只有一个秘诀：服从他。这是更加高深的学问，可以作为回家作业。

　　　投降和恋爱一样，不能一厢情愿，一方面有人要投降，另一方面就要有人接受投降，两者不可偏废。喜欢投降是一种文明、喜欢被投降更是一种文明。伯纳德·路易斯在他的著作《中东：自基督教兴起至二十世纪末》中提出：在古代中东的一大堆民族中，希腊人、罗马人、犹太人这三个民族在文明的塑造中时起着关键作用，其原因就是：比起其它民族来，这三个民族更加乐于接受投降。

      所有的民族都会在自己本族人和外人之间划出一条鸿沟，这三个民族虽然未能免俗，但却都在这样的鸿沟之上架起了通畅的桥粱：对于希腊人的外人而言，只要他接受了希腊的语言和文化，他就不再是外人而是希腊人；对于犹太人的外人而言，只要他接受了犹太的宗教和律法，他就成为了犹太人的自己人；对于罗马人的外人而言，只要他获得了罗马帝国的公民权，他就享有了和其它罗马人一样的权利。在现代世界，规则同样如此，一个外人要成为真正的美国人，比起要成为真正的法国人、德国人、中国人、日本人来，确实要容易得多。凡是大都市，其主流人物多来自于外地；凡是小城镇，其主流圈人物基本上源自于本地。善于被投降，比起善于投降来，可能更为重要。

  　　在男女之间虚虚实实、真真假假、敌进我退、敌驻我扰的追逐中，谁是真正的追者，谁是最后的被追者，往往是一笔未必说得清的糊涂帐。同样，谁是投降者，谁是被投降者，也未必简单如事情表面显示的景象。如果能够按下历史的快进键，我们可能会看到，一支开拔征战的雄伟大军，金戈铁马，勇不可挡，烧杀劫掠，所向披靡，但是最后，其实它是向被烧杀者无条件地投降去了。各位，让我们想象一下，这是多么壮丽而妖异的一幕。很多草原部落蹂躏征服了其它国家，但是若干年后，他们自己的语言、习俗、法律统统改变了、消失了，彻底同化和淹没在被征服者的文化之中，甚至连它存在过的痕迹都没有留下！如果大家同意笑到最后的才是胜利者，那么，他们在现实中胜利的大军，在历史的记忆里却是无可挽回地彻底失败了，从最后的实际效果来看，他们浩浩荡荡的进军和投降毫无区别。

  　　今天，战争仍然在继续，此地断垣废墟、哀鸿遍野，彼处辉煌凯旋、歌舞升平的景象，过去有，现在有，将来也有。但是，历史的性情往往是意味深长、难以揣摩的，最后到底谁赢谁输，谁会毁灭无痕、谁会源远流长，天知道，未来知道，我们都不知道。

结结巴巴


  　　禅宗慧经禅师有偈曰：
　
　    清清净净一灵光，刹刹尘尘不覆藏；
      万万千千都失觉，多多少少弗思量。
　　　明明白白无生死，去去来来不断常；
      是是非非如昨梦，真真实实快承当。

  　　很明显，这位禅师朋友是个结巴。
  　　
俗话说瘸子路多，结巴话多，话一多，一不小心成了演说家或诗人，这也是可以理解的。有些有此特征的人比较坦荡，比如诗人伊沙先生就曾经自我反思："结结巴巴我的嘴/二二二等残废/咬不住我狂狂狂奔的思维/还有我的腿。"当然他最后的态度不是很端正："你们瞧瞧瞧我/一脸无所谓。"看来还需要继续加强批评和自我批评。也有的诗人努力掩饰自己的缺陷，但不经意中还会留下蛛丝马迹，比如李清照女士，一激动就"寻寻觅觅、冷冷清清、凄凄惨惨戚戚"地结巴起来，当然她马上反应过来，刹刹刹住那狂狂狂奔的思维，轻声款语些"乍暖还寒时候，最难将息"之类，也就糊弄过去了。
      按照司空图的《二十四诗品》，结结巴巴的诗句应符合其中第一品"雄浑"的标准："反虚入浑，积健为雄。荒荒油云，寥寥长风。超以象外，得其环中，持之匪强，来之无穷。"谎言假话多重复几次就成了真理，空话虚话多重复几次就变得雄浑，此即所谓反虚入浑、积健为雄，如如如如如果真是结巴到死死死循环的境界，那就是所谓的持之匪强，来之无穷了。
　　  需要郑重声明，结巴不是一个贬义词，亦未必是一种负面的特征。首先，人之初，性本结巴，所有的儿童都是结巴，把车说成车车，把人说人人，把狗说成狗狗（可参考动画片《天线宝宝》），因此，结结巴巴意味着纯洁和童贞。当一个人不这样结巴的时候，就可以认为他已经失贞。其次，作为儿童时代遗留的特点，我们称呼亲密的长辈家人，依然保留了结结巴巴的称谓语言，比如爸爸、妈妈、舅舅、伯伯、爷爷、奶奶，等等——这是儿童的语言习惯，而反过来的儿儿、甥甥、侄侄、孙孙等称谓就不可能存在。也就是说，结结巴巴意味着亲情与依赖。其三，作为对以上家人称谓的模拟，成年人对自己的朋友、情人，亦会依照同样的结巴模式构造相关称谓，比如将张三称为三三，将李四叫做四四，将王二麻子昵称为麻麻。
      在不存在感情的地方，就不会有这种结巴存在。骆宾王的《为徐敬业讨武曌檄》绝对不会写成《为徐敬业讨曌曌檄》；毛泽东号召"打倒蒋介石、解放全中国"，也是不会说成"打倒介介，解放全国"的——亦即，结结巴巴意味着友谊和爱恋。作为一种象征着童真、代表着亲情、友情和爱情的东西，怎么可能是贬义词？
  　　结巴的特征和本质是重复，而且它重复的是一个单独的字，而非重复词语和句子。后者叫做强调、重申、反复说明，或者可能是回声或录音设定失灵，前者才是纯粹的结巴。从这个角度来看，结结巴巴其实是一种对语言的解析，它将语言的规则击破，将单独的字从词语的束缚中释放出发，让它自由自在地漫游开来。"滚滚滚滚滚滚滚滚滚滚滚滚滚滚滚滚滚滚滚滚滚滚滚滚滚滚向前"就与 "滚滚向前"有了根本的不同。歌曲中常有的最后一段的"啦啦啦啦啦啦"更是典型挣脱了歌词限制的自在无拘的漫游者。爱默森说："诸神把人分为人们，使他比较便于帮助他自己，就像你把一只手分为五个手指，可能更有用处。"《欲望号街车》中的白兰度说："在新奥尔良那些多雨的下午，每个小时似乎不再是小时，而是零零碎碎的永恒落在了你的手中。"当一个人结巴的时候，他的手便分分分分分为了五根手指，而更更更零散的雨点，就分别落在了每一个指尖上，落成了无数个被解析的细小微茫的永恒。
　　　日常生活中的结结巴巴将单独的字从词语和句子中解放出来，科学中的定理和定律将单独的简单规则从繁茂芜杂的世间万象中解放出来。但是，在我们的头脑中，还有许多与生俱来、形形色色的监狱，囚禁着无数绝望而麻木的无辜思想。
  　　比如，在我们叙述任何一种事件和现象的时候，如果去掉错杂蔓生的枝叶，去掉反光与阴影，去掉色彩，去掉形状，去掉所有的形容词和副词，在这个意义的囚室的幽深之处，总有一种简洁、干燥、轮廓分明的"元语言"的表述，比外在的表象世界远为无情而锐利。
　　  《哈姆雷特》讲述了什么？某人的叔叔杀了他父亲，占了他母亲，他后来杀了他叔叔，杀了他母亲，然后自杀。结束。
　  　《红楼梦》讲述了什么？大家族里一群人，游玩、喝酒、吃饭、写诗、恋爱、争斗，继续游玩、喝酒、吃饭、写诗、恋爱、争斗，后来家族解散，有的死，有的走，有的做了和尚。结束。
　　  《教父》讲述了什么？一个帮会头目，对手杀了他父亲、哥哥、妻子、女儿和朋友们，他杀了他另一个哥哥、反叛的朋友们和许多对手，他在一条狗的陪伴下死去。结束。
  　　戴安娜王妃遇难的故事是什么？我所看到的最为元语言的表述是：一个英国王妃和她的埃及男友在乘坐一名喝多了苏格兰威士忌的比利时司机驾驶的一辆带荷兰引擎的德国汽车时被一群骑着日本摩托的意大利狗仔队追逐而在一个法国隧道发生车祸救治她的是一个美国医生用的药来自巴西。
  　　罗兰·巴特说得好："任何现实世界中的事物，就与人的关系而言，从来都存在三重面貌：真实的、意象的、书写的。"我们看到的是书面的面貌，我们感受到的是意象的面貌，但是在它们的背面，在路或墙的尽头，像雕像一样亘古如初的，还有我们一般都不会去注意的真实的面貌。
  　　元语言的表述不一定是最简单的表述，而是以最冷静、最漠然的方式表述其中最核心与最实质的内容。鲁迅先生把"秋日菊花下，寒蛰在悬肘"表述为 "秋天在菊花的生殖器下，蟋蟀们在吊膀子"；一个自称李长吉的先生将松尾芭蕉的"蛙跃古池内，静潴传清响"的俳句演绎为"青蛙跳进老池子，扑通"。德国神学家施莱艾尔马赫擅长布道，每次都是听众云集，对此，他的解释是："听众由学生、妇女和官员组成，学生们来听讲道，女人们来看学生，官员们来看女人。"任何属于日常语言的书面和意象的东西，都可以翻译为元语言的表达。
      当我们被生活中的事件和现象所困扰的时候，不妨抛弃充满夸张与偏执情绪的日常语言，改而用元语言来进行描述与观察，也许，那些大都源于自我构造的困扰就不再存在了。一个让人激忿难平的情人背叛的过程可能只是："我向MM提供条件A，甲提供条件B，B大于A，MM同意。"非常正常的逻辑而已。一个让人后悔不已的犯错的过程可能只是："选择路径A或路径B，选择路径A，错，回到原地。"回到原地再选择路径B就是了，非常常识的事实而已。世界本是简单的，复杂的只是我们。
　　　透过结结巴巴的语言，我们会听到单纯之温暖；透过元语言的滤镜，我们会看到单纯之冰冷。
  　　因此，对这篇文字，温暖的表述是：它一、一一半写写、写了结结巴、巴巴，一一半写、写了元元元、元语言，好好好玩。而冰冷的表述是：以上共2664字。结束。

                     神秘的关系

寂寞就是相互依恋的人与人之间依然游移不定、无法消除的距离

      里尔克在《沉重的时刻》中写道："此刻有谁在世上的某处哭 / 无缘无故地在世上哭，在哭我 // 此刻有谁在夜里的某处笑 / 无缘无故地在夜里笑 / 在笑我 // 此刻有谁在世上的某处走 / 无缘无故地在世上走 / 向我走来 // 此刻有谁在世上的某处死 / 无缘无故地在世上死 / 眼睛紧紧地望着我。"
      有宗教感的，能感到悲悯和沉重；有受害感的，会感到惊恐与不安。当然这两者也没有根本的区别，宗教就是把我们对无限的恐惧提高到一个程度，让我们不再为这种恐惧而感到羞愧，所以这两种恐惧是一致的。当然现在恐惧的内容有了新的特色，人们更害怕的可能不是上帝，而是脂肪。
      但相同之处是，我们似乎都认为：我们与陌生的人们之间，似乎存在着一些比日常关系之外更加复杂、更加神秘、难以言喻的关系。

世界上有许多人会因他们共同的爱好而建立起某种组织，比如绿色和平组织或者基地组织，或者就像博尔赫斯的世界代表大会，一个无限大的小圈子。张炜在《柏慧》中认为："也许世界上所有的好人原来都是一个部落的，有着血缘上的联系，后来才离散到各个民族。"虽然相见不识，但接头暗号应该还是有的，或许佛祖拈花、迦叶微笑，微微一笑、天知地知、你知我知，就是这样的接头暗号。如此庞大一个西天总部，接上头的只有两个，可见好人和大熊猫一样，好是好的，少也是少的。同样，或许蒙娜丽莎也一直在渴望与同伴接头，所以才发出永恒的微笑的暗号，每天人潮如水流过卢浮宫，她却只能笑得愈发孤独。
      所有孤独的人或许也源于同一种血缘关系，孤独与环境无关、与心境无关，与天性中的遗传有关。苏格拉底在战场的厮杀中感到孤独；笛卡儿在阿姆斯特丹交易所的拥挤中感到孤独；维特根斯坦在剑桥大学的校园里感到孤独，以至于宁可去做医院的清洁工和山村的小学教师；被记者赞誉为"她的脸是人类可以演进的终极"的嘉宝，在她的每部电影中，几乎都会说："请让我一个人呆着吧"；里尔克说："我在世上太孤单了，但孤单得还不够"。城市越大越孤独，所有的人都在走向孤独，这个部落前途宽广无限。
      不少哲人喜欢谈论孤独、寂寞与无聊，这应该是他们的强项，就像母亲喜欢谈论孩子，色鬼喜欢谈论女人，农民喜欢谈论庄稼。
      孤独发生在"我"和"我"之间，孤独就是自己和自己的交谈。孤独部落的人们喜欢自言自语，有声或者无声。"我是谁"？"谁是我"？这应该是这个部落成员最普通的日常礼仪语言，就像其它人所说的：请、谢谢、对不起、再见。他们理所当然地认为，自己和自己并不完全是同一个人，"当你看着镜子的时候 / 那是一种对陌生者的冒犯。"
      寂寞发生在"我"和"你"之间，寂寞就是相互依恋的人与人之间依然游移不定、无法消除的距离，无论童安格的"你说我像云忽远又忽近，其实你不懂我的心"；无论罗大佑的"留不住你的身影的我的手，留不住你的背影的我的眼"。但寂寞在最负面的时候依然是温暖的，它只是在不完美的情况下对完美的一声叹息，不完美的东西，终究还是美的，甚至很美。
      无聊发生在"我"和"他（他们）"之间，无聊是一种处境，我与人群相互碰撞、交错、纠结、经过，但毫无关联，"你走到哪里，哪里就一无所有"。就像穿过一串串的泡沫，它们在你的身前不断破碎，碎成一片无意义的荒漠，什么也留不住，什么都显不出。
      最复杂神秘的概念是"我们"，当涉及利益时，"我们"指的是"我"（比如：这样做对我们是有利的）；当涉及责任时，"我们"指的是"你"（比如：我们应该作出一些牺牲）。社会学者总结得好：在爱情和家庭问题上，对有人应该作出牺牲这一点，大家从来都没有异议，人们一直在争论的只是到底该由谁作出牺牲。
      犹太教圣法经中写道：上帝申斥亚伯拉罕："如果没有我，就根本不会有你。"亚伯拉罕谦卑地回答："是这样，我的主，对此我非常感谢。但是话又得说回来，如果没有我，又有谁知道你的存在呢？"
      希特勒在一次演说中，把这一概念表述得更加清晰尖锐如一把利剑，他对台下的德军士兵激烈咆哮："你们所有的一切都透过我的存在而存在，而我所有的一切都透过你们的存在而存在。"
      这一关系的要旨在于：其一：如果没有相对应的对象的存在，个体自己就会失去存在的价值；其二：每一个个体的存在价值，很大程度上都被相对应的对象所包涵。
      因此，维护自己存在的方式有两种：保护自己、或者保护对手；同样，摧毁自己存在的途径也有两条：消灭自己、或者消灭对手。
      是先有新闻才有媒体，还是有了媒体才有新闻？是有了凶手才有罪行，还是有了罪行才有凶手？是有了战争才有军队，还是有了军队才有战争？无数鸡和蛋的问题，滚滚而来、滚滚而去、一地鸡毛、漫天尘泥。
      神秘的东西常常是简单的而不是复杂的，一扇慢慢摇荡开来的门、一双从黑暗深处缓缓伸出来的手、一个莫测其意的诡异微笑——它们都单纯、专注并且充满神秘气息。梅特林克在《卑微者的财富》中写道："日常生活有一种悲剧性，它比巨大的冒险事件的悲剧性远为真实、远为深刻，远为符合我们真正的存在。"同样，日常生活的神秘性，也会比遥远世界的神秘性更为生动，更为具体、更加伸手可触。床底下的幽暗，比星空更神秘；门背后的阴影，比传说更惊栗。黑格尔说得好："众所周知的东西，正因为它是众所周知的，所以是根本不被人们所认识的。"
     塞林格的《九故事》中的神秘是简单的：一个家伙经常偷偷跨越中法边境。
      爱伦.坡的侦探小说中的神秘是简单的：那张纸藏在某本书的第1页与第2页之间。
      神秘这个概念本身就是简单的：即把原来毋须明白的事情表述为不明与不白；保守秘密的办法是简单的，本杰明.富兰克林说：三个人可以保守一个秘密——如果两个人死了；构造神秘的方法亦是简单的：比如只需引入几句神秘的语言。《智取威虎山》中的土匪说："天王盖地虎，宝塔镇河妖。正晌午时分说话，谁也没有家，莫哈莫哈"。《淮南子.卷2.淑真》中的哲人说："有始者，有未始有有始者，有未始有未始有有始者；有有者，有无者，有未始有有无者，有未始有夫未始有有无者（大抵意思是是万物开始萌动，万物尚未萌动，万物尚未萌动之前；宇宙已经形成，宇宙尚未形成，宇宙尚未形成之前）。"土匪和哲人的游戏规则是相同的：凡是听得懂的，就是知道自己在絮叨些废话的自己人；凡是听不懂的，就是觉得自己的话充满了神秘的外人。
      有些关系像河水一样慢慢流淌出来，也有些关系会像火山一样喷溅出来，或像地震一样撼落下来，猝然而至、无由无端，与逻辑无关，与经验无关，与情理无关。
      《小王子》中，狐狸对小王子说："原先，对我而言，你和成千上万的小男孩完全相同，我不需要你；对你而言，我和成千上万的狐狸没有两样，你也不需要我。但是，假如现在你驯服了我，我们彼此就互相依恋了：对我来说，你是世界上惟一的；对你来说，我也是世界上惟一的。"
      正如火山与地震可以创造世间美景，战争与暴力同样可以建立起最终让人心醉心碎的美丽的秩序与联系。如果以深远广阔的历史作为背景，那么你会发现，任何一种今天的安定祥和的美丽生活，其实都是在昔日血腥屠戮的历史上长出来的；或者从另一个角度来看，假设今天有我和你这两个国家或两个民族，如果我用暴力侵略了你、屠杀了你、蹂躏了你、征服了你，很久以后，我们的子孙肯定就能过上同胞的相亲相爱、和谐安宁的生活。相反，如果我没有征服你，我们的子孙将来也许就会成为敌国的仇人。个人的体验与历史的体验，有时遵循的是不同的逻辑。
      其实个人的体验也有某种随着时间而产生的变迁：当我们回想许多年前的经历时，不管这些经历在当时是喜悦的还是痛苦的、是明亮的还是阴郁的，只要它能在记忆中留存到现在，它们都会成为温馨的体验。拉赫玛托娃对这种令人疑惑的现象给出了更加让人疑惑的解释："我们回想起来的并不是已经发生的事，而是某一天回想起来的东西"。
      这种矛盾的关系，甚至可以达到某一种畸形的极致：一部电影中，杀手一边将匕首缓缓刺进受害者的胸膛，一边温柔地喃喃安慰："你现在不再孤独了"。
      不再孤独了——多么美好的一个意念。
      欧阳江河对孤独的哈姆雷特的描绘是：
      "他来到舞台当中，灯光一齐亮了，
      他内心的黑暗对我们始终是一个谜。"

1、香港雨季多雨，或淅淅沥沥，或阴郁沈蒙，一如江南的黄梅季节。
记得宋人赵师秀描述江南梅雨，有诗曰：
黄梅时节家家雨
青草池塘处处蛙
有约不来过夜半
闲敲棋子落灯花
中环金钟有雨、有夜，但无池塘、无蛙
也会有约，但有约不来，岂能过夜半？按照都市的节奏，早已拿起手机骂将过去，或愤然甩门而去了
夜半，寂静，等待，棋子敲落灯花的透明空灵的心境，也许只能属于怀旧的传说了

2、 香港优秀女性多多。
陈方安生、范徐立泰、方黄吉雯───都是名声赫赫。
但北京的不优秀的女孩子倒也很安慰：至少自己的名字独立自主，与他人无涉。不象解放前一不小心就成了张王氏李吴氏。
有人搞笑曰：据说查史美伦正是为了创造条件改名史美伦才愿意弃高薪到内地就职──有精神追求啊。
有个姓刘的香港女性朋友说，她将来要找老公最好姓尚，一定不能姓夏。
如果人生难免，上流总比下流好。

3、 香港如山城，道路顺山势而曲，楼盘沿山势而起。
香港是海岛，餐馆里吃的是海鲜，歌里唱的是"让海风吹佛了五千年"
俳句有山静养性，水动慰情之句。
论语有仁者爱山，智者乐水之言。
山水的气质是相异的。比如重庆和成都，巴山蜀水，重庆是巴文化、山文化，成都是蜀文化、水文化，重庆的气质鲜明坚硬、成都的气质悠闲温情，无怪乎他们之间喜欢互相批评了。还好现在分为两个省了，领导英明。
但山水兼有，是福气了。
可惜少了些山珍。

4、 看一本香港地图，一不小心就数到七个涌、六个塘、十一个湾。
想起以前在北京，一个朋友在电话中音调幽幽地说：我工作在八王坟、住在索家坟、以前住在公主坟，现在我正在八宝山──若是月高风黑夜，能听出你一身冷汗来。
小时候第一次读到徐志摩译的"枫丹白露"、"翡冷翠"、"香榭丽榭"的地名，情不自禁就会心驰神往。
觉得这样的好名字太少了。
但有朋友说 ：错了。名字的魅力不在于这个词的词意，而在于关于它的故事与传说，否则卡萨布兰卡不过是五个乏味的字，而不是一种回肠荡气的忧伤。
他是对的。我记得上海有一家情调浪漫优美的餐厅，包间的名字就是维多利亚港和铜锣湾，而不是词意本身要诗意得多的丽水、赤峰或铜川。语言的后面有广阔的时空。  

                                                                     痛哭

"二月，墨水足够用来痛哭。"帕斯捷尔纳克写道。
　　这位仁兄体验过苏联特殊年代的悲剧，有资历写些激情悲痛的话，不象生活在暖融融懒洋洋之中的我，国泰民安、文定吉祥，激情处最多只能写到笔和墨水在疯狂地繁衍，悲痛处最多只能写到用完的笔很寂寞、墨水留下的划痕很寂寞，
　　痛哭和爱一样，是绝对不能轻易说出口的，不到决定性的时刻，谁说就是谁错。
　　有人说，一个女人一生中最美的只有某一刻，在这一刻之前是准备阶段，在这一刻之后是回味阶段。席慕蓉写道："如何让我在最美丽的一刻遇见你，为了这我在佛面前求了五百年。"可见此事做来不易（当然她说得也有些过份，等到500岁还想等美丽一刻，黄花菜都凉了，很缺乏可行性）。对于男人来说，其情感模式之中，也有最巅峰的一刻，就是一场痛哭，之前之后，都是平原，只有这一刻是高山。而在女性的情感模式中，这种地貌特征就很不明显，到处有无数的哭哭啼啼的群山和丘陵，反而显不出任何一座高峰的巍峨与庄严。 
      在一般人的概念里，哭总是与悲伤联系在一起，这是一种普遍的误解。我们要以警方专业人员的严谨态度来予以分析，在凶案现场和被害者在一起的，未必是凶手，而完全可能是亲人和救援者。从发案时间来看，悲伤在前，哭泣在后，然后悲伤逐渐淡化和消失。也就是说，哭泣不是悲伤，而是减去悲伤，即负的悲伤，即快乐。再进一步推演一下，无声的凄泣就是无声的快乐，嚎啕大哭就是带有欢叫声的快乐，极度痛哭就是达到极致的快乐。里尔克在《杜依诺哀歌》中写道："流泪的面容使我神采奕奕 / 隐隐约约的哭泣使我焕发抖擞 // 对永恒的大地说：我在奔流; / 对迅疾的流水说：我在停留。"那种享受哭泣快感的喜悦，已经溢于言表。历史学家曾经疑惑于罗马暴君尼禄Nero的矛盾：他平时杀人不眨眼，但看悲剧时却会流泪不已。现在理解了上述原理，就知道他的行为并无矛盾之处，流泪和杀人，都是快感的呈现，如阿拉贡所描述的"我的诗韵须有这份魔力 / 武器上面呈现着泪滴"，那是双重的痛快之极。
     从另一个纯生理的角度而言，无论对于人还是动物，除了血液之外，各种体液的流出往往同时伴随着快感的产生。稍加分析又可以非常有趣地发现，女性和男性在哭泣与流泪这件事上，其发生频率和快感程度的区别，与女性和男性的性反应模式的区别是一致的。女性的流泪是丘陵般一轮轮起伏的快感，男性的流泪是巅峰般突然兀立又崩溃的快感，当然，这只是个人的非主流见解，为了广大纯情善良的女孩子在哭泣时不至于产生任何心理负担，在此特别郑重声明：如有雷同之处，纯属巧合。 
      当然，积极的态度是：越真实地了解它，才能更正确地做好它。个别道德水平比较超前的同志，已经在对我们长鸣了警钟：现在人們在表达情感的体液中，泪水的比例越来越少了。因此，研究痛苦、分析痛哭、宣传痛哭，明显是一种非常健康向上的人生态度的体现。 
      细细地体会，最让人震撼难忘的痛哭，并不是针对某件具体的事情的痛哭，而是那种似乎无由无端的痛哭，一种对生命、对世界的无法解脱的根本的孤独感的痛哭。第一次真切感到，是听滚石的《As tears go by》："正是傍晚时分 / 我坐下来，看着孩子们玩耍 / 我看见了笑嘻嘻的脸庞 / 但那不是迎接我的 / 我坐着、看着/直到泪水流逝。"听到的时候，也正是在黄昏的暮色苍茫之中，城市的人流和车流正向回家的方向流淌，但无论他们往哪一个方向，他们都是在往死亡的最终的方向流淌。那些微笑、那些脸庞、那些普普通通但充满温情的黄昏，以后有谁会知道它们曾经存在过？记得某一部电影的台词，孩子说：Good bye；父亲说：不对，应该说See you later。这是一种美好但骨子里有一份绝望的概念。我们所有的聚会其实都是为了离别的聚会。 
      这种痛哭有时是突然和具象的，如亚历山大大帝有一次和部下摔跤游戏，忽然放声痛哭："我之所以哭，并不是因为我输了，而是因为我突然想到，即使我征服了天下，到了最后，埋葬我的地方，也不过就是我摔倒的地方那幺大小的样子。"有时这种痛哭会是长久而抽象的，是一种未必转化为外在行为的精神深处的痛哭。就象海子的诗句"你说你孤独就象很久以前 / 长星照耀十三个州府 / 的那种孤独你在夜里哭着 / 像一只木头一样哭着 / 像花色的土散发着香气"。哭成了土、哭成了木，也就成了大地和森林之哭，也就是河水奔流、万物生长。 
      这种基于孤独感的痛哭，也是对于孤独感的享受，就象从一个充满了热烈的光影喧嚣的客厅里走出，外面夜色肃穆、月光如水、四野沉寂，一种孤独感会油然而生，但与此同时，刚才在喧闹中被淹没被同化的内心中的自我，也悄然醒来了，好象自己的一部分原来走失了，突然就静静地回来了、在了。最孤独的时候就是最充实的时候，有时。 
      同样让人难忘的，还有一种基于绝望感的痛哭。前者为四顾苍茫无枝可依而哭，后者为四面是墙无路可走而哭。蒙田写道："－－既然一切都无法挽回，那你为什幺又无端地悲伤呢？－－我正是因为这个而哭泣。"这一场痛哭，堂堂正正、毫无用处，可谓是完美而纯粹的痛哭。 
      还有一种效率比较高的痛哭模式，是在自己不方便或不适合的时候，让他人代自己痛哭。当然最好的替代者绝对不是那种职业哭嚎的中年妇女，她们太做作；最佳选择是让天地风雨来代替，纯自然、很环保、有气派。 
      其中有午茶点心式的微风细雨，兰波写："雨轻轻在城市上空落着"；魏尔伦接着写："雨落在我心中，仿佛雨落在城市上"。细雨和泪水，除了味道，本来就难以分清。据说他们诗句中那种温柔的音韵感只能用法语表达。但我们也有我们的音韵感，戴望舒从"雨中丁香空结愁"中，衍化出一曲潮湿精致的《雨巷》，颇有老中医的风情；也有正餐宴会式的狂风暴雨，"大雨从秋天下来，万物作响"。天地激情，可以囊括痛哭的声、色、势、韵。推向极致的狂风暴雨，就是推向高潮的椎心痛哭，依照上述论证，也就是达到高潮的完美体验。所以在飓风骤雨发泄过后，天空和大地总是疲倦而清新。 
      作为一种简洁易行的愉快体验，哭可以存在于许多不同的生活场景之中。哭是一种爱恋，如诗人小引所述"我疼爱的表妹 / 住在江北 / 谈着恋爱 / 流着眼泪"；哭是一种休息，经过一段疲惫的争斗之后，"你告诉我 / 你很累 / 想哭。"明显是一种随意小憩；哭是一种倾诉，舒婷说"与其在悬崖上展览千年，不如在爱人肩头痛哭一晚"。有人认为如果手头一时没有爱人的话，也可以如国家机器的肩头痛哭一晚。这种痛哭当然就是淋漓舒畅的倾诉；哭是一种宠物，据说人之所以宠爱猫咪，一种可能是为了有机会抚摸老虎，另一种可能是因为猫的叫声如同小孩的哭声，因此宠爱猫咪可能就是宠爱哭声；哭是一种风景，"鸟去鸟来山色里，人歌人哭水声中"，有山有水、有声有色，风光胜地的基本要素完备。当然，人类的享受渠道永远是多元化的，类似于哭的愉悦还有许多，比如愤怒、哀愁、心疼。周国平说得好："我不知道什么叫爱情，我只知道，如果那张脸庞，没有使你感觉到一种甜蜜的惆怅，一种依恋的哀愁，那么可以肯定还没有感受到爱。"不愁不疼，感情不真；不打不骂，隔膜很深；不赌不嫖，不是华侨。这些都是日常的道理。 
      红楼梦中说：女人是水，男人是泥。依此类推，把男人和女人结合在一起，就是水泥。水泥一旦制成，不能多加泥，但是可以多加水。这是曹伯伯和高叔叔搞出来的比喻，大家不要打我。当然对此比喻可以有一些其他的后续解读：水泥可以多加作为眼泪的水，水越加，水泥越坚固。可见女性的泪水是一种强力黏合剂。"女人在最软弱的时候最强大"。很多伟大英雄都对这一观点抱有深深的敬畏。枪林弹雨刀锋浪尖都熬过来了，却会在最软弱的力量的胁迫下进入最终的败局。从这种意义上来说，浪花淘尽英雄的滔滔东逝之水，仔细考证，可能就是女性的滔滔泪水。 
      写到此刻，窗外，风在吼，雨在下，遥远的黄河可能在咆哮、可能在呻吟、可能在保持沉默。 
      一切都隔了着玻璃，咫尺天涯，是另一个世界的故事。 
      里特说，故事的真谛在于：使他们哭、使他们笑，使他们等。 
      我们等。

 

 

《出神者》

      在世界著名的雕塑中，罗丹先生的《思想者》可能是与医学界关系最为密切的作品之一。最早我曾在一家牙医那里看到它，说这位托着下巴的先生患的是牙疼；后来又在一幅泻药的广告画中看到它，说这位先生明显被便秘所折磨；而最近一次看到它是源于偏头痛药物的推销者，他们确信这位先生的麻烦一直就是头痛。从另一个角度来看：牙疼和便秘的姿态形象，和思想是非常相似的；或者说，很多我们以为是思想的东西，其实不过就是牙疼与便秘。
      但思想和头痛倒确实属于近亲。从广义而言，思想就是头痛的一种。思想刺激的是头部的神经网络，就像食欲和性欲刺激的是腰部上下的某些神经网络。就海拔而言，思想比起食欲和性欲明显高了一筹。有几个女孩子在叽喳啾啾地聊着鞋子和裙子，老父亲在边上忍不住道："你们能不能谈些高尚些的东西呢？"可爱的女儿从善如流："好啊，我们来谈帽子吧。"其实老父亲也有放弃高尚的打算，他向他的医生诉苦：他的性欲太高了，希望能降低一半：从头脑部位降低到腰部以下的部位。上帝的可归上帝，恺撒的当归恺撒。
      不过有一种讨人喜欢的观点认为：这位先生第一没有病，第二也没有在思想，他只是在闲来无事，发发呆、出出神而已。
      按照比尔斯的说法："出神，就是我正在我不在的地方。"我在的地方只有一个，我不在的地方却可以有无限多个，所以如果出神是一种旅行，那么它就是一种没有目的、随心所欲、心骛八极、神游万仞的漂泊，是精神达到黑带九段的高度自由。如老子所言：不出户，知天下；不窥牖，见天道。这一点瘦瘦的亚里士多德同意："玄想是人类的最大幸福。"事实上清矍的古代中国或印度的智者，其标准CI神情就是淡淡出神；胖胖的加菲猫也同意："除了吃和睡，生命也许还有其它的意义，不过我觉得没有就挺好——有人管这叫懒惰，我称其为沉思"。它的沉思应该伴有隆隆的鼾声。
      根据美国医生邓肯.迈克多葛Duncan Macdougall在1907年的一份实验报告，濒死的病人在停止呼吸的瞬间，体重会减少1～3盎司，邓肯先生认为这就是一份灵魂的质量。同样，出神的一刹那，灵魂也应该飘浮而出，也会减少1～3盎司。这个量是微小的，但是假如遇到一些特殊情形，比如中国足球队大胜对手，获得世界杯冠军，那一刻，十万人大体育场的全体观众应该全部集体发呆，全场就会在一瞬间减少10万～30万盎司，即好几吨，相当于有几头大象猛然腾空浮起。保尔瓦莱里说：应该像一只鸟那样轻，而不是像一根羽毛。此时，鸟的轻逸已经不够刺激，应该像大象那样轻，而不是像一只鸟。
      维克多.吉罗曾经近乎于有受贿嫌疑地赞美："如果整个法国文学只能让我选择一部书留下，就是帕斯卡的《思想录》。"人不过是一根芦苇，是自然界中最脆弱的东西；但它是一根能思想的芦苇"。树可以抓住，风抓不住；岸可以留下，水留不下；人可以被囚禁在四壁之间，精神却依然能够漫游向四面八方。看过一部叫《蝴蝶》的书，主人公为恶人所害，被关入仅能容身的黑暗地牢，在那里，一般人几天之内就会发疯，但他几十天之后依然神情自如，他的诀窍是：想出各种刁钻恶毒残酷的办法，想像将来自己能恣意报复那个害他的人。越想越爽，越想越喜欢，简直要笑出声来，流下幸福的哈喇子了，那里还有闲暇去发疯。
      哈姆雷特先生同意这种思想自由的威力，他说："即使我身处果壳之中，我依然可以相信自己是宇宙之王。"
      霍金先生也同意，写了本书就索性就叫《果壳中的宇宙》。对于只有两个手指能够动，脑子却在琢磨宇宙大事的霍金先生来说，这一名字几乎是量身定制。设身处地想一想，他看到其它人都有两到三只手，每只手上有五到六根手指可以乱动，差距巨大，心理难免不太平衡。所以他就专门研究宇宙To be or not to be的超大型课题，原因就是要矫枉过正，把失去的空间补回来——值得一提的是他曾经是钢琴好手的前妻也写了本书，名字叫《音乐激活群星》，意思当然是指霍金先生那两根能动弹的手指获得的"第一推动"其实是那双弹钢琴的小手。他们好像都比较喜欢隐喻，这也是可以理解的，当日常生活充满隐喻，隐喻就成为了生活。
      崔健唱道：闭上眼，只有过去；睁开眼，只有我自己。
      再闭上眼，再睁开眼，是不是还是自己？
      眼睛眨动的瞬间，出神的速度应该像一支飞驰得近乎停滞的箭。
      可以穿过手指："手指和手指相对/默默无语/天各一方"
      可以穿过脚趾："那时整个世界都前言不搭后语/所有的镜子都支离破碎/话语也不全是出自口中/我最得意的一次/竟是从脚趾头上/发出恋人的絮语"。
      可以穿过头发："在镜中梳头/从上方流过/一群有着我身体的长发。"

        从容不迫自然是一种境界，就象瞿秋白那样赴死，但是，慷慨激昂、高呼口号赴死的，也不见得都是心头发虚、高度紧张神经质的表现。我小时侯看电影里的革命英雄，牺牲之前高喊口号高唱，常常感觉天地之间自有一股浩然之气。
    每个时代都有每个时代的语言和英雄方式。中国历史上受酷刑甚至千刀万剐却慷慨激昂、破口大骂赴死的英雄，也不少见。从容不迫是一种境界，壮怀激烈、刚烈赴死也是一种境界。正如黑与白、阴与阳、刚与柔、太阳与月亮一样，谁能以此来否定彼呢？
　　"从容者是强者、忙碌者是弱者。"从强者、从容的角度来看，同意。但是，忙碌者真的都是弱者吗？蚂蚁有蚂蚁的活法，蜜蜂有蜜蜂的乐趣，麻雀和兔子都有它们各自的生存基础，放眼大自然、整个生态环境，反倒是那些从容的老虎、狮子，成了最最需要被保护的"弱者"。强和弱也是相对的，小不一定就弱，在自然面前，越庞大的，常反倒越容易在自然的变迁中受伤。冰川期过后，有多少从容、庞大的动植物能活了下来？
　　"如果你是老虎和豹子，请千万不要听兔子老师的话，变成一个整天蹦蹦跳跳扑来扑去的卡通虎或卡通豹。"要是老虎整天跳来跳去，还能不累死吗？即使老虎想整天扑来扑去，它也不能！要知道一旦老虎、狮子，一击不中，它只能花费很长一段时间积聚力量，才能再次出击，所以，非不为，是不能也。
　　如果你是兔子，也请千万不要听老虎和豹子老师的话，变成一只整天慢悠悠的虎或豹，那样也会要了你的命的。
　　老子说∶"飘风不终朝，骤雨不终日。"越是暴风骤雨越是持续不能太久，越是细雨，越能绵绵经月，这就是辩证。                                   
　　艾略特家训∶"保持平静，诉诸行动"。庄子∶"静而圣，动而王。"里面都有"静"和"动"二个字，讲究的也是辩证。                               
　　还是各循其"道"，知道自己是什么，该怎么活还是怎么活吧。

-----------------------------------------

谁也不讲话，谁讲话谁输......

中庸好，讲完左，讲右，讲完上，讲下......，绝不偏颇

听心而动也好......

油画部分

油画复制品部分
 
44、59号作品：《最后的晚餐》
《最后的晚餐》，是文艺复兴时期最杰出的天才莱奥纳多·达·芬奇的作品。
壁画《最后的晚餐》，是莱奥纳多为米兰圣玛利亚修道院的餐厅制作的，在第二次世界大战的战火中，一次对米兰的轰炸摧毁了圣玛利亚修道院，但这幅伟大的壁画却奇迹般地保存下来。我们在这里所看到的，是一件19世纪的复制品，它基本忠实于原作，保存了莱奥纳多的构图、着色方式。画面表现的是《新约圣经》里一段著名的故事，说的是救世主基督上十字架之前，在耶路撒冷的一家旅店里和他的十二个门徒一起度过犹太人的传统节日——逾越节，在吃饭的时候，基督告诉门徒们：他们中间有一个将要背叛他，果然，晚餐后，门徒中间的犹大就到长老们那里去出卖了基督。画面表现的是基督刚刚说出有人要背叛他时的情景，门徒们有的惊讶万分、有的犹疑不定，有的满腔气愤，而叛徒犹大则不自觉地抓紧了钱袋，那就是他出卖基督所得的报酬。莱奥纳多以他天才的手法，通过将十二个门徒分成四组，使得画面既充满强烈的动态、又井井有条，犹大被圣彼得挤到前面，显得与众人格格不入，暗示出了他的叛徒身份。
 
44、No.59  "The Last Supper"
    The Last Supper is a work by Leonardo da Vinci, one of the most outstanding artists of the renaissance.
    The Last Supper is a fresco, or wall painting, that was made for the Santa Maria Monastery (圣玛利亚) in Milan by Leonardo da Vinci. In the 2^nd world war, Milan was bombed and Santa Maria Monastery (圣玛利亚) was destroyed. But this great painting was preserved by a miracle. What we see here, is a 19^th century copy. It echoes the shapes and colors of Leonardo. The painting depicts a story from the New Testament: It shows a time before Jesus Christ was nailed onto the cross, when he celebrated the traditional Jewish holiday of Passover with his 12 disciples. When having supper, he told them that one of them would betray him. Sure enough, Judas, one of his disciples, betrayed Jesus to the priests. The picture showed the scene when Jesus said that someone was betraying him. All the disciples were greatly surprised, some were worried, and some were angry. At the same time, Judas was tightly grasping a moneybag in which was the reward for betraying Jesus. Leonardo da Vinci divided the 12 disciples into 4 groups, which made the composition balanced and dynamic. Judas was pushed to the front, which made him look against the grain and suggested him as the betrayer.
 
 
 
45、60号作品：《维纳斯诞生》
《维纳斯诞生》，是意大利文艺复兴初期的著名画家桑德罗·波提切利的作品。
桑德罗·波提切利的作品带有浓重的中世纪气息，尽管他熟悉新的透视法技巧，他笔下的人物、景物却常常故意违反正确的比例和透视关系，线条化的造型方式、珠宝般闪闪发光的色调，成了波提切利最独特的艺术语言。而那种深沉、忧郁的宗教情结，更使他的作品显得意味深长。
《维纳斯诞生》，是波提切利最著名的作品之一，是为洛伦佐·美第奇制作的壁画，用来装饰他宅邸里的房间，我们在这里看到的，是一幅19世纪的复制品。维纳斯是古希腊神话里最著名的女神之一，是爱与美的女神。传说她出生在一个贝壳里，贝壳漂流到塞浦路斯岛，维纳斯就在靠近塞浦路斯海岸的地方诞生了，她诞生的时候，美艳的光芒照亮了整个海岸。画面表现的就是维纳斯刚刚诞生时的情景，她从贝壳里站起来，金黄色的头发随风飘扬，仿佛羞涩般半掩着美丽的身体。画面的左上角有西风之神泽非努斯和他的妻子花神弗萝拉，风神吹送维纳斯靠岸，花神则为她撒下漫天花雨。右边，另一位女神为她拿着锦绣衣衫。在波提切利笔下，以美艳风流闻名的维纳斯多了几分羞涩与忧郁，深沉的眼神、内省的精神世界，反而比那优雅的身体更加吸引人。
 
45、No.60. "The Birth of Venus"
    "The Birth of Venus" is a work of Sandro Botticelli (桑德罗•波提切利) from the early renaissance.
    The compositions in the works of Sandro Botticelli are reminiscent of those of the Middle ages. Although he was skilled in depicting perspective, the things he drew were deliberately against correct scale or perspective. The lines and the shining colors are part of his unique language, which communicates religious conviction, gentleness, and a sense of melancholy in his paintings.
    "The Birth of Venus", which was made to decorate Lorenzo de Medici's home, is one of Botticelli's most famed works. What we see here, is a 19^th century copy. Venus is one of the most well-known goddesses in ancient Greece myths. She is the goddess of love and beauty. In the Myth, Venus was born from a shell; the shell flowed to the Cypriot island. Venus was then born off the Cypriot seacoast. At the time she was born, beautiful rays illuminated the entire seacoast. The picture is just showing the birth of Venus. She stands in the shell, her golden hair flying with the wind, as if concealing her beautiful body. At the top left-hand of the paintings is the God of the West Wind Zephyr (西风之神泽非努斯) and his wife, Goddess of flowers, Flora. The God of wind blows Venus toward the shore, and the Goddess of flowers spreads flowers for her. On the right, another goddess holds exquisite silk clothes for her. Venus, who was famed for beauty and charm, was drawn with a melancholy expression. Her deep eyes and tranquility are more attractive than her elegant body.
 
46、65号、67号作品：《静物》
《静物》，是意大利文艺复兴盛期的艺术家朱塞佩·阿切博尔迪的作品。
朱塞佩·阿切博尔迪出生于16世纪中叶米兰的一个画家家庭。在阿切博尔迪还很年轻的时候，就经常跟随他的父亲为米兰大教堂设计彩色玻璃窗画。从1562年开始，他成了奥地利哈布斯堡王朝的皇帝们的宫廷画家，为他们制作装饰画、设计节日用的舞台、设计宅邸、还兼管水利工程，渊博的知识为他赢得了皇帝们的喜爱。阿切博尔迪在世的时候，名声很响，但死后很快就遭到人们的遗忘，今天，几乎很少有人知道这位曾经显赫一时的艺术家的名字。究其原因，可能是因为阿切博尔迪为了投合当时的宫廷趣味，总是画一些人、动物、植物相结合的奇怪的画，没有明确的主题，也没有什么深刻的社会意义。
我们在这里所看到的《静物》，就是阿切博尔迪此类绘画中的一幅，阿切博尔迪的原作很少能保存下来，我们所看到的是一幅19世纪的复制品。画中，他将人的脸和各种水果的形象结合在一起，妙趣横生，但也说不出有什么意思。
 
46、No.65 and NO.67. "Still"
    This is a work of Giuseppe Arcimboldi (朱塞佩·阿切博尔迪), an Italian renaissance artist.
    Giuseppe Arcimboldi was born into a family of painters in Milan in the middle of the 16^th century. When he was still young, he followed his father to design stained glass windows for the Milan cathedral. Beginning in 1562, he became the palace painter of the Austrian Habsburg dynasty (哈布斯堡). He painted pictures, designed buildings and festival stages and even managed the drainage engineering. His talent gained him a reputation. He was famous during his lifetime, but was soon forgotten after his death. Today, few people know his name. The reason may be that he was always drawing strange pictures combining humans with animals and floral imagery in order to please the Emperor. There were no definite themes or social significance in his works.
    What we see here, is a 19^th century copy. There are few extant works by Giuseppe Arcimboldi. He often combined human faces with fruits.
 
47、68号作品:《基督下葬》
《基督下葬》，是意大利17世纪最杰出的艺术家——米开朗琪罗·达·卡拉瓦乔的作品。
卡拉瓦乔诞生于16世纪末，也就是意大利文艺复兴盛极而衰的年代。在那个年代里，伟大艺术家们，如莱奥纳多、米开朗琪罗、拉斐尔早已故世。
在卡拉瓦乔的眼里，无论圣人也好、圣母也好、甚至基督本人，都是平民大众，卡拉瓦乔的这种风格在当时引起了巨大轰动，宗教界人士常常对他横加指责，其实卡拉瓦乔不但丝毫没有亵渎神圣的意思，他自己还是个极为虔诚的基督教徒，由于卡拉瓦乔的作品总是以普通民众作为原型，他的风格就被称为"市民写实主义"，又称"卡拉瓦乔主义"，对西方艺术史产生了极为深远的影响。
《基督下葬》，是卡拉瓦乔最杰出的作品之一，它表现的是已经为拯救人类而牺牲的救世主基督，被门徒和跟随者们从十字架上放下来，准备放入陵墓的情景。我们在这里看到的，是一件19世纪的复制品。在卡拉瓦乔笔下，圣母和门徒们全都变成了普通的农夫农妇，他们呼天抢地、悲痛万分，痛悼救世主的牺牲，去世的基督浑身泛起死灰色，手臂无力地垂落，任人将他放进坟墓里去，他们的形象，与其说令人想起上帝之子的牺牲，不如说如同一位德高望重者的葬礼。
 
47. No.68  "The Deposition"
Caravaggio is probably the most revolutionary artist of his time. The Italian painter Caravaggio abandoned the rules that had guided a century of artists before him. These rules had idealized the human and religious experience.
The whole picture is planned along an oblique line that starts from Mary of Clopas who is standing with her arms raised and then slopes down along other figures and ends up at the right hand of Jesus.
The figures rest as if they were a sculptural group on a tombstone which, due to the artist's use of light, seems to protrude from the canvas producing a three dimensional illusion.
Attention is drawn to the body of Christ who seems to be suspended despite his weight; a bright light reflects from the white shroud that partially covers his body, thus illuminating him before he will be buried. 
 
 
48、69号作品:《三博士的朝拜》
《三博士的朝拜》，是意大利文艺复兴初期的著名画家贝诺佐·戈佐利的作品。
贝诺佐是一个喜欢描绘繁华的节日场景的画家。1459年他应邀来到佛罗伦萨之后，贝诺佐接受的第一件任务便是为美第奇的家族礼拜室制作一幅豪华的壁画：《三博士的朝拜》。
我们在这里看到的，是这幅壁画的19世纪复制品。原作由三部分组成：即礼拜室左、中、右三面墙壁上的朝拜者马队。根据《新约圣经》记载，救世主基督在犹太小城伯利恒诞生的那天晚上，有三位博士从东方来拜见他，献上各自的礼物。这个故事象征着基督不但是犹太人的救世主，也是全人类的救世主。通过将三位博士的马队安排在象征世界三个角落的三面墙壁上，贝诺佐表达出了其宗教意义。但这幅大型壁画最引人注目的地方，还在于那华丽的风格，画面中的人物全都锦衣绣缎、骑着高头大马，完全像是世俗的贵族，而不像宗教文献里的博士。由于这一特点，人们很久以来一直认为这幅画是借助《三博士的朝拜》的名义，表现美第奇家族宴乐的场景，画中三个主要人物，就是美第奇家族的三代族长——科西莫、皮耶罗和洛伦佐，壁画本身也被称为《狩猎图》。就现在来看，这种说法未必准确，但它的确告诉我们：即便在当时追求豪华的艺术氛围里，贝诺佐的作品也是十分突出的。
 
48. No.69   "Procession of the Magus Melchoio"
Benozzo Gozzoli, was a Florentine early Renaissance painter. The Procession of the Magus Melchoio is a masterpiece of Gozzoli.
Upon Gozzoli's return to Florence in 1459, he began his famous Journey of the Magi painting for the chapel in the Medici Palace. There he painted a magnificent cavalcade of pilgrims to Bethlehem, including animated portraits of contemporary Florentines. To represent the Magi he painted Lorenzo de' Medici and two leaders of the East, Patriarch Joseph and Emperor John Paleologus. Gozzoli depicted them in exotic Middle Eastern dress against a background of fantastic landscape and strange animals. Procession of the Magus Melchoio is a typical painting of this style and also the first task that he accepted in Florence.
 

49、70号作品:《春》
《春》，是意大利文艺复兴初期的著名画家桑德罗·波提切利的作品。
《春》，是波提切利最著名的作品之一，是为1482年5月"豪华者"洛伦佐·德·美第奇和塞密拉米德·德·阿皮亚尼的婚礼制作的，我们在这里看到的，是一幅19世纪的复制品。作为一幅为庆祝婚礼而制作的装饰画，《春》首先表现出对婚姻的美好祝愿：画面的中央是爱与美的女神维纳斯；她的左前方，美惠三女神快乐地翩翩起舞，小爱神丘比特藏在树稍，用金色的爱之箭射向这群美丽的少女；维纳斯的右边，是古希腊神话中一个著名的传说：西风之神泽非努斯追求女神克罗里斯、和她结了婚，把她变成了花神。在波提切利的另一幅名作《维纳斯诞生》里，我们曾看到过这对神侣，他们相依相伴，正在庆祝爱神的诞生。
 
49. No.70 "Spring"
"Spring" is one of the most famous work of Botticelli and was painted for the wedding of Lorenzo de' Medici. Here is a reproduction of "Spring" made in the 19th century. As a decorative painting for a wedding, it represents best wishes for the couple's future together. In the center is a gentle Venus, the Queen of love, and above her, the god of love-Cupid aims his loving arrows. To the left, the Three Graces dance in a silent reverie of beauty. At the right Zephyr, the warm wind of Spring, embraces the Roman goddess Flora,
delicately clothed and running from his amorous clasp. She is shown at the moment of her metamorphosis into Flora, as her breath turns to flowers which take root over the countryside. Zephyr and Flora are also depicted in the painting The Birth of Venus.


50、71、72号作品:《创世纪》
《创世纪》，是文艺复兴时期最伟大的天才米开朗琪罗·博纳罗蒂为罗马西斯廷礼拜堂制作的天顶画。
我们在这里看到的，是天顶画《创世纪》的19世纪复制品。在这幅史诗般的伟大天顶画中，米开朗琪罗以超人的气魄，描绘了《旧约圣经》开篇第一章的全部故事：从上帝创造天地万物、直到犹太民族的兴起。我们所看到的，是其中最著名的一个局部：即上帝创造人类的始祖亚当。在西方艺术史上，这件作品负有盛誉，刚刚被创造出来的始祖，眼睛半开，似乎还没有获得完全的生命和灵魂，但那健美的体魄，已在诉说着作为人类的骄傲。上帝由天使们簇拥着，伸出手来为亚当赋予生命，那高贵庄严的面容、雄浑的气魄，告诉人们这一刻是多么神圣，人类的来源又是多么高贵。当上帝的手指触及亚当的一刹那，亚当苏醒了，这神奇的一触似乎具有赋予天地万物生命、使宇宙开始轮转的神秘力量，不禁令人想起，这不是两个普通人之间的一触，而是万物的主宰、具有开天辟地的力量的上帝的一触，几百年来，人们在这一触面前感叹、颤抖，灵魂也由之提升。
 
50．No 71and NO.72 Creation
"The Creation" is a Fresco ("顶棚壁画") from the ceiling of the Sistine Chapel(西斯廷礼拜堂) in Rome, by Michelangelo Buonarroti.
    The painting we see here is a 19^th century copy of the original. In the painting, Michelangelo describes the whole story of the first chapter of the Old Testament （<圣经旧约>）beginning with God's creation of the world. What we see here is God's creation of Adam, who represents the beginning of man. The newborn Adam, with his eyes half opened, does not seem to have been brought fully to life. But his great physical beauty shows the pride of man. God, surrounded by angels, puts forth his finger to make Adam a living creature. His noble face shows how sacred this moment is and how noble the beginning of man is. Adam comes to life the moment he is touched by God's hand. The fantastic touch seems to have a mysterious power that can give life to heaven and earth and create the universe. One can't help thinking that it's a touch from God to create and master the world instead of one that is between two men.
 
51、73号作品:《该拉特亚的凯旋》
《该拉特亚的凯旋》，是文艺复兴盛期著名的艺术家拉斐尔·桑西的作品。
拉斐尔·桑西，1483年4月6日生，他生性平和，外貌甜美，性格温柔，使他得到罗马教廷权贵、包括教皇本人的欣赏和宠爱，被时人称为"幸运童子"，当时，他不过是个二十出头的青年。拉斐尔一生留下了许多杰出的作品，他画的各种圣母像，是人们所见过的最完美的作品。拉斐尔还是一位满腹经纶的古典文化学者，他为教皇宅邸制作的大型壁画《雅典学院》，充分体现了这一点。拉斐尔在随后的几个世纪里被奉为最高典范，成为流传至今的学院派艺术的宗师。可惜这位完美的天才却英年早逝.
《该拉特亚的凯旋》，是拉斐尔为罗马贵族法尔内塞的别墅制作的一幅壁画，我们在这里看到的，是它的19世纪复制品。作为一幅装饰私人别墅的壁画，拉斐尔采取了希腊神话中一段十分轻松诙谐的逸事作为题材。这个故事说的是海神爱上了海中女神该拉特亚，对她唱了一首情歌，粗鄙的声音引来了该拉特亚的嘲笑，驾起她那辆由海豚拉的小车跑掉了。拉斐尔表现的就是该拉特亚驾起海豚车跑掉时的情景，她一边走，一边回头嘲笑粗鄙的海神，却没发现在她的头顶，小爱神丘比特已举起了百发百中的金箭。这幅画题材诙谐、色调鲜明，该拉特亚的形象十分甜美而不轻浮，充分体现了拉斐尔寄深刻于轻松的风格特征。
 
51．No. 73 "The Triumph of Galatea"
"The Triumph of Galatea" is a work by renaissance artist-- Raffaello Sanzio.
Born on April 6, 1482, Raffaello Sanzio had a gentle character, sweet look and a tender heart which enabled him to receive the favor of apostolic dignitaries including the pontiff. Being called the "fortunate boy", he was then a young man of some 20 years. In his life Raffaello completed many brilliant works, including a number of paintings of the Madonna. He was regarded as one of the top artists during his lifetime, but his death at an early age prevented him from gaining great fame.
"The Triumph of Galatea" is a fresco for the villa of Farnese(法尔内塞) a Roman noble. This is a 19^th century copy of the original. For this fresco Raffaello chose a humorous anecdote from Greek Mythology as the theme. The story tells how Poseidon falls in love with the ocean goddess Galatea. He sings a love song to her but because of his ugly voice she laughs at him and rides away in her dolphin-driven carriage. What Raffaello wanted to present is the scene of Galatea riding away in her dolphin-driven carriage. She turns her head to laugh at Poseiden as she leaves, but she does not realize that Cupid is about to shoot her with one of his arrows.

20、29号作品：《狮子》
这是一件充满象征意义的雕塑作品，原作由文艺复兴早期的伟大雕刻家——多纳太罗创作，收藏于佛罗伦萨巴尔捷洛国家博物馆。
佛罗伦萨人自命为古罗马人的直系后裔，一直以雄壮的狮子为自己的象征；狮子所护卫着的盾牌上，则刻有佛罗伦萨城的市花——百合花。将城市或家族的徽章刻在盾牌或盔甲上，自中世纪以来一直是尚武的欧洲人的传统，在多纳太罗的时代，素来以自由民主为骄傲的佛罗伦萨共和国，受着野心勃勃的米兰僭主和那不勒斯国王的威胁，战争所消耗的巨额军费也令佛罗伦萨的财政遭遇寒流。在这种情况下，保家卫国是每一个佛罗伦萨公民最迫切的愿望。护卫着百合花徽章的雄狮在此时出现，有着非常深远的意义。


20.No.29  "Lion"
  This sculpture is full of symbol meaning .The original Donatello——a great sculptor of the early renaissance-- created this work, which is in the collection of the National Museum of Bargello (巴尔捷洛) in Florence.
  The Florentines regarded themselves as the direct descendants of the ancient Romans. There is the symbolic flower of Florence on the shield as well as a lion. Depicting the badge of the city or family on a shield or armor is a tradition of European soldiers since the Middle Ages . During the time of Donatello，the   republic of Florence, proud of their freedom and democracy, was threatened by the ambitious lord of Milan and the king of Naples . The large amount of money Florence spent on the war brought the city financial troubles. Protecting the homeland was the most urgent desire of all citizens in Florence . The appearance of the powerful lion that guards the badge of lily has a very profound meaning.
 
 
21、30号作品《阿蒂斯》
 
 
这是一尊高约1米的青铜雕塑，好奇的爱神或贪婪的想象，当时为了装饰一个喷泉，以庆祝王室的爱情婚姻。借鉴阿蒂斯踩蛇这种不美的表达方式，创造了在人们手中拿一些象征物的构思以表示神圣的婚姻的胜利。作者为多纳太罗。
多纳太罗，是意大利文艺复兴早期最著名的雕刻家，他诞生在一个佛罗伦萨羊毛商人的家庭，多纳太罗的雕刻以雄浑有力、古朴自然著称于世。他对古典艺术有着精深的研究，虽然他本人并非学者，却和当时许多著名的人文主义者过从甚密。
关于这尊雕像主人公的身份，艺术史上争议很多，现在，大多数学者都认为他就是古罗马神话中著名的美少年——阿蒂斯。传说阿蒂斯是众神之母西贝拉的儿子，他在很年轻的时候就已死去，死后又神秘地复活。这些死亡与再生的神话通过形象化的方式模拟万物的生生灭灭，来求得大自然的正常运转。例如在古罗马，每年的三月，紫罗兰开花的时候，人们都要举行隆重的节日庆典，来庆祝阿蒂斯的死和复活。
这尊雕像中的阿蒂斯高举双手，仿佛在庆祝自己的复活，他脚下的蛇是西方文化中最重要的象征之一：在基督教文化之前，蛇代表着生命的初始力量，它的定期蜕皮被视作死亡与再生的象征。它与阿蒂斯相伴出现，有着深刻的寓意。
 
21. No.30 "Atys"（阿蒂斯）
This is a bronze sculpture one meter tall that represents the curious Cupid and his greedy imagination. It was created to decorate a fountain for the celebration of a royal marriage.  Donatello, the most famous sculptor in early Renaissance, was born into a Florentine family in the fleece business. His sculptures are famous for their force, naturalism and simplicity.
  In the history of art, there are many different opinions on this subject. Nowadays, most think that he is the celebrated Atys from Roman mythology. It is said that Atys was the son of the Mother of the gods Cybele(西贝拉), who died at a very young age, and was reborn mysteriously after death. The idea of death and rebirth exists in nature and thus in our daily lives. For example in Rome, when the violets bloom in every March, people hold a celebration to honor the death and the rebirth of Atys.
  Now look carefully at this sculpture. Atys lifts his arms high so as to celebrate his death and rebirth. The snake under his feet is one of the most important symbols in western culture: before the appearance of the Nestorian culture, the snake symbolized a newborn force of life, and later as a symbol of death and resurrection. Its appearance with Atys, has a profound meaning.
 
22、31号作品：《大卫》
    由伟大的安德烈·韦罗基奥创作，他以娴熟的手法表达一个年轻英雄战胜巨人戈利亚的神话故事。韦罗基奥把大卫表现得非常细腻，以其脆弱与傲慢的美凌驾于戈利亚头上。在近期的一次修复中，用纯金在年轻英雄的服装、服饰及头发上重新进行了装饰，使杰出的原作更加熠熠生辉。
在意大利文艺复兴时期，有三位伟大的雕刻家曾以《旧约圣经》中犹太国王大卫的英雄事迹为题材，创作出了不朽的作品，他们是多纳太罗、韦罗基奥和米开朗琪罗，我们在这里看到的，就是韦罗基奥的《大卫》。
安德烈·韦罗基奥，是文艺复兴早期最著名的雕刻家之一，声名仅次于多纳太罗，而他的学生莱奥纳多·达·芬奇，则是文艺复兴盛期最伟大的天才。
《大卫》是韦罗基奥年轻时代的作品，最初是由美第奇家族定制的，从1476年以后，就被安放在佛罗伦萨的市政厅——维齐奥宫里，成为这座城市共和政体的标志。韦罗基奥的《大卫》显得意气风发、斗志昂扬，他骄傲地拿着小刀、脚下扔着刚刚杀死的巨人歌利亚的头、胜利般看着观众，流露出年轻的艺术家对城邦未来的坚定信念。但和米开朗琪罗那雄浑英武的《大卫》相比，韦罗基奥的《大卫》又显得优雅纤弱，更像一位正值青春年华的美少年，而不是神话中的战斗英雄，他身体扭曲的方式，在很大程度上继承了歌特式雕刻的传统，而他那俊秀的面孔，据说就是以莱奥纳多·达·芬奇为原型的。
 
22.No 31  "David"
  Created by Andrea del Verrocchio. He depicts the story of how a young hero defeated a Giant. Verrocchio's expression was so exquisite. The painting has recently been restored to its original appearance, which was decorated with gold. The gold causes the viewer to focus attention on the hero.
  During the Renaissance, there had been three sculptors, Donatello, Michelangelo, and here Verrochio, who made use of the theme of the heroes David and the King of Judah from the <Old testament>.
  Andrea del Verrocchio (安德烈、韦罗基奥)，was one of the most famous sculptors in the early years of the Renaissance. Similar to many artists, Verrocchio's main patron was the Medici family. All through his life, he served his hometown—Florence, even though his last years were spent in Venice. Many of his works decorate the city of Florence.
  <David> was one of his early works, first commissioned by the Medici family. Ever since 1476, this work had been placed in the city government hall of Florence, making it a symbol of this republican city. Verrocchio's David is high in spirit. He proudly holds the giant, looking at the audience with a victorious expression. One can imagine Verrochio's own expression of great faith in his country's future through this work. However, compared to Michelangelo's courageous<David>, Verrocchio's work appeared as elegant and weak. It is more like a young handsome youth with a good-looking face. It is said that the image was based on the character of da Vinci.
 
23、32号作品：《大卫》
    与韦罗基奥的年青大卫形象截然相反，这是米开朗琪罗大师献给我们的许许多多伟大作品中的一个。它表现了英雄,一个年轻男子所拥有的完美而经典的躯体。
在意大利文艺复兴时期，有三位伟大的雕刻家曾以《旧约圣经》中犹太国王大卫的英雄事迹为题材，创作出了不朽的作品，他们是多纳太罗、韦罗基奥和米开朗琪罗，其中最受人赞赏和景仰的，就是米开朗琪罗的《大卫》。
1501年制作的大理石雕像《大卫》，不但很快就成为佛罗伦萨城的标志，其名声还远播到法国国王弗朗索瓦一世那里，这位以热爱艺术著称的国王，迫切希望得到这尊伟大雕像的一件青铜复制品，米开朗琪罗为此制作了模型，并浇铸了数件青铜《大卫》，我们在这里看到的，就是其中的一件。
《旧约圣经》记载说：伟大的犹太国王大卫年少时是个牧羊童，在犹太和非利士之间发生战争时，有一位非利士巨人歌利亚出来向犹太人挑战，这个巨人力大无穷，无人能敌，而少年大卫却利用他轻敌的弱点，用一块石头杀死了他，使犹太人大获全胜。雕像表现的就是大卫手持投石器、即将发起进攻前的一刹那，在米开朗琪罗的鬼斧神工下，年少的牧羊童成了一位英气勃发的战斗英雄，他双眉紧颦，怒视前方，四肢和全身绷紧的肌肉表明他随时准备投入战斗。这尊巨大的英雄雕像，的确能起到鼓舞人心的作用，几百年来，它一直是佛罗伦萨城的骄傲。
 
23. No.32   "David"
 Totally different from the image of Verrocchio's young David, this David is one of the many great works created by Michelangelo. It expresses a hero through a young man's perfect and classic body.
 During the Renaissance, there had been three sculptors, Donatello, Michelangelo, and here Verrochio, who made use of the theme of the heroes David and the King of Judah from the <Old testament>. The one that had gained the most appraisal and respect, was the Michelangelo's <David>.
  The marble sculpture of <David> soon became a symbol of the city of Florence. Its fame had also reached the King of France, who had been famous for his love for art. He desired a bronze copy of Michelangelo's great sculpture. Michelangelo made a model for this, and created several bronze <Davids>. This is one of the copies.
  It was recorded in the < Old testament >that: the great emperor of Judah, David, was once a shepherd when he was young. When the war broke out between Judah and Philistine，a great Philistine giant stood out and challenged the Jew. This man had great force, which nobody could defeat. But the young David was able to kill him with a stone, gaining victory for Uttar. The sculpture depicts the moment before David conquers the giant. He is holding the weapon and ready to attack. The young shepherd became a spiritual hero. His raised eyebrow and his tightly flexed muscles show that he is ready to fight at any moment. The sculpture, which originally stood at the Citizen's Square, surely inspired the people. For hundreds of years, it has been the pride of the city of Florence.
 
 
24、33号作品：《劫夺萨宾妇女》
    这是一尊为大理石雕刻"萨宾人的劫掠"而设计的草样。詹博洛尼亚对这个模型中的2个年轻人的身体纽绞在一起的设计进行了研究。这是一尊完美的复制品。原作保存于那波利国家博物馆。
这尊高约1米的青铜雕塑，是十六世纪样式主义时期最具代表性的作品之一，它的作者詹波洛尼亚，也是该时期最为杰出的雕刻家。
詹波洛尼亚所雕塑的裸体人物，常常使用螺旋线造型、具有强烈的运动感，但又不失飘逸优雅，在强烈的动态中取得戏剧般的平衡，他的这种风格，被称为"国际样式主义"，产生了极为深远的影响，17世纪风靡欧洲的巴洛克艺术，从某种程度上就是他的直系后裔。
我们在这里看到的，就是詹波洛尼亚为大理石群雕《劫夺萨宾妇女》准备的青铜模型。根据古罗马传说的记载：在古罗马民族刚刚兴起的时候，男子们找不到一位可以充当妻室的妇女，面临着灭族的危机，罗马领袖罗穆路斯便设宴款待邻近的萨宾人，趁他们醉酒的时候，就把男子杀死，抢夺了他们的妻子，这些妇女后来便成为罗马人的第一代母亲。这尊雕塑表现一位萨宾妇女刚刚被一个罗马人抢走，她呼天抢地、试图从劫夺者的怀抱里逃出来。在雕塑中，詹波洛尼亚运用了他最拿手的螺旋线造型，从罗马人的左腿开始、到萨宾妇女高举的右手结束，造成连续不断的动态，使整个雕塑充满了戏剧性的力量。
 
24,No.33  "Abduction of the Sabine Women"
This is a sketch for the marble sculpture "Abduction of the Sabine Women". Giambologna had conducted a research of the sculpture of two young people twisted together for a model. This model is a perfect duplication.
The 1-meter-tall bronze sculpture is one of the most representative artworks of the 16th century formalist style. The artist is Giambologna.
As an art workshop apprentice in his early age, Giambologna came to Italy later in life and developed his own style. The nude figures he sculpted, usually in twisted forms, express strong emotion as well as elegance. They are at the same time dynamic and balanced. His style, so called "International Formalism", profoundly influenced Baroque art of 17th century Europe.
Before us is the Giambologna's bronze sculpture model for the marble sculpture "Abduction of the Sabine Women". According to Roman legends, when Rome was forming, they were facing distinction because men there weren't enough women. The Roman leader invited the nearby Sabine to a banquet and waited until they were drunk, then killed the Sabine men and took their wives. After that these females became the Rome's first generation of mothers. This sculpture represents a Sabine woman who has just been taken away by a Roman. She is crying and trying to escape from her captor. In the sculpture, Giambologna has twisted the figures. You can follow the form from the left leg of the Roman, to the highly raised right hand of the Sabine woman It is a continuous motion that enforces the power and emotion of the moment depicted.



 
25、34号作品：《野猪》
    如果展现在城里的许多杰作是佛罗伦萨的象征，那么"野猪"则肯定是佛罗伦萨人的象征。本泉眼位于老市场的凉廊附近。此作品原件由佛罗伦萨雕塑家达卡(Tacca)受乌菲齐画廊内一尊古老大理石雕塑的灵感启发而创作。青铜做的泉眼底座曾经丢失，许许多多的佛罗伦萨雕塑家多年来一直要复制一个底座，其中苏西尼(Susini.)是最聪慧过人的。民间传说，抚摸野猪鼻子会带来好运。
我们在这里看到的，就是苏西尼的《野猪》。
安东尼奥·苏西尼，是意大利样式主义时期最重要的青铜浇铸师和雕刻家之一，他曾追随詹波洛尼亚多年，为大师浇铸青铜雕塑，深得大师的信任，詹波洛尼亚曾亲自送他去罗马学习古代雕刻，这段经历赋予了苏西尼的作品以浓厚的古典气质。
 
25.No. 34 "Wild Boar"
If the masterpieces represent Florence in town is the symbol of Florence, that "Wild Boar" must be the symbol of Florentine. This mouth of spring was located near the loggia of the old market. Famous Florentine statuary Tacca was affected by an old marble sculpture in the Uffizi (乌菲齐) Gallery created this original product. The bronze made base had ever got lost, lots of Florentine statuary demand coping the other base, among this people, the most intelligent man is Susini. Folklore, to touch the nose of this Wild Boar brings you good luck.
Here we are, the<<Wild Boar>> of Susini.
Antonio Susini, is the most important bronzesmith moulding, who trusted by the master deeply, Giambologna (詹波洛尼亚)sent him to Rome to study archaic enchase, this experience gave Susini's products denseness classical temperament.


26、35号作品《野猪》
在佛罗伦萨乌菲齐宫里，有一尊古老的大理石雕塑《野猪》，根据佛罗伦萨的民间传说，抚摸野猪的鼻子可以带来好运，在16世纪晚期，两位优秀的青铜浇铸师——苏西尼和达卡都曾受其启发，制作过野猪的雕像，我们在这里看到的，就是达卡的《野猪》。
和苏西尼一样，皮埃特罗·达卡也是詹波洛尼亚的学生和追随者，詹波洛尼亚去世时留下了许多未完成的作品，其中大部分都是由达卡接替他完成的，达卡还接替詹波洛尼亚为的美第奇家族服务，取得了显赫的声名。达卡最著名的作品，就是为美第奇家族制作的四尊青铜《奴隶》，被安放在费迪南·德·美第奇大公雕像的脚下。和苏西尼的绿铜雕《野猪》相比，达卡的青铜《野猪》显得更为厚重、稳健，更为贴近古代原作。
 
26, No 35 "Boar"
In the UFFIZI Gallery in Florence, there is an ancient marble sculpture called "The Boar". It is said that in Florentine legend, petting a boar's nose can bring good luck. By the end of the 16th century, two excellent bronze sculptors—Susini and Tacca made boar sculptures. We see here the "Boar" by Tacca.
Same with Susini, Tacca was the student and follower of Giambologna. Giambologna left many works unfinished when he passed away. Most of them were completed by达卡 who served the Medici family instead of his teacher with fame and praise. The most famous artworks by Tacca are four bronze "Slaves" that he completed for the Medici family, laying beside the foot of the Ferdinan De Medici sculpture. Compared to Susini's green bronze "Boar", Tacca's "Boar" looks more solid and steady, more similar to the older original.
 
 
27、37号作品：《古代马》
 
 
在许多马的作品中，这是最漂亮的一尊。它非常注重用解剖学的原理对每组肌肉群进行分析，使其形象十分完美。这尊青铜马的作者，是文艺复兴时期最杰出的天才莱奥纳多·达·芬奇。
出生在佛罗伦萨郊区芬奇村的达·芬奇，是当地一位经纪人与酒店女仆的私生子，扑朔迷离的身世、和他笔下常常是同样扑朔迷离的人物和风景，使莱奥纳多·达·芬奇成为艺术史上一段难解的神话；而他在艺术、哲学、自然科学多方面的惊人才华，又使他被誉为"普罗米修斯式的人物"，矗立在文艺复兴文化的最高端。
作为一位最伟大的艺术家，达·芬奇一生留下的作品却十分有限，他留下的绘画作品，几乎每一幅都享有盛名、都是西方艺术史上一道绮丽的风景：而其中最著名的，则是米兰圣玛利亚修道院餐厅的壁画《最后的晚餐》、和法国国王弗朗索瓦一世收藏的油画《蒙娜·丽莎》。为了追求完美的艺术，达·芬奇花了无数时间和精力来钻研最为合理的解剖和透视方法，他身后留下的厚厚几本笔记，也成为艺术史上的无价珍宝。
 
27.No.37 "Ancient horse"
Many works of art have emphasis on depicting naturalistic images. This bronze horse, created by Leonardo da Vinci illustrates the artist's attention to anatomy.
 Born in the outskirts of Florence, da Vinci was the illegitimate son of a Florentine notary and a peasant woman. His secret family background, and the mysterious character and scenery in his art, has made him a legend in the history of art. His talent shown in art, philosophy and nature, had also gained him the reputation of Renaissance Man，standing as an artistic genius.
 As a great artist, da Vinci had left very few extant works, many were paintings that contain beautiful scenery and gained great fame in western art history.  The most famous painting is the fresco painting <The last supper> in the canteen of Maria monastery, and a painting called< Mona Lisa >. In order to pursue perfect art, da Vinci had spent endless time and effort researching anatomy and mathematics. After his death, several of his notebooks, which have also become treasures of the art history, were discovered.
 
28、38号作品《珀尔修斯斩美杜莎之头》
    一个勇敢的年轻人刚砍下了凶恶女妖美杜萨的头颅，这种惊人的现实主义表达手法与当时的表达方式是很难相容的。这件杰出的铜雕作品在数年前曾进行过修复。完美的修复是按照收藏于佛罗伦萨巴尔捷洛国家博物馆的原件进行的。
这是意大利样式主义时期最重要的金属雕刻家本韦努托·切利尼的作品。
切利尼是佛罗伦萨人，他出生的年代，正值文艺复兴艺术发展的顶峰，他性格暴躁、但才华出众，切利尼一生有过许多赞助人，在这些著名赞助人的支持下，切利尼制作出了许多优秀的作品，其中包括一些比较大的青铜雕塑，但更多的是小型金属制品，其中最著名的是为法国国王制作的《金盐盒》。
《珀尔修斯斩美杜莎之头》，是由科西莫·德·美第奇定制的，完成后被安置在佛罗伦萨的兰齐画廊。根据希腊神话记载：美杜莎是个丑恶的女妖，她的头发就是一条条毒蛇，凡是看到过美杜莎的面孔的人，都会变成石头。为了解救人民，希腊英雄珀尔修斯凭着聪明才智和过人的英勇，斩下了美杜莎的头。美杜莎死时，从她的血里长出了飞马比加索斯，这匹神马成了珀尔修斯的坐骑，陪他南征北战。雕塑表现的就是珀尔修斯斩下美杜莎之头的一刹那，英雄高举着女妖的头，同时低下眼帘避免看见她，全身雄健的肌肉充分体现出一位胜利者的骄傲。
 
28.No 38 "Perseus cut off Medusa's head"
  The sculpture shows Perseus holding the head of the Medusa. He has just cut off her head.
  This masterpiece in bronze was created by the sculptor and goldsmith, Benvenuto Cellini.
  Benvenuto Cellini was born in Florence at the peak of the Italian Renaissance. He served as an apprentice to a goldsmith and excelled in that art. In fact, he was so successful that he was called upon to fulfill major commissions throughout Italy and France. Cellini worked continuously for such important patrons as the popes in Rome, the Medici in Florence, and King Francois I of France.  He was one of the most prominent and respected Italian Mannerist artists of the 1500s.
  This masterpiece in bronze was sculpted for the Loggia dei Lanzi (an open-air gallery) and has stood there ever since. "Medusa" was a Gorgon and originally a beautiful maiden, but she desecrated the goddess Athena's temple . Outraged, Athena turned Medusa's hair into living snakes and any man who looked upon her face would be turned into stone.  In order to protect the people, the heroic Perseus cut off her head. From her blood  the winged horse Pegasus will be born.The sculpture shows Perseus, holding the head of the Medusa, while lowering his eyes so as not to look at her. His strong physique expresses the pride of a victor.
 
 
29、39号作品：《主神宙斯》
《主神宙斯》，与出众的"帕尔修斯"一样，是配有装饰底座的四尊小型杰作之一。众神之父如同一位君主，手握象征权力的梭镖。这件作品是按照收藏于佛罗伦萨巴尔捷洛国家博物馆的原件复制的。是意大利样式主义时期最重要的金属雕刻家本韦努托·切利尼的作品。
在希腊神话里，宙斯是一位容易发怒的雷霆之神，也是奥林匹斯山的主人，他的震怒可以决定人和神的命运。在这件雕塑中，宙斯如同一位暴君，双眼怒视着惹恼他的人或神，他那举起的手臂能让人感觉到决定生死的巨大力量，而他那优雅的站立方式，则让人感受到切利尼的样式主义艺术的独特气质。
 
29． No 39 《Master of Zeus 》
《master of Zeus》is one of four small masterpieces with a decorated base. The father of the gods is like a king, he holds a lightening bolt which symbolizes his power. This work is the copy of the original one , located in the national Bargello museum in Florence. This is the work of the most important metal Mannerist sculptor in Italy Benvenuto Cellini（本韦努托.切利尼）.
In Greek fables, Zeus is a bad-tempered god, he is also the master of Olympus. He can decide the destiny of humans and gods. In this sculpture, Zeus looks like a tyrant. His eyes scowl at those who bother him. His arms appear powerful, yet his elegant pose is typical of Cellini's Manenrist style. 
 
30、40号作品《罗马女神密涅瓦》
《罗马女神密涅瓦》，与出众的"帕尔修斯"一样，是配有装饰底座的四尊小型杰作之一。罗马女战神的形象犹如一个神王国的哨兵，威严而镇静。这件作品是按照收藏于佛罗伦萨巴尔捷洛国家博物馆的原件复制的。是意大利样式主义时期最重要的金属雕刻家本韦努托·切利尼的作品。
罗马女神密涅瓦，也就是希腊神话中的智慧女神雅典娜，她是古希腊最著名的女神，也是雅典城的保护者。在希腊神话中，主神宙斯由于听信预言，害怕即将出生的女儿会取代自己众神之主的地位，吞食了当时正怀孕的雅典娜的母亲，结果雅典娜就从父亲的脑袋里直接蹦了出来。她出生的时候，全身披挂着金光闪闪的盔甲，英姿勃发，成了奥林匹斯山上最有力量的女神。在西方艺术中，她象征着智慧、勇敢和贞洁，受到人们的广泛崇拜。在这尊雕像中，她戴着她的象征物——盔甲，举起结实的手臂，犹如一位神勇的女战士，威严的面庞流露出坚定的性格。
 
30. NO.40  "Roman goddess Minevra"
  This work is a reproduction of the original Roman goddess located in the National Museum of Bargello in Florence. It was created by Benvenuto Cellini, one of the most important metal sculptor in Italy.
  The Roman goddess Minevra is also known as Athena-the goddess of wisdom, in Greek mythological stories. She is the most famous goddess in ancient Greece, as well as the guardian of the city of Athens. In Greece myths, the main god Zeus believed the prophesy that his coming daughter would replace him as the lord of all the gods and goddesses. Thus he swallowed Athena's pregnant mother and Athena came directly out of his father's head. When she was born, she was covered with glittering armor, dignified and energetic. She then became the most powerful goddess in Olympus. As the symbol of command, bravery and chastity in western art, she is widely adored. Look at this statue, in her famous armor, Athena raises up her arms just like a brave warrior. The dignified face reveals her determination. 
 
31、41号作品：《达娜厄》
《达娜厄》，与出众的"帕尔修斯"一样，是配有装饰底座的四尊小型杰作之一。年轻的贵妇人与相伴的神童。这件作品是按照收藏于佛罗伦萨巴尔捷洛国家博物馆的原件复制的。是意大利样式主义时期最重要的金属雕刻家本韦努托·切利尼的作品。
在希腊神话中，达娜厄是阿尔戈斯国王的女儿，国王由于听信预言，认为达娜厄将来所生的儿子将会篡夺自己的王位，便把女儿关进高塔，不让她与外界接触。谁知众神之父宙斯爱上了这位美丽的公主，便化作一阵金雨进入塔内，出现在达娜厄的面前，他们所生的儿子，就是著名的希腊英雄珀尔修斯。在这件作品中，美丽的公主羞涩地低着头，小神童则抬头看着她，似乎在充当宙斯的说客。达娜厄光洁的皮肤和俊秀端庄的面庞，将一位即将陷入爱河的公主的矛盾心理，表现得淋漓尽致。
 
31. No 41 "Danae"
"Danae", like the outstanding 'Perseus' , is one of four small works with a decorative base.  This work is the replica of the one collected by Bargello National Museum in Florence, which was done by an influential metalsmith in Italy.
In Greek mythology, Danae was the daughter of the King of Acrisius. Since the king believed in the prophesy that Danae's son would deprive him of his throne, he locked his daughter in a high tower and kept her isolated from the outside world.  However, the father of the gods, Zeus, fell in love with this beautiful lady, so he changed himself into a gust of golden rain, entered the tower and appeared in front of Danae。Their son became the famous Greek hero, Perseus。In this work, we can see the beautiful princess lowering her head shyly, while the Holy Child looks up at her as if he was helping to persuade her for Zeus. With her smooth skin and pretty face, the inner conflict of the princess who was to fall in love was vividly presented.
 
 
32、作品42号：《众神的信使墨丘利》
《众神的信使墨丘利》，与出众的"帕尔修斯"一样，是配有装饰底座的四尊小型杰作之一。美丽的梅尔库里奥神正在准备腾飞。这件作品是按照收藏于佛罗伦萨巴尔捷洛国家博物馆的原件复制的。是意大利样式主义时期最重要的金属雕刻家本韦努托·切利尼的作品。
众神的信使墨丘利，在希腊神话中被称为赫尔墨斯，墨丘利是他的罗马名字。他也是宙斯的儿子，一身兼具有许多功能：既是众神的信使，也负责将死者的亡灵引入阴间，既是旅客们的保护者，又是商人和牧羊人的保护神，他还精通音乐，被奉为七弦琴的发明者，同时又是一位著名的英雄，曾经杀死百眼巨人阿古斯。由于身份多样，墨丘利的象征物也有很多，其中最常见的是他脚上带羽翼的草鞋、头上的宽边帽、和手里的双蛇杖。在这尊雕像中，切利尼着重表现作者使者的墨丘利轻盈灵动的一面，他不但脚上穿着带羽翼的鞋，宽边帽上也同样插上了羽翼。墨丘利上举的双手、抬起的右腿、和望天的两眼，使整座雕像充满了上升感，似乎即将腾空而起。在样式主义时期，有两尊著名的《墨丘利》青铜像，一尊出自著名雕刻家詹波洛尼亚之手，另一尊就是切利尼制作的，这两尊雕像同样轻灵生动、充满了上升感，充分体现出样式主义时期艺术家们对富有戏剧性的运动感的追求。
 
32 No 42 "Mercury"
《Mercury》is one of four small masterpieces with a decorated base. The beautiful god Mercurio is ready to fly. This work is the copy of the original one , located in the national Bargello museum in Florence. This is the work of the most important metal Mannerist sculptor in Italy Benvenuto Cellini（本韦努托.切利尼）.
   The messenger of all gods, mercury, is called Hermes(赫尔墨斯) in Greek mythology. Mercury is his Roman name. He is also the son of Zeus. He has a lot of responsibilities: he is the messenger of all gods, he is responsible for leading the souls in to hell, and he is the patron saint of travelers, businessmen and flock masters. He is skilled in music, he is the inventor of heptachord, and he is also a very famous hero who had killed the 100-eye giant Agoos(阿古斯). There are a lot of symbols of Mercury because of his different identities. The most familiar ones are his straw shoes with feathers, his hat and his two-snack shooting stick. In this sculpture, Cellini emphasizes the lightness of Mercury. He is not only wearing shoes with feathers, but also a hat with feathers. His hands raised, his right leg lifted, and his eyes staring at the sky show make Mercury appear to be in flight. At the time of Mannerism样式主义, there are two famous bronze sculptures, one is the opus of a famous sculptor Giambologna(詹博洛尼亚), the other one is made by Cellini. Both of the two sculptures are lively and light, and the figures appear to be in flight. They are good examples of the Mannerist style. 样式主义.
 
 
33、43号作品：《但丁半身像》
 
《但丁半身像》，献给伟大的意大利语之父但丁，是意大利样式主义时期最重要的金属雕刻家本韦努托·切利尼的作品。
但丁·阿利盖里，是意大利文艺复兴早期最著名的诗人，以深刻的思想、和在推动方言文学发展方面的巨大贡献而受人景仰。传世巨作《神曲》为但丁赢得了不朽的声名，但这位伟大的文学家在政治上却十分不如意，他年轻时遭流放，被逐出佛罗伦萨，最后客死于遥远的拉文纳。切利尼的青铜肖像《但丁》，采取从乔托时代传下来、广为人们所接受的但丁肖像模式：那瘦削的面庞、高而尖细的鼻梁、薄薄的嘴唇、和鼻翼两旁深深的皱痕，都是令人过目难忘的但丁特征。借助切利尼的敏感的艺术表现力，这位命途多舛的伟大诗人那深深的忧郁、对国家前途的忧虑，淋漓尽致地流露于眉目之间，这尊杰出的青铜像，在艺术史上一直享有很高的声誉。
 
 
33 No.43  "The sculpture of Dante"
This sculpture depicts Dante, one of the great fathers of Italy. It was created by Benvenuto Cellini, one of the great metal sculptors of the Italian period of Mannerism.
 Dante Alighieri，is one of the most important poets of the renaissance. He is respected for his thought and the contribution towards the development of dialectical literature. One of his great works is called《magical music》. But in politics, he was not as popular as he had hoped. He was exiled when he was young, he was expelled from Florence and died in the remote city of Ravenna, Italy (拉文纳). This bronze sculpture is in a style similar to that of Giotto (乔托)： seen in the emaciated face, the tall nose, the thin lips and the deep wrinkles beside his nose. These are the memorable features of Dante's face. Cellini's depiction of Dante, with these features, (切利尼), show the sadness of the great poet who had suffered a lot of mishaps in his life, as well as his concerns for his country.
 
 
34、44—47号作品《盖罐》与《简单的盖罐》
这件及以下三件《盖罐》，都是意大利样式主义时期最重要的金属雕刻家本韦努托·切利尼的作品。
切利尼不但是一位多才多艺的雕塑家和铸造匠，还是一位杰出的金银匠。他构思和铸就了成百件杰作，特别是银制品。他的成果主要是那些为著名的贵族家庭和各国君主丰盛的餐桌上所使用的餐具，如极其精致的壶、杯等。切利尼所制作过的最贵重的工艺品，就是法国国王那只以纯金打造的《金盐盒》。我们在这里看到的几件《盖罐》，有青铜制品，也有银制品，以神话中人身羊腿的的森林之神、或动物、植物为装饰，工艺精美，体现出切利尼作为一名金属工匠的出众才华。
 
34. No 44-47 "Cover Pot" and "Simple Cover Pot"
These and the next 3 works were made during the period of Italian Mannerism by the most important metal sculptor, Benvenuto Cellini。
   Cellini is not only a gifted sculptor, but also an outstanding gold smith. He created hundreds of excellent works especially silver ones. Most of his works are tableware that decorated the tables of noble families. The most expensive work Cellini made is the <Gold Salt Box> (<金盐盒>), which is made of pure gold. The French King now owns this work. Some of the <Cover Pots> we see here are made of bronze and some of silver. They are decorated with the Faun, the god of the woods whose upper body looks human but whose legs look like that of a goat. They are all elaborate works; featuring Cellini's skill as a metal artisan.
 
35、48号作品：《阿波罗太阳神》
 
这件《阿波罗太阳神》，是古典希腊式作品。展现了阿波罗太阳神极美的神情。作者是意大利样式主义时期最重要的金属雕刻家本韦努托·切利尼，根据收藏在罗马梵蒂冈教皇宫的古希腊大理石原作《眺望楼的阿波罗》仿制而成的。
《眺望楼的阿波罗》，是希腊古典时期最著名的雕塑之一，它将希腊神话中的太阳神阿波罗表现为一位具有女性气质的美少年，驾驭着由四匹白色骏马拉着的车辇，奔驰在天空上，雕塑中的车辇早已不知去向，只留下太阳神手持缰绳的的姿势，长长的脖子、笔挺的鼻梁、高贵自持的面庞使这位太阳神显得理性而睿智。这正是阿波罗的特质，在希腊文化、及深受希腊影响的西方文化中，太阳神阿波罗作为理智的化身，与激情化身的酒神狄奥尼索斯对立。哲学家尼采在其代表作《悲剧的诞生》中，曾借助这两位神祗的名字，来象征人性的两极。
自从文艺复兴时期发掘出《眺望楼的阿波罗》以来，这尊雕塑一直深受人们的景仰，切利尼的小型青铜复制品重现了太阳神的美丽与高傲，而青铜的质地类似于健康的肤色，十分贴近古希腊人的审美理想。
 
35．No 48 "Apollo"
This < Apollo > is a work of classical Greek style. It was made during the Mannerist period by the most important metal sculptor of the time, Benvenuto Cellini.
"Apollo "is one of the most famous sculptures in the period of classical Greece. It made the sun-god Apollo a beautiful youth with femininity. He rode a carriage drawn by four white horses across the sky. Now the carriage has gone, leaving the sun-god with a pose of holding the reins. His neck, straight nose and noble face combined to make him sapiential. This is exactly what characteristic Apollo has.
Since "Apollo " was discovered during the Renaissance, it was highly respected by the people of that time. Cellini's small copy recalls the pride and the beauty of this sun-god.
 
 
36、49号作品：《海神尼普顿》
这尊《海神尼普顿》的作者詹波洛尼亚，是样式主义时期最杰出的雕刻家。
詹波洛尼亚所雕塑的裸体人物，常常使用螺旋线造型、具有强烈的运动感，但又不失飘逸优雅，在强烈的动态中取得戏剧般的平衡，他的这种风格，被称为"国际样式主义"。在詹波洛尼亚活动的16世纪晚期，花园和喷泉的装饰雕塑逐渐成为一种重要的雕塑门类，在这方面，詹波洛尼亚是一位具有代表性的人物，他到意大利之后所接受的第一份定件，就是为教皇皮乌斯四世制作的"尼普顿喷泉"。我们在这里所看到的，就是这个喷泉上的《海神尼普顿》。
尼普顿在希腊神话中叫做波塞冬，尼普顿是他的罗马名字，他是主神宙斯的弟弟，是一位拥有强大力量、有时甚至能与兄长分庭抗礼的镇海之神。由于宙斯和尼普顿两兄弟同样雄壮有力，在艺术中常常很难区分，唯一的办法是看他们手中的象征物：拿霹雳的是雷神宙斯，拿三叉戟的则是海神尼普顿。在詹波洛尼亚的雕塑中，尼普顿右手持三叉戟、左手张开，怒视前方，仿佛随时准备投入战斗。和兄长宙斯一样，尼普顿也是一位脾气暴躁的神，常常因为一时的怒气摧毁国家或城市，詹波洛尼亚惯用的螺旋线造型赋予这位发怒的神祗以强烈的动感和力量感。
36.No.49  "THE SEA GOD, Neptune"
   The author of the Sea God Neptune is Giambologna，an outstanding sculptor of the Mannerist style.
Giambologna is Flemish. His art career began as a apprentice in a art workshop in Antwerp. Then he went to Italy, the center of the Renaissance .During this time, he worked in Rome, Florence, Bologna and many other cities in Italy. FRANCISCO de Medici was one of his biggest partons. During this time, Giambologna had found his unique style. He usually shaped his nude sculptures into twisted lines thus making the figure lively and elegant, while at the same time, reaching a very dramatic balance out of this feeling of movement. People named this style international mannerist，which had far - reaching effects. For example, Baroque art from 17th century Europe is deeply influenced by this style. 
Giambologna worked in the late 16th century. During this time, Decorative sculpture for gardens and fountains was becoming its own field of sculpture. Giambologna  is a typical artist of this art style. The creation of the Neptune FOUTAIN was his first job in Italy.
Neptune is the Sea God's Roman name. In Greek mythology he was called Poseidon. Poseidon is the younger brother of Zeus and he has strong powers like Zeus.
The two brothers look similar. The only way to tell them apart is the weapons they use.. Zeus holds a thunderbolt(霹雳) while Poseidon holds a three pronged spear.
We can almost feel the tension of war from this sculpture. Like his brother Zeus, Poseidon also has a bad temper and destroys countries and cities when he is in a bad mood.
 
37、50号作品：《牧神》
在希腊神话中，牧神又是森林之神，名叫潘，他有着人类的身体，双腿却是山羊。由于在古希腊，人们以山羊来象征男性的生殖能力，因此人身羊腿的潘神也被赋予了风流好色的性格。在古希腊神话里，到处都可以看到潘神由于这个癖好而到处惹祸的故事。
 
37．No 50  "Faun"
In Greek mythology, Faun was admired as the god of woods and pastures. The upper part of his body looks like a human but the legs look like a goat. In ancient Greece, the goat represents the ability of  man to procreate, so Faun was created to be someone who always has a strong desire for women. Greek mythological stories of Faun often place him in dilemmas because of his desires.
 
38、作品51号：《伊特鲁里亚喷火兽》
    所有伊特鲁里亚杰出的铜质铸造和雕塑家们都会创造各种奇异的喷火兽。喷火兽是古代伊特鲁里亚的一个组成部分——也就是今天的阿雷佐城——的象征。这尊喷火兽是在阿莱卓被发掘的，后被安放在佛罗伦萨考古博物馆的伊特鲁里亚展厅展览。这件作品的原件是个梦幻中的华贵动物，有象牙做的牙齿、玻璃做的眼睛。但复制件没有，这个复制件保持了原件尺寸和精细雕刻的特征。
伊特鲁里亚人是古罗马人的祖先，他们素来以擅长制作镀金的青铜器皿而著称。直到今天，源自伊特鲁里亚的青铜母狼雕像，依然是罗马城的标志。
38.No.51 "ETRUSCAN CHIMAERA"
Chimaera  was a part of Etrus and was a symbol of this state, which is called Arezzo(阿雷佐城) today. This chimaera was discovered in Arezzo and then placed in the Florence Archaeological Museum. The original production is an invaluable animal sculpture, with teeth made of ivory and eyes of glass. But we cannot see these decorations on this copy in front of us. Still, the size and the style of workmanship has remained in this copy.
People from the Etruscan state were the ancestors of old Rome. They were known for gilding techniques.
39、作品54号：《肯陶洛斯》
 
    一对神话中的半人半马像，上身为人，腿为马，它表现了生活中的傲慢、欢乐和年轻，另一方面用下垂忧郁的眼光和双手被捆绑在背后的形象表现了过去的悲惨人生。
在希腊神话中，肯陶洛斯是一个半人半马的种族，他们的祖先是拉庇泰国王伊克西翁，传说这位国王贪恋天后赫拉的美貌，赫拉的丈夫——众神之父宙斯为了惩罚他的无礼，将一片乌云幻化成赫拉的模样，不明真相的伊克西翁便与乌云生下了半人半马的子孙。这个种族既继承了祖先的勇武、也继承了其好色的禀性，在希腊神话中，他们因这个毛病惹了不少麻烦。
肯陶洛斯是西方古典艺术中常见的题材，我们在这里看到的，是两尊小型青铜雕塑，它们分别表现两个年龄阶段的肯陶洛斯，年轻的马人意气风发，手指前方，一副斗志昂扬的气派；年老的马人则似乎因尝尽了人世沧桑而情绪低沉，他的双手反剪在背后，忧郁的眼睛望向后方，仿佛在回忆、反思。一老一少形成强烈对比，也反映出艺术家对人生的深刻思考。
39. No.54   "Centaurs"
A Centaur is a creature that originated from fairy tales. His upper body looks like that of a human being and his lower body looks like that of a horse. He is a symbol of pride ,delight and juvenility. On the other hand, his dusky eyes and trussed hands stand for his tragic foregone life.
Centaurus is a centaur in Greek mythology, whose ancestor is Ixion, the king of the Lapiths. It is said, the king admired the beauty of Hera. but her husband, Zeus, was so jealous that he turned a cloud into the shape of Hera in order to punish him.
The king, who is unaware of the truth, slept with the cloud, which latter gave birth to a baby-Centaur. This Centaur inherited the troublesome nature of his ancestors.
Centaurus is a familiar theme in western classical art. These two sculptures are bronze casts. One stands for the young vigorous and strugglingly Centaur, who points ahead. Having run the whole gamut of human experience, the other Centaurus seems to have low spirits. His dusky eyes and trussed hands suggest that he is recalling and reflecting on something. The contrasts between these two sculptures imply the sculptors' profound thinking of life.
 
40、55号作品：《洛伦佐·德·美第奇》
 
这是一尊极美的雕像，这尊作品因公爵姿态的凝重和沉思，曾被称作"沉思者"，再现了他生活中作为一名设计师和思想家的特征。这尊小型青铜雕塑是意大利文艺复兴时期最伟大的艺术家米开朗琪罗·博纳罗蒂的作品。
我们在这里所看到的，是米开朗琪罗为佛罗伦萨美第奇家族的家族礼拜堂制作的大型大理石纪念像《洛伦佐·德·美第奇》的青铜小模型。从1520年开始，米开朗琪罗就全身心地投入了这座家族礼拜堂的工程中，由于人力、物力等种种原因，没有能够完全实现，但他所设计的美第奇礼拜堂，依然成为建筑史上具有转折意义的重要作品，而他在这座礼拜堂里留下的雕塑，每一件都是艺术史上罕见的珍宝。《洛伦佐·德·美第奇》肖像，将这位意大利文艺复兴时期最伟大的赞助人表现成一位正陷入沉思的贵族，豪华的衣着和俊秀的面庞，都掩饰不住他内心深沉的忧思，这正是以"豪华者"著称的洛伦佐性格中最突出的一面：一边是及时行乐，一边却抬起忧郁的眼睛看向未来。手托腮帮、陷入沉思的洛伦佐肖像，直接启迪了19世纪伟大雕刻家罗丹的著名雕像《思想者》。
 
40. NO.55 "Lorenzo de Medici"
This work depicting Lorenzo de Medici is called "Thinker" because the figure appears contemplative. This little bronze statuary was an architectural detail created by the great artist.
This statuary is a model for a marble statue. Michelangelo made the statue for the church of the Medicis in Florence. Michelangelo was involved in the construction of the church beginning in 1520, but due to lack of manpower and materials, it remained unfinished. Nonentheless, the Medici's Church was an important design in the history of architecture. And the statuaries in this church are treasures in art history.
The portrait< Lorenzo de Medici>, presents one of the most important patrons of Renaissance art as an intellectual. His lavish dress and handsome face cannot hide his anxiety. It's one of the most well-known characteristics of Lorenzo ----a man of luxury: at one moment seizing opportunities, at another looking toward the future with somber eyes. The portrait or Lorenzo, hands on cheek, thinking, influenced the later 19^th century work by French sculptor Auguste Rodin.
 
41、56号作品：《牧神蜡台》
这是受巴罗克艺术风格影响的优雅的牧神烛台。以人身羊腿的古希腊神为装饰。
在希腊神话中，长着人类身体、山羊腿的神祗共有两类：一是好色的森林之神、即牧神潘；另一个是酒神狄奥尼索斯的伴侣萨提儿。潘神以好色闻名，常常到处惹祸，在艺术中往往表现为老年男子；萨提儿则多才多艺，甚至敢于和太阳神阿波罗较量才华，在艺术中常常表现为年轻男子或孩童。
这只烛台所表现的人身羊腿神，以孩童面目出现，可被看作是酒神的伴侣萨提儿。他背后长着翅膀，左手举着的烛台上刻有酒神的标志——葡萄藤。雕刻风格优雅华贵，属于16世纪样式主义艺术的特征。
 
41. NO.56  "Candle holder depicting Pan"
This elegant candleholder, in the Baroque style, depicts the god Pan. Pan is an ancient Greek god with the body of a human being and legs of a goat. In Greek mythology, there are two kinds of gods depicted in with this kind of body: one is the amative god of the forest, known as Pan. The other one is the god of wine Dionysus who is sometimes depicted as a satyr (萨提儿).Pan is usually in some kind of trouble. In art, he is usually represented as an old man. The Satyr萨提儿is resourceful. He dares to challenge the god Apollo. He is usually represented as a young man or a child.
In this work, the god has the appearance of a child. We can look at him as a Satyr（萨提儿）, the fere of Dionysus. He has wings at the back, raises a candleholder, and in his left hand a symbol of the god of wine---a grapevine. The style of the carving is elegant and luxurious. It's characteristic of 16^th century Mannerism样式主义.
 
42、作品57号：《伊特鲁里亚杯》
    这是一个雕凿精致、绝妙无比的铜杯。这个小杰作曾与伊特鲁里亚和古罗马的大批杯子、器皿一样当作日常用品。在弗利里画廊中有大量的此类收藏品。
伊特鲁里亚人是古罗马人的祖先，他们素来以擅长制作镀金的青铜器皿而著称。直到今天，源自伊特鲁里亚的青铜母狼雕像，依然是罗马城的标志。
伊特鲁里亚最著名的青铜铸造中心，是在武尔西城，这座城市后来也成了古罗马人的青铜生产中心。那里生产的青铜器皿，主要有酒杯、灯台等，我们在这里所看到的这是伊特鲁里亚杯，杯身装饰着酒神狄奥尼索斯的标志——葡萄藤，表明它是一只盛酒的杯子，精美的铸造工艺使我们得以透过遥远的时空，一窥当时人们对生活的考究。
 
42. NO.57  "Etruscan Cup"
This is a bronze cup. This masterpiece was used in daily life in ancient Rome. The Etruscans were the ancestor of ancient Romans. They often produced gilted bronze vessels. 
The most famous foundry center in Etus was the City of Wolerci(武尔西城)。The people there produced bronze vessel, cups, and lamp stands. This Etruscan cup Etruscans has a grapevine, a symbol of the god of wine. It signifies that it's to be used as a wine cup.
 
43、58号作品：《爱之杯》
这是一个按伊特鲁里亚杯复制的铜雕作品，华丽而精致，展示了颂扬爱的情景。而被称为"爱之杯"。
它制作于16世纪，精良的工艺、奢华的装饰、优美的人物造型，体现了文艺复兴晚期艺术的充分成熟。和前面那只伊特鲁里亚杯一样，这只杯子的杯身也以酒神的标志——葡萄藤为装饰，表明它是一只酒杯。在西方文化中，杯子是夫妻相许的象征，我们所看到的这只"爱之杯"，用几个连续的画面表现夫妇之间的脉脉温情，具有很强的艺术感染力。
 
43. No.58  "Cup of Love"
This copper piece is a duplicate of the well-known Etruscan Cup. Gorgeous and delicate, it depicts people chanting the praises of love, hence the name "Cup of Love".
It was made in the 16^th century and represents the mature style of the late Renaissance through its fine workmanship, delicate decoration, and careful modeling. As with the earlier Etruscan Cup, this cup has been decorated with the symbol of the God of wine. This symbol is the grapevine, which makes it clear that this was intended to be used as a wine cup. In western culture, a cup is the symbol of the promise made between husband and wife. This "Cup of Love" shows the tender sentiments between husband and wife with several scenes.
 

意大利贝利尼博物馆
文艺复兴艺术2004.12   

导言
 
公元14世纪初，当欧洲大部分国家还听着教堂钟声、虔诚度日的时候，一股复兴希腊罗马古典文化的思潮，在意大利悄然萌芽，并很快将尼德兰、德国、法国、西班牙、甚至远在欧洲大陆之外的英格兰都卷入其中，它们互相影响、取长补短，形成一场蔚为壮观的"文艺复兴运动"。

这场绵延三个世纪之久的运动，高举着"人文主义"的旗帜，推崇人性、强调世俗生活的价值，对人们的思想、生活方式产生了深远影响。意大利是文艺复兴运动的策源地，绘画、雕塑、建筑手法的科学与纯熟，达到了前所未有的高度，艺术家也第一次作为脑力劳动者而受到尊重。而莱奥那多·达·芬奇、米开朗琪罗·博纳罗蒂、拉斐尔·桑西，更是被誉为"三杰"，成为后世的标榜。
佛罗伦萨的贝利尼家族，从18世纪起就是著名的古董收藏家，也是许多艺术活动的组织者，他们的家族博物馆——贝利尼博物馆藏有大量文艺复兴时期的艺术品，在艺术界和收藏界享有崇高的声望。

Italy Bellini Museum Renaissance exhibition
 
Preface
 
Dating back to the early 14th century, the Renaissance had already begun in Italy, the land of the former Roman Empire, while most of the European countries were still overpowered by religious limitations.  Later, its influence stretched towards the northern and southern part of the Alps, including the Netherlands, Germany, France, Spain, and even England, an island outside the European continent. Each area contributed its own cultural influence, creating an extraordinary period of artistic creation.
 
The three-century-long Renaissance highly valued humanity, individuality, trade, and science. With its deep impact on people's thought and ways of life, great achievements were made in many disciplines, such as the humanities, science, philosophy, politics, and education. Florence was the true focal point of the Renaissance having produced great thinkers, patrons and artists, Leonardo da Vinci, Michelangelo Buonarrti, and Raffaello Sanzio are the most celebrated artists of the period.
 
The Bellini family in Florence has been a distinguished collector and supporter of the arts since the 18th century. Their family museum, the Bellini Museum in Florence, has a strong collection of Italian Renaissance art. 

1、  1号作品: 《美第奇壁毯》
 
材质为羊毛，此毯来自于十六世纪显赫的美第奇家族。
美第奇家族曾是意大利杰出的银行家，佛罗伦萨的统治者、最大的文化艺术的资助者，使佛罗伦萨成为人文主义和文艺复兴的中心。这个家族最为人所熟知的祖孙三代，就是拥有巨大影响而被尊为"国父"的科西莫·德·美第奇、科西莫的儿子皮耶罗·德·美第奇、以及以"豪华者"的美称闻名于世的洛伦佐·德·美第奇。
许多受人仰慕的艺术大师，都曾在他们的支持下工作。15世纪末，"豪华者"洛伦佐·德·美第奇创立了著名的"美第奇学园"，正是在这里，这位伟大的赞助人发现了文艺复兴时期最伟大的艺术家——米开朗琪罗·博那罗蒂。
这幅壁毯上的图案，就是美第奇家族的族徽。它由"国父"科西莫·德·美第奇制定，主体是一个里面套着许多小圈的大圈，被称为"圣爵盖"。美第奇家族的姓氏，在意大利语中含有"医生"的意思，所以也有人把这些小圈解释成"美第奇"开的药。科西莫将这个族徽当作自己的签名，用在他所赞助的建筑和其他艺术品中。2个圣童托着带有佛罗伦萨百合花的花冠。百合花是佛罗伦萨的市花；而王冠下的狮子头，则是佛罗伦萨城的象征，这些图案的组合，暗示着美第奇家族在佛罗伦萨城的领袖地位。
 
1.No. 1  "Medici Carpet"
  This is a woolen carpet that was owned by the Medici family during the 16th century.
  The Medicis were an important banking family in Italy as well as political leaders of Florence.  They were the biggest culture and art patron, helping to make Florence the center of the Renaissance.
  The most well-known of three men in the family was Cosimo de Medici, who was respectively referred to as " the father of the country" for his great influence on Florence. His sons were Piero de Medici and his grandson is the Magnificent Lorenzo De Medici.
  Many admirable artistic masters were once working under their patronage. At the end of the 15th century, Lorenzo De Medici created the famous  "Medici school" where he discovered Michelangelo Buonarroti, one of the most prolific and talented artists of the Renaissance.
  The pattern on this carpet is the clan of the family .it was laid down by the "father of the country" Cosimo de Medici. It's main feature is a large hoop in which many other small hoops are contained. It is called "the holy knight seal" the family name of the Medici family. This symbol possesses a meaning of doctor in Italy. Cosimo de Medici regarded this clan insignia as his own signature used in architecture and the other arts that he patroned.  Two holy boys hold up the corolla with the Florence Lilies . Lily was the city flower in Florence and the lion head beneath the crown was also an important symbol of Florence.
  The combination of all of these patterns suggests the position of leadership that Medici family possessed in Florence.
 
 
2、5号作品: 《赐福的童年耶稣》
这是一件多彩油灰雕塑，作者是16世纪意大利著名的雕塑家多梅尼可·罗塞利诺。雕塑表现童年的救世主耶稣基督，举起右手正向世人赐福，这种举起右手、伸出中指和食指的赐福姿势，在基督教艺术中是很常见的，广泛用于基督、圣母、及其他圣人身上。这尊雕像是佛罗伦萨的达·瓦恩扎蒂博物馆的藏品。
这座博物馆原来是15、16世纪佛罗伦萨著名的家族——达·瓦恩扎蒂家族的府邸，建造于14世纪中叶，它保持了作为一座14世纪家用建筑的特征：包括那种中世纪与文艺复兴之交的建筑风格以及内部豪华陈设，向人们展示这个显赫家族曾经的辉煌。
 
2. No.5 "Bless Childhood Jesus"
       The will-known Italian sculptor Domenico Rossellina ,is the author of this 16th century work. This sculpture shows that the young Jesus Christ, with his right hand raised, is blessing people. The posture of raising the right hand with the middle finger and forefinger stuck out, is very common in Christian art and often depicted with Jesus Christ, Virgin Mary and other saints. This sculpture is in the collection of the museum Davanzati（达.瓦恩扎蒂） in Florence.
This museum was originally the mansion of a famous family in Italy --the family Davanzati（达.瓦恩扎蒂）in the 15th and 16th century. It was built in the mid 14th century. Its building features combine styles existing at the turning point between the Middle Ages and the Renaissance. In addition, the luxurious displays within, show the resplendence of this family of brilliance at one time.
 
3、6号作品：《施洗者圣约翰》
 
这是一尊彩陶，表现的是《新约圣经》里著名的先知施洗者圣约翰，他是救世主基督的表兄，降生到世界上是为了教人们悔改，为进入天国作准备。他严于律己，身穿粗糙的骆驼毛，吃野蜜为生，为人民的得救奔走呼号，因而被看作是苦行的代表。这尊雕像表现的正是圣约翰穿着骆驼毛，举目向天正忧心忡忡地为人民祈祷，充满了感人的精神力量。
雕像的作者是多纳太罗的学生。多纳太罗是意大利文艺复兴早期最著名的雕刻家之一，他精通古典艺术，其作品大都雄浑有力、古朴自然，不带额外的装饰，向当时由国际歌特式统辖的艺术界吹进了一股清新之风，为文艺复兴雕刻的发展作出了很大贡献，他的学生吸收了老师风格的精华，这尊雕刻比例准确，朴实无华，只有那细长的手指和微微扭曲的姿势，才表明它并未完全摆脱国际歌特式风格的影响。
 
3.No.6  "Baptist St.John"
This colored ceramic piece represents the famous prophet John the Baptist, the cousin of the Savior, in the < New Testament of the Bible>. He came to this world to teach people to repent and prepare for entering the Kingdom of Heaven. He was self-disciplined, wore the coarse fur of camel, lived on eating honey, devoted himself to the salvation of people. Therefore, he was considered to be the representative of ascetic penance. This sculpture shows St.John (圣约翰) wearing camel fur, looking at the sky, and praying with anxiety for people. It is full of spiritual power, which touches people deeply.
       The author of this sculpture was a student of Donatello（多纳太罗）, one of the most famous sculptors in the early stages of the Italian Renaissance. Most of his works are full of energy and primitive simplicity without extra decoration. They added freshness into the artistic field which was then dominated by the international Gothic style and greatly contributed to the development of the sculpture during the Renaissance. His students absorbed the essence of their teacher's style. This simple sculpture is of perfect proportion. Only its slender finger and the slightly bending posture suggest that was still under the influence of the international Gothic style.
 
4、7号作品：《顶篮女》
 
这尊上釉彩陶雕塑，是乔凡尼·德拉·洛比阿的作品。
乔凡尼·德拉·洛比阿，出生于文艺复兴时期意大利著名的艺术世家——洛比阿家族。乔凡尼的叔祖父卢卡·德拉·洛比阿是赤陶彩色雕塑工艺的创始人，这种雕塑样式流行佛罗伦萨达一百五十年之久，而洛比阿家族也正是以精湛的彩陶雕塑闻名于世。
乔凡尼·德拉·洛比阿一生的大部分时间，都与他的父亲安德烈亚·德拉·洛比阿一起工作，由于安德烈亚的显赫声名，许多出自乔凡尼之手的作品，长期以来被误认到他的名下。事实上，乔凡尼的艺术才能丝毫不逊于他的父亲安德烈亚，他最杰出的作品就是晚年为皮斯托亚的塞波医院制作的一组着色浮雕，表现基督教所崇尚的七种善行，这也是他一生所创作的最后一件作品。
这尊《顶篮女》，是典型洛比阿风格的彩陶雕塑，以白色为底、蓝色为主色调，色彩效果十分丰富细腻。装满花果的篮子，经常出现于西方艺术中，它与西方艺术中的著名象征物"丰饶角"具有同一含义，象征着丰产、富饶，也象征仁慈、和平与幸运。
 
4. No.7  "The  basket girl beholder"
  This colored ceramic sculpture is by Giovanni della Robbia（乔凡尼·德拉·洛比阿）
Giovanni della Robbia, was born into a famous artistic family in Italy at the time of Renaissance---the Robbia family. The brother of his grandfather was the founder of the colored ceramic craft. This type of sculpture was popular in Florence for as long as 150 years and the Robbia family was well known to the world for this gorgeous "colored ceramic sculpture" during most of Robbia's life time. He was working together with his father Andrew Dela Robbia. And because of Andrew's great reputation, many a works that were actually created by Giovanni were regarded as having been done by his father. As a matter of fact, Giovanni ‘s artistic talent was just as good as his father's.
 This "basket beholder "is a typical colored sculpture with Robbia style .It has a background color of white and its main tone is blue. The color effect is very rich and delicate. Baskets full of flower and fruits often appear in western art. They represent a "rich and fertile valley" symbolizing abundance, fertility , as well as mercy ,peace and luck.
 
 
5、7a号作品：《童年的施洗者圣约翰》 
 
这种釉陶在当时是很难塑造的、需要付出极端的艰辛。是乔凡尼·德拉·洛比阿的作品。它显示了乔凡尼·德拉·洛比阿富于想象的创造力。他的作品展示在世界上许多著名的博物馆内，如佛罗伦萨巴尔第尼博物馆、柏林博物馆等。
这尊作品，是典型洛比阿风格的彩陶雕塑，以白色为底、蓝色为主色调，色彩效果十分丰富细腻。施洗者圣约翰是《新约圣经》中著名的先知，也是救世主基督的表兄，这里表现童年的先知身穿象征刻苦修行的骆驼毛，举起右手表示祝福，孩子的面孔栩栩如生。童年基督或施洗者圣约翰的肖像，在当时的佛罗伦萨十分流行，父母们把这类雕像放在家里，作为子女学习的榜样。
 
5. No.7a "The BAPTIST saint John in childhood"
  This kind of ceramic art was quite hard to make. This work was created by Giovanni della Robbia. （乔凡尼·德拉·洛比阿） His art is on exhibition in many other famous museums in the world such as Florence, Paris and Berlin.
  This piece is typical of Robbia's other colored ceramic sculpture. It has a background of white and its main color tone is blue. Its color effect is so rich and delicate. Saint John the Baptist was a famous prophet in . He was also the elder cousin of the savior Jesus Christ This prophet, shown during childhood, is dressed in camel fur, symbolizing ascetic practice, he holds up the right hand to express his good wishes. The child ‘s face is so vivid.
  The icon of the boy Jesus or Saint John the Baptist was so popular at that time in Florence and parents usually set up such sculptures at home as an example for their children to study hard.
 
 
6、9号作品：《荒野中的施洗者圣约翰》
 
这是一尊彩陶，表现的是《新约圣经》里著名的先知——施洗者圣约翰。《新约圣经》中记载说：施洗者圣约翰是救世主基督的表兄，他长年穿着粗糙的骆驼毛，吃野蜜为生，刻苦修行，在荒野里传道，教导人民悔改，为进入天国做准备。《荒野中的施洗者圣约翰》，因而成了基督教艺术中常见的主题。
这尊浮雕的作者是十五世纪的岱西德里奥·达·塞提涅亚诺，他是文艺复兴早期佛罗伦萨的雕刻家，出生于一个石匠家庭，曾经受过多纳太罗的影响，但和多纳太罗那雄浑有力、古朴自然的风格相比，岱西德里奥的风格更为精致、优雅。他的传世作品并不多，其中最重要的两件，一件是佛罗伦萨圣十字架内的一组陵墓雕刻，另一件在佛罗伦萨的圣洛伦佐教堂。此外还有一些独立的半身像，也被归于他的名下。
 
6、No.9   "Saint John in the desert"
This porcelain piece presents the famous oracle in . According to the Bible, Saint John is the cousin of Jesus Christ. He always wears a rough camel fur, and eats honey. He worked hard and preached everywhere. He also led others to repent in preparation for heaven. As a result, Saint John in Desert became a common theme in the Christian art.
This is a 15th century work by Desiderio da Settignano (岱西德里奥•达•塞提涅亚诺). He was a sculptor in Florence during the early renaissance. He was from in a stonemason family. Though influenced by Donatello(多纳太罗), his style was more diaphanous and more elegant.
 
 
7、10号作品：《但丁·阿利盖里》
 
10号作品和11号作品是两尊上釉彩陶雕塑，分别表现意大利文艺复兴时期最著名的两位诗人——但丁· 阿利盖里和佛朗切斯科·贝特拉卡，由佛罗伦萨著名的雕刻世家——洛比阿家族制作。洛比阿家族以精湛的彩陶雕塑工艺闻名于世。
这尊《但丁·阿利盖里》半身像，以白色为底、蓝色为主色调，是典型的洛比阿风格。但丁·阿利盖里，1265年诞生于佛罗伦萨，1321年死于拉维那，被称为意大利语之父、是意大利最伟大的诗人，世界最重要的人物之一。他以深刻的思想、和在推动方言文学发展方面的巨大贡献而受人景仰。传世巨作《神曲》为但丁赢得了不朽的声名，但这位伟大的文学家在政治上却十分不如意，他年轻时遭流放，被逐出佛罗伦萨，最后客死于遥远的拉文纳，但无论在生前还是身后，但丁·阿利盖里的成就永远都放射着耀眼的光芒。
 
7、No.10  "Dante Alighieri"
No.10 and 11 are glazed, colored ceramic pieces representing the two most important poets in the Italian Renaissance ----Dante Alighieri and Francesco Petrarca (佛朗切斯特*贝特拉卡). The two sculptures are produced by a famous house in Florence----the Robbias, who were famed for their excellent skill in making ceramic sculptures.
   This sculpture of Dante Alighieri, has a white base with a blue tone. This technique is a typical style of the Robbias.
   Dante Alighieri was born in Florence in 1265 and died in 1321. He has been regarded as the Father of Italian, the greatest poet in Italy and one of the most important people in the world. He was admired for his profound thoughts and his contribution to the promotion of dialectical literature. The masterpiece Divine Comedy, which was spread all over the world since ancient times, has won Dante a reputation that will never fade. But such a great writer couldn't walk a smooth path politically. He was banished from Florence during his youth, and finally died far from home in Ravenna, Italy (拉文纳).
 
 
8、11号作品：《佛朗切斯科·贝特拉卡》
 
作品10号和作品11号是两尊上釉彩陶雕塑，分别表现意大利文艺复兴时期最著名的两位诗人——但丁· 阿利盖里和佛朗切斯科·贝特拉卡，由佛罗伦萨著名的雕刻世家——洛比阿家族制作。洛比阿家族以精湛的彩陶雕塑工艺闻名于世。
这尊《佛朗切斯科·贝特拉卡》半身像，以白色为底、蓝色为主色调，是典型的洛比阿风格。贝特拉卡，1304年诞生于阿莱卓，1374年死于阿尔瓜，是意大利伟大的诗人和文学家，与但丁·阿利盖里齐名，以复兴古典文化方面的贡献而受人景仰。他最著名的作品，是为他的精神偶像劳拉创作的十四行诗集《新生》，这是一部世俗的情诗集，它的诞生，意味着以彼特拉克为代表古典文化，开始向严肃的基督教文化提出挑战。也正是彼特拉克，第一次明确地提出了"中世纪"的概念，认为它是远比古典时代逊色的黑暗年代，在此基础之上，彼特拉克进而提出了他对自己时代的理想，那就是：回复到一个古典而光明的"黄金时代"。
 
8、No.11  "Francesco Petrarca"
   No.10 and 11 are glazed, colored ceramic pieces representing the two most important poets in the Italian Renaissance ----Dante Alighieri and Francesco Petrarca (佛朗切斯特*贝特拉卡). The two sculptures are produced by a famous house in Florence----the Robbias, who were famed for their excellent skill in making ceramic sculptures.
    This sculpture of Francesco Petrarca, has a white base with a blue tone. This technique is a typical style of the Robbias.
    Francesco Petrarca was a great poet and writer in Italy. He who was admired for rebuilding the calssicals, was on a par with Dante Alighieri. Some of his most representative works were poems created for his idealized love named Laura (劳拉). His poems are typical love tales in a classical style, indicating Petrarca's challenges to the more serious Christian culture. Petrarca  was the first to put forward the concept of  "the Middle Ages". He believed that it was a dark age compared to the classical period. Based on his theories, he advanced the idea that people should retrieve the classical and more golden age that had passed.
 
9、12号作品：《但丁椅》
 
     珍珠母镶嵌，十六世纪作品，称为典型的但丁式椅子。
在意大利文艺复兴时期，随着人们逐步走出中世纪压抑的、苦行式的宗教氛围，越来越重视世俗的日常生活，追求舒适也成为该时期生活的一大特征。在经济发达的佛罗伦萨，日用家具的生产欣欣向荣，设计师们在挖空心思寻求最时尚、最舒适的家具设计方案，为人们的生活服务。"但丁椅"就是这一时期出现的一种典型的家具式样。
它是受字母X的启发而设计出来的，椅座下陷，以贴合臀部线条，上面通常放一只柔软的垫子，来增加它的舒适感。因为据说伟大诗人但丁最喜欢这种椅子，所以称为"但丁椅"。我们在这里看到的这只"但丁椅"，制作于16世纪，上面镶嵌着珍珠贝母，显得雅致而不奢华，制作工艺十分精良。
 
9. No 12 "Dante style chair"
This 16th century chair in the style of Dante is embedded with mother-of-pearl.
During the Renaissance Period, pursuit of comfort became one of the features of daily life. In the economically-developed Florence, the manufacture of daily furniture was prospering, and designers were conceiving some of the most fashion and comfortable furniture of the time.
The chair is formed with a kind of letter "X", its bottom sinks to fit the hip, and above the bottom there is usually a cushion to enhance the softness. Owing to the saying that the great poet Dante loved this kind of chair most, it is called the "Dante chair".
 
10、15号作品：《恺撒·奥古斯多》与15a号作品《法比奥·马西莫》
 
 
这是两幅15世纪的家具装饰画，出自文艺复兴早期最杰出的画家之一——保罗·乌切洛之手，最初安装在抽屉的嵌板上。
保罗·乌切洛是佛罗伦萨人，曾师从著名画家马萨乔，他继承老师的衣钵，在探索直线透视法方面取得了突出成就，为文艺复兴时期绘画的发展作出了很大的贡献。传说乌切洛特别富有敬业精神，为了研究透视法，常常彻夜不眠，在画室里苦苦钻研。乌切洛坚持用科学的手法作画，他笔下的人物、动物和风景，比例准确、透视合理，但由于过分强调每一细节在透视上的准确性，结果反而使整个画面显得僵硬，看上去就像一出木偶戏，他最著名的作品《圣罗马诺之战》就具有这种特点。
和文艺复兴时期的其他文学、艺术家一样，乌切洛喜欢以古代著名人物、和重大历史事件为绘画题材，如这两幅抽屉嵌板装饰画，一幅表现古罗马帝国的第一位皇帝恺撒·奥古斯多，另一幅15a号作品表现古罗马著名将领法比奥·马西莫。在小小的嵌板上，乌切洛游刃有余地安排了两组人像，人物和马匹比例准确，马匹的前后腿之间透视关系合理，连投影都经过了精心的计算，但也和乌切洛所有的作品一样，看上去僵硬有如玩偶。
 
10.No.15 "Caesar Augustan" & No.15a"Fabio Massimo "
These are two decorative furniture pieces from the 15th century. They were painted by one of the most excellent painters in the early  Renaissance—Paolo Uccello. They were initially located on the wedge of a drawer.
Paolo·Uccello was a Florentine. He had studied with the famous painter Masaccio (马萨乔). He learned the ability of foreshortening figures from his teacher. It is said that Uccello especially respected his profession, seen through his studies of foreshortened figures and working in the studio very hard.  He insisted on using a scientific technique in painting. He created figures, animals, and scenery with a fine pencil using exact scale and perspective. Perhaps his attention to the details of perspective causes his work to lack liveliness or energy. One of his best known works is  << The Battle of San Romano >>.
Like other writers and artists during the Renaissance, Uccello liked utilizing historical subject matter for his work, as depicted in these two decorative drawer panel paintings. One shows the first king of the Kingdom of Old Rome-- Caesar Augustan, the other, Work 15a,  depicts the former General of Old Rome, Fabio Massimo. On the small panel, Uccello arranged two portraits. The character and the horse have are in exact proportion, the front legs and the back legs of the horse are suitably foreshortened, even the shadow is extremely accurate, causing them to appear stiff and unnatural.
 
11.   17号作品:《丰饶角》
 
这尊白色大理石雕塑，表现西方艺术中著名的象征物——丰饶角，丰饶角寓意富饶，女人喻为河流。
在古希腊神话中，丰饶角原来是山羊阿玛尔特亚的一只角。在众神之父宙斯年幼的时候，阿玛尔特亚曾经用自己的乳汁将他喂养大，作为回报，宙斯赐予阿玛尔特亚富有魔力的山羊角，无论它想要什么，都可以从这只角中得到。在西方艺术中，丰饶角象征富饶和丰产，里面装满了鲜花、果实和谷物，常常与丰饶角一起出现的，是罗马女神佛图讷，这位掌管命运的女神手里拿着丰饶角，象征着和平、仁慈和幸运。
雕塑的作者尼可洛·特里波洛，是意大利文艺复兴时期著名的雕刻家和工程师，他最著名的作品是佛罗伦萨附近美第奇家族乡间别墅的喷泉，从那以后，喷泉装饰雕刻就成了雕刻的一种主要样式。
 
11.No.17   "The Rich Horn"
This white marble displays a famous symbol in Eastern art—the Rich Horn, which means abundance, and the woman compared with the river.
In the myth of the ancient Greece, the Rich Horn is one horn of the goat Amarteya (阿玛尔特亚). When Zeus (宙斯) was young, Amarteya feed him with her milk. In return, Zeus gave her a magical horn with which she could get anything she wanted. In the art occidental, the Rich Horn stands for richness and fertility. There are often flowers, fruit and grains in the horn. The one who often appears with the Rich Horn is the Roman Goddess of Fortune (佛图讷). She takes the Rich Horn in her hands as a symbole of peace, benevolence and luck.
The author of this sculpture is Nicklo Telipolo (尼可洛.特里波洛), famous Italian sculptor and engineer during the Renaissance. His most famous work is a fountain for the country villa of the Medici family (美第奇) near the Florence (佛罗伦萨). From then on, sculptural detail and decorations on fountains became one of the principal forms of sculpture.
 
12、18号作品：《蒙娜·达·瓦恩扎蒂》
蒙娜·达·瓦恩扎蒂，是15、16世纪佛罗伦萨著名的富有家族——达·瓦恩扎蒂家族的成员。这个家族的成员之一伯纳多·达·瓦恩扎蒂，是意大利文艺复兴文学史上的风云人物，据说他在世时，名声与但丁不相上下。
达·瓦恩扎蒂家族的府邸，建造于14世纪中叶。在19世纪，由于社会的动荡，这座府邸也遭到了严重毁坏，直到20世纪初才修复，保持作为一座14世纪家用建筑的特征：包括那种中世纪与文艺复兴之交的建筑风格，今天，达·瓦恩扎蒂博物馆陈列着家族成员曾经使用过的各种物品，大到衣柜、纺纱机，小到古代陶器、餐具，向人们展示这个显赫家族曾经的辉煌。
这尊彩色木雕就是这位贵妇的半身肖像，它做工精良，色彩细腻，是多彩木雕的稀有范本。
 
12.         No.18 "Monna Davanzati" (蒙娜.达.瓦恩扎蒂)
Monna Davanzati was a member of the rich family—Davanzati—in Florence in the 15th and the 16th century. One of the members of this family—Blando Davanzati (泊纳多. 达.瓦恩扎蒂)—was a man of honor in the history of literature during the Italian Renaissance. It's said that when he was living, his reputation was the same as Dante (但丁).
This museum was originally the mansion of the Davanzati family in Italy during the 15th and 16th century. It was built in the mid 14th century. Its building features combine styles of the Middle Ages and the Renaissance. The grand display within shows the glory of this family.
This wooden sculpture is the portrait of this great woman. With its good workmanship and its fine color, it is a rare example of multicolored sculpture.
 
13.19号作品：《圣母子》
 
这是一件圣龛雕刻，用珐琅和釉陶制作而成，表现救世主基督诞生的时候，圣母玛利亚跪在他面前合掌祈祷，在宁静的夜空中，上帝圣父为这普世同庆的一刻而欢欣，由许多小天使簇拥着出现在云端，圣灵化身为白鸽从天而降，飞向小基督。
雕刻的作者安德烈亚·德拉·洛比阿，是十五世纪佛罗伦萨著名的雕刻世家——洛比阿家族的成员。这个家族以精湛的彩陶雕塑工艺闻名于世，他们的第一代雕塑家——卢卡·德拉·洛比阿所创造的赤陶彩色雕塑工艺，流行于文艺复兴时期的佛罗伦萨城达一百五十年之久。安德烈亚是卢卡的侄子和主要继承人，他利用自己所熟悉的珐琅技术，对彩陶工艺作了改进，在15世纪的佛罗伦萨极负盛名。
这尊《圣母子》圣龛，是典型的洛比阿风格，以蓝白二色为主色调，其精湛的珐琅工艺则是安德烈亚本人的专长，人物造型栩栩如生，称得上是釉陶雕刻中的杰作。
 
13.         No.19  Sacred altar "Virgin Mary and Christ"
This is a sculpture of the sacred altar, made of ceramics and enamel. It shows the moment of Christ's birth when the Virgin Mary kneeled before him with her palms closed in prayer. On this calm night, God was happy. Many small angels gather around him incarnated as a pigeon who has flow from heaven to see the young Christ child.
Anderea della  Robbia (安德烈亚.德拉.洛比阿), a member of the famous sculptural family in 15th century Florence, created this piece. This family is famous for their mastery of multi-colored ceramics sculpture. This style, which was developed by the older Luca della Robbia (卢卡. 德拉.洛比阿), spread throughout Florence for about spread in the Florence city for about 150 years of the Renaissance. Anderea is Luca's nephew and main heir. He took advantage of his familiarity with the technique to improve on it.
This sacred altar is a typical work of the Robbia style. Its main colors are white and the blue, and the addition of other colors makes the figures more vivid.
 
14.         21号作品：壁毯"朱迪斯与霍诺芬尼"
 
 
这张彩色羊毛织毯，表现的是《旧约圣经》中一段著名的故事，一个众所周知的爱情神话故事。
据《旧约圣经》记载，朱迪斯原是一位美丽的犹太寡妇，在她生活的年代，犹太人的生活动荡不安，饱受内忧外患的煎熬。亚述王尼布甲尼撒为了攻克犹太这个顽强的民族，派遣他最得力的大将霍诺芬尼前去摧毁犹太人的城市。霍诺芬尼采取了持久战术，想把犹太人逼上绝路。在万分危急的情况下，犹太城内人心慌乱，有人主张坚持到底、有人主张妥协。朱迪斯虽然是女流之辈，但她行为端庄、乐善好施，一直深受人民爱戴，她痛斥了主张妥协的人，冒险身入敌军，靠自己的美貌和智慧骗取了霍诺芬尼的欢心和信任。趁着宴席的机会，朱迪斯把霍诺芬尼灌醉，斩下了他的首级，连夜逃回犹太城，致使敌军群龙无首，狼狈逃窜，终于保全了自己的家园。
这段故事富有强烈的传奇色彩，深受艺术家们欢迎。织毯表现的是朱迪斯刚刚把霍诺芬尼的头斩下来，让她的女仆拿着，准备逃回犹太的场景，人物的刻画栩栩如生，表明文艺复兴时期的织毯工艺已充分吸收了绘画艺术的成就，达到了相当高的水准。
 
14. No.21   Tapestry "Judith and Holofernes"(朱迪斯与霍诺芬尼)
This tapestry depicts a well-known story from the Old Testament..
According to the Old Testament, Judith was a beautiful Jewish widow. Jewish people were forced to live a difficult life during her time. The people of her town had suffered both threat and persecution from the Assyrians who had taken control. Holofernes, the Assyrian General adopted harsh policies for the Jewish people. In this critical moment, everyone in the city was in a panic. Some suggested fighting against the policies and others suggested making a compromise. Judith, was elegant and beautiful and loved by all the citizens. She bitterly criticized the ones who wanted to compromise with the enemy, and she decided to go into the heart of the enemy. With her attractive appearance and wisdom, she gained the trust and love of Holofernes. At a banquet one night, she made seduced Holofernes and then cut off his head. Eventually escaping to her Jewish city. She had killed the enemy's commander, upsetting their strategy and cause.
 This tapestry expresses the moment when Judith was preparing to flee to the Kingdom of Judah after she cut off Holoferne's head and asked the maid to take it. The depiction of characters is so true to life. It manifests that the craft of brocading in the period of Renaissance had reached a high level of artistic status.
 
15.         23号作品：《维纳斯》
 
 
这是一幅木版胶彩画，原先装饰在一只箱子的顶盖上，表现美与爱的女神维纳斯，半靠在枕头上，手拿她的象征物——玫瑰花环，站在她对面的应该是她的儿子——爱神丘比特，他们身后是一片原野，有漂浮的白云。这种类型的维纳斯女神，后来在文艺复兴盛期的艺术作品中经常出现，如威尼斯画家乔尔乔内最著名的作品《沉睡的维纳斯》。
这幅画的作者保罗·斯吉伏，是15世纪佛罗伦萨的著名画家，曾经参加过由著名赞助人"豪华者"洛伦佐·德·美第奇主办的艺术空间"美第奇学园"。他的传世作品很多，其中包括现藏于费城博物馆的《基督生平》祭坛、现藏于阿尔腾堡博物馆的《忏悔的圣哲罗姆》等。
除了制作嵌板画之外，保罗·斯吉伏还为抄本绘制插图，同时也继承了中世纪抄本彩绘师的一些技巧。如这幅画中爱神丘比特的红色翅膀，并不是当时佛罗伦萨流行的写实手法，而是典型的抄本插图着色方式。
 
15.No.23   "The Queen Of Love(Venus)"
This is a multicolor engraving on wood that decorates the top of a box. The image represents the queen of beauty and love----Venus, leaning against a pillow, hold a rose Wreath in her hand. The figure standing before her is likely her son---- Kewpie. They stand in a field, there are floating clouds. This type of Venus, became increasingly popular during the Renaissance. An example is the famous work of the Venetian painter Giogione's《Deeply Sleeping Venus》
The artist, Paolo Schiavo, was a famous painter in 15th century Florence. He joined the Medici School"美第奇学supported by Lorenzo De`Medici(洛伦佐·德·美第奇)。Schiavo's works include << Christ's lifetime>> altar hidden in The Philadelphia Museum Of Art and the  <> The Altenburger Museum Of Art (阿尔腾堡)。
Schiavo's art is similar to book illustrations from the Middle Ages. Just like the wings of Kewpie in this paint, it isn't the current actual method of Florence, it is the classical colored method of the hand-copied book.


 
 
16.         24号作品：《宝座上的圣母子》
 
 
《宝座上的圣母子》，是基督教艺术中最常见的题材之一，通常是为教堂的祭坛或圣龛而作，它最常见的样式，就是圣母玛利亚怀抱小基督坐在宝座上，基督举起右手为人们祝福。
这幅嵌板画是意大利文艺复兴初期的作品，属于托斯卡纳文艺复兴初期的作品，其线条朴实优雅，表现了文艺复兴无可争辩的尽善尽美及温和愉悦。托斯卡纳是罕见的当时所有伟人们聚会的目的地。和常见的同类题材作品略有不同的是，画面的圣婴基督并未举起右手作祝福的姿势，而是仿佛要躲进圣母的怀里，就像一个普通的孩子一样。这个特点体现出这一时期的艺术思想，已经和中世纪有很大的不同，它强调基督和圣母人性的一面，看上去更为和蔼可亲，而此后的艺术也正是沿着这个方向发展的。
 
16. No.24  "Virgin Mary and Christ sitting on the throne"
Virgin Mary and Christ sitting on the throne" is one of the most typical subjects in Christian art. It was often depicted in altars or niches. They are usually shown with the Virgin Mary sitting in the throne with the Christ child, who raises his right hand to bless the people, in her arms.
   This inlaid engraving is a work of the early renaissance in Tuscany. The Christ child here isn't raising his right hand, instead, he hides in the bosom of the Virgin Mary, just like a normal child. This trait is quite different of the Middle Ages. It emphasizes the human aspects of the Virgin and Christ, which is easier for people to identify with. After this, Christian art develops in this direction.
 
17、25号作品：《半身像》
这是一组表现文艺复兴时期意大利贵族青年的半身像，用蛋彩在木版上画成，在北欧人发明油画之前，这是中世纪晚期和文艺复兴早期最常见的画种，因为它携带方便，既可以用于庄严的教堂祭坛，又可以供私人收藏，在欧洲广为流行。
这组半身像的作者是意大利伦巴第地区的著名画家温琴佐·福巴。这位画家出生于1427年，是布雷西亚地方一位裁缝的儿子，在1481年莱奥纳多·达·芬奇来到米兰之前，他一直被看作伦巴第画坛的领袖，享有极高的声望。和文艺复兴时期的许多艺术大师一样，温琴佐对透视法有相当精到的研究，他笔下的人物，比例准确、形体结实，在意大利北部产生了很大的影响。1489年，这位艺术家回到他的出生地布雷西亚，直到26年后在那里去世。
这四幅半身像分布在两块木版上，是供私人收藏的家庭装饰画，最初可能被镶嵌房间的天花板或横楣上。它们以盛装的家庭成员为表现对象，画幅并不大，但是笔法细腻而精确，展现了作者深厚的绘画功底。
 
17. No.25   "Half-length portraits"
 
    Please, look at this group of paintings. They show us the half-length portraits of noble Italian youth during the Renaissance. They're painted on board with colours which are mixed with egg and water. This kind of paint is called "tempera". Before the invention of oil painting by the northern Europeans, this kind of painting is the most commonly seen in the latter part of the Middle Ages or the early Renaissance. They could be taken along conveniently, and moreover, they were able to be widely used on the altars of cathedrals. They became very popular in Europe.
    This group of paintings is painted by a famous Langobardic artist Vicenzo Foppa(温琴佐.福巴). Langobardic refers to people of Germanic descent who had invaded Italy several centuries before. Vicenzo Foppa  was born in 1427, a son of a tailor. Before Leonardo da Vinci's coming to Milan in 1481, he was regarded as a leader of Langobardic painting world. As many great artists during the Renaissance, Vicenzo studied painting. The figures in his paintings, are all in the exact proportion. This had quite an effect on the painting circles in the north of Italy. In 1489, he returned to his home place till his death 26 years later.
    These 4 half-length portraits are put onto two boards as decoration for the family's private collection. They might have once been set in the ceiling or on the lintel. Though they aren't too large, the drawings are smooth and precise, which fully show us the painter's profound skills.
 
18. 27号作品：《基督降下十字架》
  
这是一件小型祭坛雕刻，也是一幅有争议的作品，描述的是"耶稣从十字架上被放下来"的场景。一幅同时代的画框使这幅多色浮雕更加珍贵和卓越。作者是意大利文艺复兴时期最伟大的艺术家——米开朗琪罗·博纳罗蒂。
米开朗琪罗·博纳罗蒂是佛罗伦萨人，刚刚20岁出头的米开朗琪罗只身来到罗马，在那里完成了奠定他伟大地位的第一件杰作《哀悼基督》，这件作品所体现出来的独特稳固的整体结构、坚实有力的人物造型、深刻的心理刻画，使得年轻的艺术家在1501年返回故乡时，已经是一位声名显赫的大师，并取得了为佛罗伦萨市民广场制作大理石雕像《大卫》的荣耀。
《基督降下十字架》是中世纪和文艺复兴时期祭坛雕刻的常见题材，表现救世主基督刚刚用生命完成了救赎人类的使命，被他的朋友和追随者们从十字架上放下来，即将送入坟墓前的一瞬间，它是基督教教义的核心部分，也是基督教艺术最重要的题材之一。有着浓厚宗教情结的米开朗琪罗，生平曾多次表现这类场景。这虽然是一件小型着色浮雕，但那丰满有力的构图、强烈的动态、极富感染力的心理刻画、以及厚重内敛的着色方式，都使我们领略到米开朗琪罗艺术的独特风貌。
 
18. No.27  " Christ's Descent from the Cross"
This small sculpture is a disputed work that depicts Christ's descent from the Cross. A frame of the same age makes this colorful sculpture more precious and remarkable. The painter is the disputed creator is greatest artist in the Italian Renaissance—Michelangelo Buonarroti.
  Michelangelo Buonarroti was born in Florence. He came to Rome alone when he  was just over twenty years old, and finished his first masterpiece < The Pieta >. This masterpiece has a unique and stable structure, a solid and powerful mold-making, a profound description of feelings, which made this young artist a famous master when he returned to his home town in 1501 and obtained the honor of creating the sculpture for Florence.
  This work before us is one of the most familiar sculptural themes in the Middle Ages and the Renaissance. It represents the moment that Christ's family, friends and supporters take him from the cross, just after he has died. He will then be placed in the tomb. Michelangelo, a man full of religious sentiment, represented time after time this kind of scene in his art. Though it's just a small sculpture, we can all see why it is considered one of Michelangelo's works through the powerful composition and the intense movement.
 
 
19.28号作品：《玻璃窗画》
 
这组手绘彩色玻璃窗画，描绘了"耶稣的一生和苦难"。以《基督生平与受难》为题材，描绘了《新约圣经》中所讲述的救世主基督一生的故事：他奇迹般的降临人世、他的传道、他所经历的苦难和最后在十字架上牺牲。
《基督生平与受难》历来是彩绘玻璃窗画中最常见的题材，这些故事被绘制在大教堂的玻璃窗上，如同一本打开的教科书，给予前来参加弥撒圣礼的教徒们以谆谆教诲。玻璃窗画是一个在歌特式时期随着兴建大教堂的风潮而发展起来的画种，到文艺复兴时期，随着这股风潮的平息，已渐渐走向衰落。但在15世纪这个微妙的年代，一方面是中世纪的虔诚氛围还笼罩在人们心头，一方面是文艺复兴的新艺术手法已渐渐走向成熟，玻璃窗画也更加成熟、更加多彩，仿佛是黑夜来临之前露出的最后一缕霞光。
这几幅窗画的作者安东尼奥·达·潘迪诺，是一位著名的伦巴第大师，他汲取了维琴卓·福巴和被称为"勃艮第人"的阿姆勃洛焦·达·法萨诺的风格。他活跃在十五世纪最末的十年，是玻璃画技巧造诣很深的画家。从1475年起，他就给米兰多姆主教堂提供《新约全书》的玻璃画。1478年他还为巴维亚的卡尔特修道院绘制了一幅玻璃窗画。这里呈现的玻璃窗画毫无疑问是属于同一位玻璃窗画大师的作品。
 
19. No.28   "Glass-window pictures"
These stained glass windows represent "the whole life and the sufferings of Jesus". It describes the history of the whole life of Jesus from the : his birth, his propagation of religion, his sufferings and finally his sacrifice on the crucifix.
"The whole life and the sufferings of Jesus"<基督生平与受难> are always among the subjects which are most commonly seen in colorful glass-window pictures. These histories, painted on the glass windows of the church, just as an opened textbook, give sincere instructions to the believers who are coming for the sacred ceremony of Catholic Mass. This type of glass-window began appearing in churches built during the Gothic period. Those created in the Gothic style had a delicate style.  The glass window pictures here, from the Renaissance, are more mature and colorful.
These pictures were painted by Antonio da Pandino，a famous master of Lombardi. He was active in the last ten years of the fifteenth century as a master of stained glass designs.