这是熠林关于文艺复兴问答的第1篇，总问答的第2篇。已通过我的公众号“音乐森林”推送。
https://mp.weixin.qq.com/s?__biz=MjM5MzkzMzA5OA==&mid=2652278169&idx=1&sn=080347fe999c559a3bb7a0ad4b01e415&chksm=bd6d5fdc8a1ad6ca75f16dcec109fc54d9e5431eb9884786dc08845023ff3475a5eceb4be80a&token=1945741690&lang=zh_CN#rd
This is the 1st Q&A by Nicola the Editor for Renaissance artworks, the 2nd ever published.
关于拉斐尔：文艺复兴“三杰”之一
About Raphael: one of the three Master artists of Renaissance
关于《帕纳索斯山》：拉斐尔以及当时众人心中的诗坛文苑
About "The Parnassus": home for the literary and artistic saints
《帕那索斯山》| The Parnassus
问：拉斐尔是谁？
Q: Who's Raphael, or Raffaello Sazio?
答：我2016年就写过他的作品的专辑，请戳这里看吧。关于该画的简介也在里面。
A: I had written a serial about his artworks as well as this artwork in 2016, which can be found here.
问：那你还要介绍什么？
Q: What's more to be talked about then?
答：我们先来看看帕纳索斯山的主人吧——太阳神阿波罗和他九个同父异母的姐妹，也就是九个缪斯。
A: Let's see first the master for the Parnassus - Appollo and his 9 half-sisters, the Muses.
问：......9、9个吗？我还以为他只有1个妹妹、月亮女神阿忒弥斯（也就是罗马神话中的戴安娜）。
Q: ......oh 9 is remarkable. I thought he has only a twin sister Artemis (Diana in Roman).
答：是的，9个。别忘了他老爸可是宙斯（罗马神话中的朱庇特）。
A: His father is Zeus (Jupiter in Roman), if you may recall.
问：他们在这幅画中占C位？
Q: They are on the central stage here on the Parnassus.
答：帕纳萨斯山是希腊中部的山，传说为太阳神阿波罗及9位掌管艺术与科学的缪斯女神的灵地，后在西方文化中指代诗坛。阿波罗在古希腊神话中除掌管光明、勇气、纯真，且司音乐、诗歌、舞蹈。在西方的雕像、绘画等艺术作品中，他常手持一把里尔琴（现代竖琴的原型），即为此含义。
A: Parnassus is a mountain in central Greece where (according to Greek mythology) the Muses lived and known as the mythological home of music and poetry. Appollo's presence means brightness, courage, purity, and his lyre proclaims the joy of communion with Olympus through music, poetry and dance.
问：他在这里改拉小提琴的前身了，里尔琴也变了，变成他身旁穿蓝衣的妹妹手中的竖琴。
Q: Here he plays a primitive violin. And his sister in blue takes the lyre.
答：是的，这是竖琴的一种，而后变成18世纪其中一种流行的竖琴样式。
A: Yes. One of such lyre's ramifications is the normal harp in the 18th century.
问：这幅画总体上各人物的表情绘画似乎比拉斐尔的其它作品中的人物粗糙些。
Q: I feel that the faces are in poorer quality than others painted by Raphael.
答：赶工嘛，PM拉斐尔身兼数职，多项目齐头并进，这群像粗糙就免不了了。
A: It is understandable for such a coarse result as Raphael the Project Manager was attending many projects at a time for the Roman Church.
问：在古希腊诸多雕像、画像中，阿波罗常年半裸，但身材很美。在这反而觉得他穿多了啊。
Q: I feel Appolo is more robed here than as shown almost naked and in very fit shape in many ancient Greek sculptures and paintings.
答：从众嘛。瞧瞧他身边的那些大男人们，有些是古希腊古罗马的，有些是中世纪的，穿得还挺严实。在古希腊的审美理想中，对规则与运动很重视。
A: He follows other men here, among whom are ancient Greeks, Romans and medieval people in thick cover. The ancient Greek aesthetic ideals of art emphasizes much on rules and motion.
问：规则与运动通过运动的人体表现美吗？
Q: So the ancient Greeks present beauty for rules and motion through the human body in motion?
答：我想是。所以多余的衣服影响他们审美。
A: I think so. And extra robes visually deters them from aesthetic joys.
色诺芬（公元前5-前4世纪）在他的《回忆苏格拉底》（熠林顺便介绍个很好的知识库：古滕堡网站www.gutenberg.com）一文中曾这样写道：
Xenophone (BC 5c.-BC 4c.) wrote in "Momorabilia":
又有一次，苏格拉底拜访雕刻家克雷伊顿，说：
At another time Socrates visited the sculptor Cleiton, and in course of conversation with him said:
“你的这些雕像所以给人有生命的感觉，不是因为你模仿活生生的人的形式吗？“
"Is it by closely imitating the forms of living beings that you succeed in giving that touch of life to your statues?"
”这一点没有疑问。“
"No doubt."
”你是不是经由精确刻画各种不同的身体姿势，例如肢体抬高或压低，拉长或伸展，紧绷或放松，而使你这些雕像栩栩如生，充满吸引力？"
"It is, is it not, by faithfully copying the various muscular contractions of the body in obedience to the play of gesture and poise, the wrinklings of flesh and the sprawl of limbs, the tensions and the relaxations, that you succeed in making your statues like real beings, full of appeals?"
"当然。"
"Without a doubt."
“忠实再现运动中的身体，可不是会让观者产生特殊的快感？”
"And does not the faithful imitation of the various affections of the body when engaged in any action impart a particular pleasure to the beholder?"
“这是很自然的道理。”
"I should say so."
......
(苏格拉底说）"这样的话，雕刻家就是能够通过外在形式来描画灵魂的动态了。“
(Socrates) "It would seem then that the sculptor is called upon to incorporate in his ideal form the workings and energies also of the soul."
问：所以，按色诺芬理解的苏格拉底的审美理念，忠实的再现是因为人体动态引起愉悦，而使作品形成鲜活感人的生命力？
Q: So, according to Xenophone, Socrates beholds that an accurate presentation of body motion brings the joy to audience, making the artworks so lively and appealing?
答：我觉得是这样。
A: I should say so.
问：艺术品与观众形成互动。
Q: An interaction between the artwork itself and its audience.
答：是的。阿波罗的九个姐妹——缪斯女神们，手中拿着书本、戏剧的面具、乐器等等，具象的体现。听过他们的黑历史吗？听完可能他们人设就减半了。
A: Indeed. The 9 Muses, Appolo's sisters, take with them book, drama masks, lyre etc. to present their attending cultural sectors. Have you ever heard about their inglorious anecdotes?
问：有趣。古希腊神话里的众神们都很接地气。我想听。
Q: Sounds intriguing. The gods in ancient Greek Mythology are motally genuine.
答：确实。下次再说。给你硬广个我熠林写的书《美敏存世》，戳https://read.douban.com/ebook/129388435/ 即可，无需下载App。欢迎写书评。
A: Indeed. I will talk about it in another release. I want to hardsell my book "The Elegance in Colours and Lines: Botticelli's Masterpieces". Please click "https://read.douban.com/ebook/129388435/" (in CN only). No App download needed. Critics after reading is much welcome.
(待续/ to be continued）
参考书目 / Bibliography
《教养—关于历史、文学、艺术、音乐、哲学与世界风俗文化，你必须知道的事》，（德）迪特瑞希·史汪尼兹 著，刘锐、刘雨生 译。台北，商周出版社，2007.8（Bildung. Alles, was man wissen muss, by Dietrich Schwanitz, 1999 Eichborn AG, Frankfurt, Germany）
《美的历史》，（意）翁贝托·艾柯 编著，彭淮栋 译。北京，中央编译出版社，2011.3（Storia della bellezza, edited by Umberto Eco, RCS Libri S.p.A., Milan, Italy, 2004）
《回忆苏格拉底》，第三卷，（古希腊）色诺芬 著，H. G. 达金斯 译（THE MEMORABILIA: Recollections of Socrates, Book III, by Xenophon, translated by H. G. Dakyns)。http://www.gutenberg.org/files/1177/1177-h/1177-h.htm
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