这是熠林关于文艺复兴双语问答的第3篇，总问答的第4篇，已通过我的公众号推送。
This is the 3rd biligual Q&A by Nicola the Editor for Renaissance artworks, the 4th ever published.
关于提香：威尼斯画派大师，文艺复兴“群星中的太阳”
About Titian: the most important artist of Venetian School in later Renaissance
关于《被剥皮的玛息阿》：黑暗样式主义作品里的残酷受害者及众帮凶
About"The Flaying of Marsyas": victim of a murder and mob malice in dark mannerism
《阿波罗活剥玛息阿》 | Apollo Flaying Marsyas
《被剥皮的玛息阿》| The Flaying of Marsyas
提香(Titian), c. 1570-1576
布面油画(oil on canvas), 212 x 207cm
捷克克洛梅兹国家博物馆(State Museum, Kromeriz) 藏
问：好暗黑的一幕——一个受害者被倒掉在树上等着被剥皮。
Q: A victim hung upside down waiting to be flayed. Such a bloody atrocious scene!
答：这一幕不仅真实发生在人类的战争中，例如南京大屠杀，也发生在人类获取皮草的过程中。
A: Such a scene can be witnessed not only in human battles such as the Nanjing Massacre, but also the process of humans getting furs from animal.
问：艺术不是为美而生么？
Q: Isn't art for beauty?
答：艺术也用于记录人的世界、提醒和反思。
A: Art is used to take record of what happen in the human world, to remind and to bring reflection.
提香晚年的这幅212 x 207cm的大幅作品，残忍血腥的场面震撼而冲击，这很可能是一幅有争议的未完成之作。艺术家狂放的笔触和明暗之间缺乏过渡的色彩，凌乱不堪的背景、黑暗压抑的色调，让人几乎认不出当初提香画《圣母升天》以及他巅峰时期的光明、温暖、整齐、优雅生香。画面传递的信息与彼时提香心中的某种阴暗情感相关。提香一生去过普鲁士地区五次（大多受神圣罗马帝国最后一位皇帝查理五世之邀），晚年受样式主义影响，加上丧妻丧子的抑郁，晚年的画作偏向黑暗压抑。
This mannerism work is painted in Titian's late years, after he lost his wife and son. And this one can be a diputable and uncompleted work attributed to Titian. The dark, depressive tone is hardly recognizable as a typical Titian style if compared to his "Assumption of the Virgin" painted in his early career (1516-1518), his early and prime works showing bright warmth, clearness and elegance that create comfortable ambience. What the painting conveys is closely connected with something dark and bleak in Titian at that time. Titian had been to the Prussias for 5 times (mostly invited by Charles V, the last emperor of the Holy Roman Empire) in his life, and was substantially influenced by mannerism in his late years, eps. with the death of his wife and son.
提香的《圣母升天》
上次说过，要爆料阿波罗和他的九个缪斯姐妹的黑历史，就是这幅画的故事背景。阿波罗将玛息阿剥皮是一个希腊神话故事。
In Q&A 1, I mentioned about the inglorious anecdote of Appollo and his 9 Muses sisters. It is the mythological story for this artwork.
希腊神话中，玛息阿吹奏笛子，远近闻名。掌管音乐和诗的神阿波罗闻知玛息阿以笛子能手自命(典型的装腔)而恼怒(典型的狭隘)。于是要求以自己的竖琴，和玛息阿的笛子比赛，胜出者可以用任何手段惩治败者(典型的圈套)。裁判是众缪斯（在希腊神话的诸神排位中，她们也是阿波罗的属下），自然判阿波罗获胜(典型的黑哨)。结果阿波罗把玛息阿绑在松树上剥皮致死。(——典型的套路，古人其实也玩得很深。)
Appollo is the god for music, poetry and dance, and he (a petty) proposes to Marsyas, whom claims himself (a bragger) to be the top flutist, a music contest between Appolo's harp and Marsyas' flute. The winner of the contest can punish the looser in any way he likes (a trap). The referees? The 9 Muses, Appollo's 9 half-sisters, oh, and his subordinates too in the Olympic god hierachy (a conspiracy). The result iiis~
"活剥玛息阿"是考古发掘出来的一座希腊化时期的雕塑，表现将被剥皮的玛息阿手脚都被绑在树上。这一主题也经常出现在绘画中。
以下是朱赛沛·德·里贝拉作于1637年的巴洛克风格《阿波罗活剥玛息阿》，画面要比提香的样式主义明亮的多，但却从强烈的明暗对比、阿波罗压制受害者的姿势、玛息阿被剥开的皮肤下露出的红色肌肉和痛苦的表情传递着无比的痛苦与恐惧。
The following Baroque artwork of 1637 by Jusepe de Ribera is brighter than Titian's mannerist one. However, this one conveys no less pain, intensity and fear with Appollo's suppressing gesture, Marsyas red muscles under the cut open skin and his extremly painful face.
《阿波罗活剥玛息阿》 | Apollo Flaying Marsyas
《阿波罗活剥玛息阿》 | Apollo Flaying Marsyas
朱赛沛·德·里贝拉(Jusepe de RIBERA)，1637
布面油画(Oil on canvas), 202 x 255 cm
比利时布鲁塞尔皇家美术馆(Musées Royaux des Beaux-Arts, Brussels)藏
提香画中的阿波罗裸露大半身体（一具少年而非成熟男性的躯体），却并不是主角，他的桂冠和手中的刀表明了他的身份。这个行凶者的受害者在C位上。
The less robed body (in a youngster form rathan a matured male one), the laurel crown on his head and a knife mark Appolo out. His victim takes the central part of the painting.
阿波罗以少年的形象出现 | A Teenager Appollo here
红色的血在整幅2米多的巨作里并不明显。但真正压抑的是画面的整体色彩，真正让人寒心的是旁边的帮凶和袖手旁观者——左边那个拉小提琴庆祝的（有可能是缪斯之一）、还有面目狰狞、提桶准备接玛息阿被割下的皮肤的半人半马怪物萨堤尔（与波提切利的《维纳斯与马尔斯》中搬走马尔斯武器的顽皮可爱小童形象的萨堤尔完全不同！），戴着金冠和身披华贵锦袍（提香的经典画法）饶有兴趣观赏剥皮现场的神，以及一只在地上舔血的小狗。
群体之恶意 | Mob Malice
The red blood is obcured by the dark brown tone, yet it is no less depressive and crule with the q presence of the accomplices and the indifferent witness of the crime: the one (could be one of the Muses) playing violin to celebrate at the left, the grotesque Satyr （ghastly different from those in Botticelli's "Venus and Mars") taking a bucket for the cut-off skin of Marsyas, and the indifferent god with crown and regal robe appreciating the flaying. Do not forget the little dog licking Marsyas' blood on the ground.
这幅画中至大神权对一名受害者的压迫以及玛息阿的无助背后反应的是威尼斯被外敌入侵还是黑死病肆虐，又或是提香想表达强大握权者对弱小者的欺凌，还需要进一步查考。
The mighty power of gods suppressing a helpless victim can be the analogy of invasion to Venice by other states or by the black death, or just Titian's expression on the inglorious suppression on the weaks. This will need further research to verify.
问：我听得心觉凉了。一种群体的恶意与狰狞。古希腊神话里的神很像人，爱恨情仇都有。
Q: Quite upsetting and horrifying. It's a mob malice. The gods in ancient Greek mythology are mortally genuine.
答：想想东方的玉皇大帝，从来是父慈子孝，模范丈夫，一点绯闻都没有。吴承恩在一种长久以来的君臣父子的典范体系内给些小妖小怪弄些折腾的事。而宙斯的皇后赫拉成天忙着对付宙斯的一大堆情人和私生子。这是两千多年来东西方文化很有趣的对比。或者我该去看看亨廷顿写的《文明的冲突》。
A: Think about the Heavenly Emperor Yudi in China's mythology, who is always a good model husband and son, compared with Zeus and his wife, Hera, who is always busy with handling throngs of mistresses and their sons with her husband. It's quite interesting to compare the eastern and western cultures. The author of "Journey to the West" depicts many twisting stories with similar endings for the monsters and goblins within a conventional cultural system of modelling. Maybe I should read S. Huntington's "The Clash of Civilizations" before talking further to understand better.
问：东西方的神都有自己的套路。人把自己的世界套在神界。人都有善恶、明暗两面，不是么？
Q: Gods in both the east and west have their practices. And humans cast their worlds into gods' practices. All mortals have both bright and dark sides, aren't they?
答：确实。绘画除了再现本身，还是艺术思想或某种文化、文明的载体，如此，方能流传长久。提香这一幅画背后有厚重的文化。好了，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. Beyond pure representation, a painting shall convey some artist thought, culture or civilization to survive through times. This Titian work is a rich cultural piece. Well, BTW, I want tohardsell 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.
参考书目 / Bibliography
《西方艺术事典》，（英）詹姆斯·霍尔 著，迟轲 译。南京，江苏教育出版社，2005.4（Dictionary of Subjects and Symbols in Art, by James Hall）
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