The unheard story behind the Sistine Chapel | Elizabeth Lev

譯者: lisa li 審譯者: Xiaowei Dong

Imagine you're in Rome,

想像一下你身在羅馬

and you've made your way to the Vatican Museums.

而你終於來到了 梵蒂岡的博物館

And you've been shuffling down long corridors,

你走過了長走廊

past statues, frescoes, lots and lots of stuff.

經過了雕像 壁畫 林林種種

You're heading towards the Sistine Chapel.

你正向着西斯汀教堂 的方向前進

At last -- a long corridor, a stair and a door.

最後 —— 一條長廊 一堂樓梯 和一道門

You're at the threshold of the Sistine Chapel.

終於來到了西斯汀教堂 的核心處

So what are you expecting?

你在期待著什麼呢

Soaring domes? Choirs of angels?

飽滿的圓頂 還是天使合唱團

We don't really have any of that there.

其實那裡並沒有這些

Instead, you may ask yourself, what do we have?

那好 你可能會問自己 那哪裡有什麼呢

Well, curtains up on the Sistine Chapel.

好吧 西斯汀教堂 掀起你的帳幕吧

And I mean literally, you're surrounded by painted curtains,

我的意思是在字面上 你確是被繪上了圖畫的帳幕包圍着

the original decoration of this chapel.

這是這座教堂原本的裝飾

Churches used tapestries not just to keep out cold during long masses,

教堂採用了掛毯 不單只是為了 在舉行彌撒時可以保暖

but as a way to represent the great theater of life.

同時也代表著 偉大的人生舞台

The human drama in which each one of us plays a part is a great story,

我們每一位都有參與的人生舞台劇 是一個偉大的故事

a story that encompasses the whole world

一個涵蓋了整個世界的故事

and that came to unfold in the three stages

分開了三個階段去演繹

of the painting in the Sistine Chapel.

成就了西斯汀教堂的圖畫

Now, this building started out as a space for a small group

這座建築物當初開始的時候 是為一小部分人提供了空間

of wealthy, educated Christian priests.

多是富裕而有學識的神父們

They prayed there. They elected their pope there.

他們在那裡禱告 他們在那裡推選他們的教皇

Five hundred years ago,

五百年前

it was the ultimate ecclesiastical man cave.

那是一個擁有無上榮譽的終極神父洞窟

So, you may ask, how can it be that today it attracts and delights

所以你大概會問 那這個教堂 是如何做到每年能吸引

five million people a year,

並將歡欣帶給來自完全不同背景的

from all different backgrounds?

五百萬人的呢

Because in that compressed space, there was a creative explosion,

因為在那壓縮了的空間裡 存在了一種創意大爆發

ignited by the electric excitement of new geopolitical frontiers,

新地緣政治的前沿變化 帶動而來的強烈刺激觸發了它

which set on fire the ancient missionary tradition of the Church

並點燃激發了教會的傳教傳統

and produced one of the greatest works of art in history.

同時也創造了歷史上 最偉大的藝術品之一

這個發展如同 是一個偉大的進化

Now, this development took place as a great evolution,

moving from the beginning of a few elite,

從開始的少數精英

and eventually able to speak to audiences of people

到最後能夠

與來自全球的 所有群眾對話

that come from all over the world.

這個進化過程 歷經了三個階段

This evolution took place in three stages,

each one linked to a historical circumstance.

每一個階段 都關連到一個歷史場境

The first one was rather limited in scope.

第一個在範疇上比較狹窄

It reflected the rather parochial perspective.

它反映了相當是教會的角度

第二個階段發生的時候 人類整個世界觀都已經有了戲劇性的改變

The second one took place after worldviews were dramatically altered

after Columbus's historical voyage;

也就是在哥倫布的 歷史性旅程之後;

而第三個階段

and the third,

when the Age of Discovery was well under way

則發生在如火如荼的大航海時代

and the Church rose to the challenge

而教會也正在面臨

走向全球的挑戰。

of going global.

這座教堂原來的裝飾 反映了一個比較細小的世界

The original decoration of this church reflected a smaller world.

There were busy scenes

那些擁擠的畫面

that told the stories of the lives of Jesus and Moses,

訴說著耶穌和摩西的生平事蹟

reflecting the development of the Jewish and Christian people.

反映著猶太民族和基督教徒的發展

The man who commissioned this, Pope Sixtus IV,

定下這個項目的人 教皇聖思道四世

召集了佛羅倫斯最好的藝術家

assembled a dream team of Florentine art,

including men like Sandro Botticelli

成員中包括桑德羅波堤切利

and the man who would become Michelangelo's future painting teacher,

還有後來會成為了 米開朗基羅繪畫老師的

基爾蘭達約

Ghirlandaio.

These men, they blanketed the walls with a frieze of pure color,

這幾位為牆壁舖上了 帶狀裝飾的純色彩

and in these stories you'll notice familiar landscapes,

而在這些故事中 你會看到熟悉的場景

the artists using Roman monuments or a Tuscan landscape

藝術家們會用上 羅馬紀念碑或是托斯卡尼的街景

to render a faraway story, something much more familiar.

把一個久遠的故事 聯繫到 比較熟悉的一些東西

With the addition of images of the Pope's friends and family,

再加上一些圖像比如 教宗的朋友們和家庭

這是一個小庭的完美裝飾

this was a perfect decoration for a small court

只限於歐洲大陸

limited to the European continent.

但是在1492年 人們發現了新大陸

But in 1492, the New World was discovered,

horizons were expanding,

各方面的範疇都在拓展

and this little 133 by 46-foot microcosm had to expand as well.

所以這個133乘以46呎的 微觀宇宙也得跟著拓展

And it did,

它也的確跟上了時代的步伐

thanks to a creative genius,

這得歸功於一位創作天才

a visionary and an awesome story.

創造出了高瞻遠矚的偉大故事。

Now, the creative genius was Michelangelo Buonarroti,

那位創作天才是 米開朗基羅波納羅蒂

33 years old when he was tapped to decorate 12,000 square feet of ceiling,

當他被邀約去裝飾12,000平方呎的天花時 正值33歲

and the deck was stacked against him --

而整體情況並不利於他

他受訓於繪畫 但卻跑去了鑽研雕塑

he had trained in painting but had left to pursue sculpture.

在佛羅倫斯有許多客戶對他很不滿意 因為他留下了一批

There were angry patrons in Florence because he had left a stack

未完成的定製項目

of incomplete commissions,

lured to Rome by the prospect of a great sculptural project,

為着一個偉大的雕塑項目 而去到羅馬

and that project had fallen through.

但該項目卻流產了

And he had been left with a commission to paint 12 apostles

剩下的一個定製項目 就是去畫12位門徒

against a decorative background in the Sistine Chapel ceiling,

就在西斯汀教堂 那個有裝飾的背景天花

which would look like every other ceiling in Italy.

那個在意大利 到哪裡 看起來都一樣的天花板

But genius rose to the challenge.

但天才自能克服挑戰

In an age when a man dared to sail across the Atlantic Ocean,

在那個年代 有人敢於橫越大西洋

Michelangelo dared to chart new artistic waters.

米開朗基羅就敢於 藝壇上開天闢地

他 同樣的 也會訴說一個故事

He, too, would tell a story --

no Apostles -- but a story of great beginnings,

沒有門徒 但一個偉大的 磐古初開故事

the story of Genesis.

創世紀的故事

Not really an easy sell, stories on a ceiling.

要想把故事畫到天花板上 並非易事

How would you be able to read a busy scene from 62 feet below?

在距離天花壁62呎的地面， 有如何讓人能夠細閱這樣擁擠的畫面？

The painting technique that had been handed on for 200 years

佛羅倫斯畫室 傳授了二百年的繪畫技巧

in Florentine studios was not equipped for this kind of a narrative.

並不足以應付這類型的故事

But Michelangelo wasn't really a painter,

但米開朗基羅 其實並不真的是一位畫家

and so he played to his strengths.

所以他發揮自己的所長

Instead of being accustomed to filling space with busyness,

他並沒有隨俗的就把空間填滿

he took a hammer and chisel and hacked away at a piece of marble

他反而拿起了鎚子和鏨刀 雕琢一塊大理石

釋放了其中蘊藏著的人物

to reveal the figure within.

Michelangelo was an essentialist;

米開朗基羅是一位本質主義者

he would tell his story in massive, dynamic bodies.

他透過宏偉而互動的軀體講述故事

This plan was embraced by the larger-than-life Pope Julius II,

這個計劃得到了 教皇尤利烏斯二世的支持

他是一位傳奇人物 無懼於米開朗基羅這樣自負的天才

a man who was unafraid of Michelangelo's brazen genius.

He was nephew to Pope Sixtus IV,

他是教皇聖思道四世的外甥

and he had been steeped in art for 30 years and he knew its power.

而他亦沉醉於藝術達三十年 明瞭其中的力量

And history has handed down the moniker of the Warrior Pope,

這位人物在歷史上 留下的名號是 戰鬥教皇

but this man's legacy to the Vatican -- it wasn't fortresses and artillery,

但對於梵諦岡來說 這位人物所留芳的 不是堡壘和大砲

it was art.

是藝術

他遺留給我們的是拉裴爾房間 是西斯汀教堂

He left us the Raphael Rooms, the Sistine Chapel.

He left St. Peter's Basilica

他遺留了聖彼得大教堂

as well as an extraordinary collection of Greco-Roman sculptures --

還有古希臘-古羅馬雕塑的非凡收藏

decidedly un-Christian works that would become the seedbed

這些非基督教的作品 很明確地孕育了

全球首間現代博物館 梵諦岡博物館

of the world's first modern museum, the Vatican Museums.

Julius was a man

尤利烏斯是那種

who envisioned a Vatican that would be eternally relevant

能預見到梵諦岡可以透過恢宏和美

through grandeur and through beauty,

永恒地矗立的人

and he was right.

他是對的

The encounter between these two giants, Michelangelo and Julius II,

這兩位偉人的相遇相知 米開朗基羅和尤利烏斯二世

that's what gave us the Sistine Chapel.

為我們留下了西斯汀教堂

Michelangelo was so committed to this project,

米開朗基羅 非常投入於這個項目

that he succeeded in getting the job done in three and a half years,

在三年半以內 他已經成功地完成了任務

using a skeleton crew and spending most of the time, hours on end,

採用節流的隊伍 投進大量時間

reaching up above his head to paint the stories on the ceiling.

在他頭頂上的天花壁繪畫

讓我們來看看這個天花板

So let's look at this ceiling

and see storytelling gone global.

和走向世界的故事

No more familiar artistic references to the world around you.

身邊再沒有熟悉 的藝術資料可供參考

There's just space and structure and energy;

那裡有的只是空間、架構和能量;

a monumental painted framework which opens onto nine panels,

一幅不朽的繪畫架構 橫亙九個板塊

more driven by sculptural form than painterly color.

更多由雕塑形式所主導 而不只是繪畫顏色

And we stand in the far end by the entrance,

我們站在入口的最遠處

far from the altar and from the gated enclosure intended for the clergy

遠離神壇及遠離只留給神職人員的 大門緊鎖的密室

and we peer into the distance, looking for a beginning.

而我們縱目看進去 尋覓一個開始

不管是從科學的查考 或是從聖經上的傳統

And whether in scientific inquiry or in biblical tradition,

we think in terms of a primal spark.

我們期待一種原始的火花

Michelangelo gave us an initial energy

米開朗基羅給予我們 一種初始的能量

when he gave us the separation of light and dark,

當他為我們分開了光和影

a churning figure blurry in the distance,

一位翻騰的人物 在距離中顯得糢糊

compressed into a tight space.

被壓縮進一個狹窄的空間

下一位人物顯得大一些

The next figure looms larger,

and you see a figure hurtling from one side to the next.

而你會看到一位人物 從一處飛馳往下一處

He leaves in his wake the sun, the moon, vegetation.

祂在醒著的時候 創造了太陽 月亮 植物

米開朗基羅的重點 並不在於被創造的事物

Michelangelo didn't focus on the stuff that was being created,

unlike all the other artists.

有別於所有其他的藝術家

He focused on the act of creation.

他聚焦於創造這行為

然後所有的動態都戛然而止 如同在詩歌裡的休止

And then the movement stops, like a caesura in poetry

and the creator hovers.

So what's he doing?

而創造者在徘徊

Is he creating land? Is he creating sea?

那祂在幹嗎哪

祂在創造大地 祂在創造大海

Or is he looking back over his handiwork, the universe and his treasures,

還是祂在顧盼著自己的創作 整個宇宙和他的珍寶

就像米開朗基羅那樣

just like Michelangelo must have,

顧盼著自己在天花壁上的作品

looking back over his work in the ceiling

and proclaiming, "It is good."

並且宣稱 幹得好

這樣下來整個場景已擬定

So now the scene is set,

and you get to the culmination of creation, which is man.

然後你來到了創造的高潮部分 創造人類

亞當躍進了眼裏 在深暗的背景上 跳入一個輕巧的身軀

Adam leaps to the eye, a light figure against a dark background.

But looking closer,

但看得近一點

that leg is pretty languid on the ground,

他的腿部痠軟地落在地上

the arm is heavy on the knee.

手臂負苛在膝蓋上

Adam lacks that interior spark

亞當缺乏了

那種會促使他偉大 由內綻放出來的靈光

that will impel him to greatness.

That spark is about to be conferred by the creator in that finger,

那靈光將會從創造者 的那手指授賜

就在亞當的手一毫米之距

which is one millimeter from the hand of Adam.

It puts us at the edge of our seats,

這吸引了我們的專注

because we're one moment from that contact,

因為我們就在 那接觸的頃刻之間

through which that man will discover his purpose,

在那一刻 人類會發現自己的意義

leap up and take his place at the pinnacle of creation.

躍升到一個地位 成為了創造之顛

And then Michelangelo threw a curveball.

米開朗基羅再拋出了一個弧線球

誰在另一邊的手臂

Who is in that other arm?

Eve, first woman.

夏娃 第一位女性

不 她不是事後想出來的 她是創造計畫的一部份

No, she's not an afterthought. She's part of the plan.

She's always been in his mind.

她從來都已經在祂心中。

Look at her, so intimate with God that her hand curls around his arm.

看看她 和上帝很親厚 她的手繞著祂的手臂

And for me, an American art historian from the 21st century,

對我來說 作為來自21世紀 美國的藝術歷史學者

this was the moment that the painting spoke to me.

這一刻 這幅圖畫最感動我

Because I realized that this representation of the human drama

因為我體會到 在這個具代表性的人生戲劇

was always about men and women --

總是述說著男性和女性

so much so, that the dead center, the heart of the ceiling,

最最重要的 夏娃在教堂的中央 在天花壁上的核心位置

主角其實是女性 而不是亞當

is the creation of woman, not Adam.

And the fact is, that when you see them together in the Garden of Eden,

事實上 當你看到他倆在伊甸園

they fall together

他倆雙雙墮落

and together their proud posture turns into folded shame.

他倆原來驕傲的姿勢 雙雙轉化為一種收納起的羞愧

You are at critical juncture now in the ceiling.

你現在來到了天花壁上 最關鍵的交滙處

You are exactly at the point where you and I can go

你正正處於一個位置 你和我在這座教堂裡

no further into the church.

都需要止步的地方

The gated enclosure keeps us out of the inner sanctum,

那關上了閘的密室 讓我們無從再走進去內裡的聖所

and we are cast out much like Adam and Eve.

如同亞當和夏娃一樣 我們被摒開了

The remaining scenes in the ceiling,

天花壁上其餘的場景

they mirror the crowded chaos of the world around us.

倒映了我們四週那種擁擠的混亂

You have Noah and his Ark and the flood.

能看到挪亞和他的方舟和洪水

You have Noah. He's making a sacrifice and a covenant with God.

挪亞 他正在獻祭 並和上帝訂立盟約

Maybe he's the savior.

可能他是那位救世者

Oh, but no, Noah is the one who grew grapes, invented wine,

噢 但不 挪亞種植葡萄 發明了酒

got drunk and passed out naked in his barn.

喝醉了後還赤裸裸地 休克在自己的榖場

It is a curious way to design the ceiling,

那是一個奇異的方式去設計天花

now starting out with God creating life,

從上帝創造萬物開始

而以一個宿醉在榖場的男人作結

ending up with some guy blind drunk in a barn.

And so, compared with Adam,

所以 如果與亞當比起來

you might think Michelangelo is making fun of us.

你大概會覺得米開朗基羅在開我們玩笑

But he's about to dispel the gloom

但是他馬上就驅祛這愁緒

by using those bright colors right underneath Noah:

在挪亞的下方 借用了絢爛的顏色

emerald, topaz, scarlet on the prophet Zechariah.

翠綠 黃玉 斐紅 描繪出先知撒迦利亞

Zechariah foresees a light coming from the east,

撒迦利亞預見了從東邊來的一道光

and we are turned at this juncture to a new destination,

就在這個交滙點 我們就被導往新的目的地

with sibyls and prophets who will lead us on a parade.

女神喻者和先知們 帶領我們前往參與遊行隊伍

You have the heroes and heroines who make safe the way,

有英雄和英雌為你保駕護航

and we follow the mothers and fathers.

我們跟隨着先父先母們

他們就是人類社會的原動力 向前推進

They are the motors of this great human engine, driving it forward.

現在我們來到了天花的拱心石

And now we're at the keystone of the ceiling,

整個天花壁的綜合之顛

the culmination of the whole thing,

with a figure that looks like he's about to fall out of his space

有一位人物彷彿就要 離開他自己的空間

into our space,

墮進來我們的世界

encroaching our space.

侵進來我們的世界

This is the most important juncture.

這是一個最關鍵的交滙點

Past meets present.

過去與現在相遇

This figure, Jonah, who spent three days in the belly of the whale,

這位人物 約拿 在鯨魚的肚腹內三天

for the Christians, is the symbol of the renewal of humanity

對於基督徒來說 象徵著人類的重生

through Jesus' sacrifice,

透過耶穌基督的犧牲

但對於來自五湖四海的博物館到訪者

but for the multitudes of visitors to that museum

from all faiths who visit there every day,

對於每天都到那裡去的信徒

he is the moment the distant past encounters and meets immediate reality.

他就是久遠的過去 和眼前當下相遇的刹那

All of this brings us to the yawning archway of the altar wall,

所有這些把我們帶到了 神壇牆壁上的拱廊

where we see Michelangelo's Last Judgment,

我們看到了米開朗基羅的 最後的審判

在1534年繪畫 那時候世界又再一次改變了

painted in 1534 after the world had changed again.

宗教改革削弱了教會

The Reformation had splintered the Church,

因為鄂圖曼帝國 伊斯蘭成了家傳户曉

the Ottoman Empire had made Islam a household word

and Magellan had found a route into the Pacific Ocean.

而麥哲倫也找到了前往太平洋的航道

How is a 59-year-old artist who has never been any further than Venice

一位59歲的藝術家 最遠也只到過威尼斯

going to speak to this new world?

如何和這個新世界溝通呢

Michelangelo chose to paint destiny,

米開朗基羅選擇了描繪命運

that universal desire,

整個宇宙都期盼

common to all of us,

我們人人也一樣

to leave a legacy of excellence.

遺傳下來優越的傳奇

Told in terms of the Christian vision of the Last Judgment,

從基督教角度而銓釋的 最後的審判

世界的終極

the end of the world,

Michelangelo gave you a series of figures

米開朗基羅給予你一系列的人物

who are wearing these strikingly beautiful bodies.

他們都擁有極佳的肉體

They have no more covers, no more portraits

他們都沒有遮蓋物 沒有畫像

except for a couple.

除了極少數

那是由眾多的身軀組成的

It's a composition only out of bodies,

391, no two alike,

391副身軀 通通沒有一樣的

unique like each and every one of us.

就像我們每一位 都是獨一無二的人一樣

他們從下面的角落開始 脫離地面

They start in the lower corner, breaking away from the ground,

struggling and trying to rise.

掙扎著嘗試要奮起

Those who have risen reach back to help others,

那些已經成功起來的 會回去幫助其他人

and in one amazing vignette,

在一幅奇妙的小插圖裡

you have a black man and a white man pulled up together

你會看到一位黑人和一位白人並肩相扶

in an incredible vision of human unity

一種人類大融和的偉大願景

in this new world.

在這個新世界

The lion's share of the space goes to the winner's circle.

絶大部分的空間歸屬於 勝利者的圈子

There you find men and women completely nude like athletes.

你會看到男性和女性 都如同運動健兒一樣裸體

They are the ones who have overcome adversity,

他們都戰勝了逆境

and Michelangelo's vision of people who combat adversity,

在米開朗基羅的願景裡 戰勝了逆境的人們

overcome obstacles --

克服了障礙

they're just like athletes.

他們就如同運動健兒一樣

So you have men and women flexing and posing

所以你會看到在這非同尋常的焦點上

無論男女 都在舒展筋骨

in this extraordinary spotlight.

Presiding over this assembly is Jesus,

主持這集會的是耶穌

最初是十字架上的受難者

first a suffering man on the cross,

now a glorious ruler in Heaven.

現在是天堂的榮耀統治者

And as Michelangelo proved in his painting,

如同米開朗基羅在 他的作品裡証實的一樣

苦難 挫折和阻礙

hardship, setbacks and obstacles,

它們並沒有限制了優越 而是鍛造出了優越

they don't limit excellence, they forge it.

Now, this does lead us to one odd thing.

現在 這其實也讓我們 看到一件滿蹩扭的事，

This is the Pope's private chapel,

這是教皇的私人教堂

and the best way you can describe that is indeed a stew of nudes.

而這裡用最好的方式來描述 也其實是一堆裸體

But Michelangelo was trying to use only the best artistic language,

但米開朗基羅只是想採用 最佳的藝術語言

the most universal artistic language he could think of:

他能夠想到的 最普遍通用的藝術語言

that of the human body.

就是人體

And so instead of the way of showing virtue such as fortitude or self-mastery,

所以他並沒有用上一般的方法 去表達美德 例如堅毅和自主

he borrowed from Julius II's wonderful collection of sculptures

他反而從尤利烏斯二世的 絶佳收藏的雕塑品借鏡

in order to show inner strength as external power.

去呈現出由內至外的 堅強和力量

Now, one contemporary did write

當代曾有評說

that the chapel was too beautiful to not cause controversy.

這樣漂亮的教堂必然會引起爭議

也確實是這樣

And so it did.

Michelangelo soon found that thanks to the printing press,

米開朗基羅很快就發現 因為媒體的關係

complaints about the nudity spread all over the place,

有關於裸體的投訴無處不在

and soon his masterpiece of human drama was labeled pornography,

不久之後 他的人類戲劇鉅作 被標籤為色情

at which point he added two more portraits,

在那個時候 他加上了兩個人的畫像

one of the man who criticized him, a papal courtier,

一個是抨擊他的那人 是教皇的助手

and the other one of himself as a dried up husk, no athlete,

另外一個是他自己 扮成了乾涸的一副皮囊 而不是運動健兒

in the hands of a long-suffering martyr.

垂在一位久經辛酸的烈士手上

The year he died he saw several of these figures covered over,

在他去世的那年 他目睹有幾位畫中的人物都披上了遮蓋物

a triumph for trivial distractions over his great exhortation to glory.

微不足道的一些打岔 鳴勝了他偉大矢志的的榮耀

此時此地

And so now we stand

in the here and now.

We are caught in that space

我們就在這裡

我們都被擄在這個空間

在始初和終極之間

between beginnings and endings,

in the great, huge totality of the human experience.

遊刃於偉大而恢宏全面的 人類體驗

The Sistine Chapel forces us to look around as if it were a mirror.

西斯汀教堂好像一面鏡子 殷切的着我們環顧四週

Who am I in this picture?

在這幅圖畫裡 我是誰

Am I one of the crowd?

我是擁擠人群裡的一員

Am I the drunk guy?

我是那個醉漢嗎

Am I the athlete?

我是運動健兒嗎

And as we leave this haven of uplifting beauty,

當我們離開了這處 愈形美麗的避難所

we are inspired to ask ourselves life's biggest questions:

我們都得到了啟發 並且詢問自己 人生中最大的疑問

Who am I, and what role do I play in this great theater of life?

我是誰 在偉大的人生舞台上 我在扮演著甚麼樣的角色?

Thank you.

謝謝

(Applause)

(掌聲)

Bruno Giussani: Elizabeth Lev, thank you.

布魯諾吉薩尼: 伊麗莎白勒芙 謝謝

Elizabeth, you mentioned this whole issue of pornography,

伊麗莎白 妳提述到色情 成為了一個大難題

too many nudes and too many daily life scenes and improper things

在當時那一個年代的眾人眼裏

in the eyes of the time.

太多的裸體和太多的日常生活場景 是不恰當的

But actually the story is bigger.

但其實整個故事牽扯到更廣

It's not just touching up and covering up some of the figures.

那不只是把一些人物補上和披上遮蓋物

這個藝術作品還幾乎被毁掉 就因為所謂的“色情”

This work of art was almost destroyed because of that.

Elizabeth Lev: The effect of the Last Judgment was enormous.

伊麗莎白勒芙：最後的審判 所帶來的影響非常巨大。

The printing press made sure that everybody saw it.

媒體矢志每一個人都要看到它

And so, this wasn't something that happened within a couple of weeks.

這樣下來 那不只是發生在 短短數週以內的事

而是發生了超逾二十年

It was something that happened over the space of 20 years

of editorials and complaints,

包括各類型的社論和投訴

saying to the Church,

向西斯汀教堂表示

"You can't possibly tell us how to live our lives.

"你有什麼權利指揮 我們的生活

Did you notice you have pornography in the Pope's chapel?"

你連自己教皇的教堂 有色情圖畫都沒看到嗎？"

And so after complaints and insistence

因為無數的投訴和堅持

of trying to get this work destroyed,

致力於要毀去了這作品

it was finally the year that Michelangelo died

最後在米開朗基羅去世的那年

that the Church finally found a compromise,

西斯汀教堂最後找到了 一個妥協的方式

a way to save the painting,

去保存這幅圖畫，

and that was in putting up these extra 30 covers,

那就是加上了 額外的三十個覆蓋

and that happens to be the origin of fig-leafing.

那同時也成為了遮羞布的源起

That's where it all came about,

所以故事就是這樣而來

來自一座教堂要拯救一幅藝術畫作

and it came about from a church that was trying to save a work of art,

not indeed deface or destroyed it.

而不是要去損壞或毀掉了它

BG: This, what you just gave us, is not the classic tour

布魯諾吉薩尼: 妳剛剛給我們的 不是一個傳統的

今時今日一般民眾到訪 西斯汀教堂的歷程

that people get today when they go to the Sistine Chapel.

(Laughter)

(笑聲)

EL: I don't know, is that an ad?

伊麗莎白勒芙: 我不知道 這算是廣告嗎

(Laughter)

(笑聲)

BG: No, no, no, not necessarily, it is a statement.

布魯諾吉薩尼: 不，不，不， 不能說是，那是一種表達

The experience of art today is encountering problems.

今時的藝術體驗都碰上了問題

太多的人想到那裏去看這個

Too many people want to see this there,

and the result is five million people going through that tiny door

造成了五百萬人都穿過了那小門

去體驗它 但卻是

and experiencing it in a completely different way

和我們剛剛體驗過的 截然不同

than we just did.

伊麗莎白勒芙: 對 我同意 我覺得能夠停下來好好的欣賞 是很棒的一回事

EL: Right. I agree. I think it's really nice to be able to pause and look.

同時也感悟到 就算是在那些日子

But also realize, even when you're in those days,

with 28,000 people a day,

每天和28,000人在一起

即便和那些人在一起 的日子

even those days when you're in there with all those other people,

環顧四週你也會覺得很神妙

look around you and think how amazing it is

that some painted plaster from 500 years ago

一些五百年前塗上了畫的石膏

仍然能夠吸引到他們 和你一起並肩的站著

can still draw all those people standing side by side with you,

仰起頭看得入神 下顎都掉下來了

looking upwards with their jaws dropped.

It's a great statement about how beauty truly can speak to us all

那是一個偉大的証明 真善美如何能夠

穿越時空和我們對話

through time and through geographic space.

BG: Liz, grazie.

布魯諾吉薩尼: 謝謝

布魯諾吉薩尼:伊麗莎白 謝謝

EL: Grazie a te.

伊麗莎白勒芙: 謝謝您

BG: Thank you.

(Applause)

(掌聲)