500年来艺术中的“撒旦” Sympathy for the Devil: Satan, Sin, and the Underworld


  • Admin

    https://qz.com/255146/five-hundred-years-of-satanic-art/
    这里是原文链接:我做个简单的小翻译(不求完整准确,只求简单易懂),顺便把图搬到国内来。水平有限,翻译不准的地方参见原文。

    主要来自斯坦福大学的展出:

    “Sympathy for the Devil: Satan, Sin, and the Underworld,”
    traces Lucifer’s visual history, from his emergence in the Middle Ages as a horned, cloven-hoofed, foul-smelling, diabolical creature of the night to his denuded and largely ironic image today.

    追溯了视觉艺术中撒旦形象的变化:从中世纪长着角和蹄子,恶臭的恶魔生物,到现在的标志性形象。

    “By around 1500, his visage and characteristics were pretty well set,” Bernard Barryte, Cantor’s curator of European art, tells Quartz. “He was initially a conflation of sundry things. Everything from Pan to Near Eastern gods got mushed together in the Middle Ages and became what we know of as the devil.”

    在14世纪之前,撒旦的视觉和人物特征就已经很完备了。他最初是许多东西的杂交体,从潘神到近东神明,这些概念在中世纪被混合在一起,构成了我们所知的恶魔。

    In the 16th and 17th century, grisly paintings of the Evil One were intended literally, Barryte says.”They were meant to have a moral effect, which is why artists made him awful looking. Even if you were educated, you would wonder, ‘What if?’ No matter how skeptical one might be today, there was real faith underlying this imagery.”

    在16-17世纪,“邪恶之主 (the Evil One)”可怕的绘画作品是蓄意而为的,人们意欲借助它们获取一种“道德效果”即:艺术家们给恶魔创造可怖的形象。就算人门受过了教育,都会想“如果......(我做了错事被他找上),咋整?”也许就算是怀疑论者,也会在这样的图像下找到真正的信仰。

    The Enlightenment began to change that. As our conception of evil shifted, so did our personification of the devil. “He becomes more human, even romanticized, after the popular revolutions of the late 18th century, especially the French Revolution,” Barryte says. In the 19th century, the devil was often depicted as a “shrewd and wily dandy,” a Mephistophelean figure who would trick you out of your soul, not brutally tear it from you. “Fear is no longer his most effective tactic,” Barryte says. “And in the 20th century, he all but disappears except in advertisements.”

    启蒙运动开始使情况发生了变化。在18世纪晚期的各种革命,尤其是法国革命之后,恶魔的拟人化,伴随着我们对他的概念一起得到了提升,它变得更加“人类“,甚至浪漫化。在19世纪,恶魔总是被描绘为“精明狡诈的绅士”。这一阴险冷酷的存在会设计骗取你的灵魂,而不是强行从你的身体中剥离灵魂。

    In his place—well, look in the mirror. “Hell is other people, is how Jean-Paul Sartre put it,” Barryte says. “All the sources of evil seemed to shift from some horrific other to mankind itself.”

    恶魔的居所——看看镜子,“地狱即他人”,Jean-Paul Sartre如是说。恶魔的一切都来源于人性本身的可怖与阴暗面。

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    School of Hieronymous Bosch, “Last Judgment” (late 15th century).

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    Albrecht Dürer, “Four Horsemen of the Apocalypse” (1498)

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    Agostino Musi, “The Carcass (The Witches Procession)” (1520–1527).

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    Hendrick Goltzius, “The Descent to Hell of the Damned” (1577).

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    Johannes Sadeler, “Hell” (1590).

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    Cornelis Galle I, “Lucifer” (c. 1595).

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    Thomas Stothard, “Satan Summoning His Legions,” (c. 1790).

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    Louis Boulanger, “The Round of the Sabbath” (1828).

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    Eugene Delacroix, “Mephistopheles Flying over the City” (1828).


  • Admin

    图片链接损坏【标记待修复】


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