Meet the True Renaissance Man | Book Insights on Leonardo da Vinci by Walter Isaacson
发布时间 2023-05-10 14:00:36 来源
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Everyone knows about Leonardo da Vinci, but most of us can't claim to have any deep knowledge of his creations and his impact. Journalist turned to biographer Walter Isaacson, shed some light on this in his 600-page book. It tracks Da Vinci's astonishing advances in art and technology and how they helped power Europe's cultural rebirth. It also brings Da Vinci the man to life, revealing the ways he was both ahead of his time and of his time.
每个人都知道列奥纳多·达·芬奇，但大多数人无法声称对他的创造和影响有深入的了解。转向传记作家沃尔特·艾萨克森的记者在他的600页书中揭示了这一点。这本书跟踪了达芬奇在艺术和技术方面惊人的进步，以及它们如何帮助推动欧洲文化的复兴。它还揭示了达芬奇的人性，揭示了他在当时和未来的先进性。
What's astonishing is that today, 500 years after painting his last panel. Leonardo is still reshaping the contours of the art world. Even as the Louvre was preparing a season of festivities to mark the fifth centenary of his death, a rediscovered painting now attributed to Leonardo became the most valuable art work in history. At a global Christie's auction in 2017, it sold for 450 million. The intercontinental battle for the painting, Salvador Mundé, or Savior of the World became a worldwide media sensation and resulted in a sale to a Saudi prince.
令人惊讶的是，现在距他最后一幅画已经过去了500年，但达芬奇仍然在重塑艺术界的轮廓。即使卢浮宫正在准备庆祝他逝世五百周年的季节，一幅被重新发现，现在被归功于达芬奇的画作成为了史上价值最高的艺术品。在2017年的全球佳士得拍卖会上，这幅名为“救世主”的描绘救主耶稣的油画以4.5亿美元的天价拍出。为了买下这幅画，一个跨国的争夺战展开，成为了全球媒体的热点事件，最终被沙特王子抢得。
Isaacson's book was launched almost simultaneously with the auction. In researching it, Isaacson interviewed scholars worldwide, delved into academic journals, and immersed himself in Leonardo's notebooks, all 7200 surviving pages. Leonardo crammed the darts and leaps of his imagination into small leather-bound notebooks with drawings and jottings. They contain everything from portraits of craggy, heroic figures, to anatomical drawings, studies of clouds, geometrical diagrams, and details of his personal accounts.
艾萨克森的书与拍卖几乎同时推出。在研究过程中，艾萨克森采访了世界各地的学者，研究了学术期刊，并深入研究了达芬奇的笔记本，共有7200页。达芬奇将他的想象力注入小巧的皮革装订笔记本中，包括宏伟英雄肖像、解剖图、云层研究、几何图表以及他个人账户的细节等等。
In their all-encompassing subject matter, the Leonardo notebooks demonstrate his insatiable curiosity about the world and his understanding of the interconnectedness of nature. His many doodles of flying machines and weapons anticipate many future groundbreaking inventions. Isaacson also reveals something of Leonardo the man, who in many ways now seems ahead of his time. We now know that Da Vinci was gay, he was a committed vegetarian, he enjoyed many deep friendships, and was generally well-loved.
达芬奇的笔记涵盖了广泛的主题，展示了他对世界的无尽好奇心和对自然联系的理解。他许多有关飞行机器和武器的涂鸦预示了许多未来的创新发明。艾萨克森还揭示了一些达芬奇的个人情况，他在很多方面看起来领先于他的时代。我们现在知道，达芬奇是同性恋，他坚定地是素食主义者，他享受许多深厚的友谊，总的来说，他被广泛地喜爱。
In this book in sight, we'll focus more on his achievements than his personal life. We'll trace some of the key stages in his work at the frontiers of art and science. First, we'll get acquainted with Leonardo as he rises through a Florentine Art Studio, just as the Renaissance ignites change across Europe. Second, we'll follow Leonardo as he migrates to militaristic Milan, offering his expertise as a designer of futuristic weapons, but it's his paintings of divine dramas that project him into the pantheon of Europe's leading artists. Third, we'll consider Leonardo's experiments with prototypical aircraft alongside his celestial and earthly portraits. We'll look at his rivalry with Michelangelo. Fourth, we'll discuss Da Vinci's appointment as King Francis I's first painter, and the last portion of his life spent in the French court. We'll end by circling back to the story of Da Vinci's painting Salvador Monday, and what it says about his enduring power and popularity.
在本书中，我们将更多关注达芬奇的成就而非个人生活。我们将追寻他在艺术和科学前沿工作的一些关键阶段。首先，我们将认识到在文艺复兴风起云涌的欧洲，达芬奇在佛罗伦萨艺术工作室的崛起。其次，我们将跟随达芬奇作为一个设计未来武器专家而移民到军事主义的米兰，但他神圣戏剧的画作将他推向欧洲顶尖艺术家的殿堂。第三，我们将考虑达芬奇的原型飞行器实验以及他的天体和地球肖像画。我们将看他与米开朗基罗的竞争。第四，我们将讨论达芬奇被任命为弗朗西斯一世的第一位画家，并在法国宫廷度过他生命的最后一部分。最后，我们将回到达芬奇的画作《救世主》的故事，以及它所反映的他持久的影响力和受欢迎程度。
Leonardo Da Vinci had the good fortune to be born out of wedlock. That meant he faced a lifetime ban on entering elite academies and even entire professions. So instead of studying law like five previous familial generations, Leonardo found sanctuary as an apprentice in one of Florence's avant-garde art studios. With the help of his father, Pierre Odovinci, he joined a workshop headed by Andréa Del Virocchio, a combined training and drawing with access to classical and contemporary books, which were expensive commodities at the time.
列奥纳多·达·芬奇幸运地出生在非婚生子女中。这意味着他面临终身禁止进入精英学院甚至整个职业领域的禁令。因此，与之前五代家族成员学习法律不同，列奥纳多在佛罗伦萨的前卫艺术工作室中成为了一个学徒。在他父亲皮埃尔·奥道文奇的帮助下，他加入了一个由安德烈亚·德尔维罗基奥领导的工作室，那里是综合培训和绘画的地方，同时有着接触古典和当代书籍的机会，而那时的书籍是昂贵的商品。
All around him, Florence was being transformed into Europe's leading cultural cosmopolos. The movement to create a new Athens, a golden age of advances in technology and art, was spearheaded by the powerful Mieticci clan. These hyper-rich bankers were funneling their profits into resurrecting the classical pillars of the Greek city state, including a Plato academy and inventive paintings and sculptures across the city. Here's Isaacson on the late show talking about Florence.
他周围的佛罗伦萨正在转变成欧洲文化中心。打造一个新的雅典，实现技术与艺术的黄金时代的运动是由强大的Mieticci家族领导的。这些超级富有的银行家将他们的利润投入到复兴古代希腊城邦的柱子上，包括柏拉图学院和城市各处的创新绘画和雕塑。在晚间节目中，艾萨克森谈论了佛罗伦萨。
Leonardo was this misfit, but Misfits fit in to Florence. Like Steve Jobs would say, you know, the Misfits are rebels around pegs in the square hole. Florence was very tolerant and the diversity of the people when the Medici ran it is what makes it the cradle of the Renaissance.
莱昂纳多是一个格格不入的人，但是在佛罗伦萨，格格不入的人却恰恰合适。就像史蒂夫·乔布斯所说的，你知道，格格不入的人就是四方洞孔中的叛逆者。佛罗伦萨在麦地奇家族统治时非常宽容，人民的多样性使其成为文艺复兴的摇篮。
Virtually from the moment he joined the Virocchio studio, Leonardo was recruited into the movement to re-sculpt Florence into a soaring acropolis of art. The Mieticci sponsored not just art and architecture, but also an endless sequence of plays, pageants, and carnivals to entertain the city's population. While he'd later co-create iconic paintings with Virocchio, Leonardo started out by designing stage sets and evolved into a producer of Fantasia's, tantalizing elements of which are sketched across his notebooks.
自从莱昂纳多加入维罗奇奥工作室的那一刻起，他便被招募加入将佛罗伦萨重新塑造成一个艺术高峰的运动中。米耶蒂奇家族不仅赞助艺术和建筑，还举办了无数场剧目、游行和狂欢节，为城市的人民提供了娱乐。虽然他后来与维罗奇奥一起创作了标志性的绘画作品，但莱昂纳多最初是设计舞台布景的，后来演变为制作幻想曲的制片人，其中迷人的元素在他的笔记本上描绘得栩栩如生。
An early adopter of new oil paints, Leonardo applied myriad layers of brushstrokes to create luminous angels and messengers of God. Thanks to the spread of books in his time following the invention of the printing press, he immersed himself in treatsies on geometry and optics and would conduct experiments on light and vision.
莱昂纳多是新型油画的早期采用者，他使用无数层笔触来创造出闪耀的天使和上帝的使者。由于印刷术的发明，书籍在他那个时代开始广泛传播，他深入研究几何学和光学，并进行了有关光和视觉的实验。
In Virocchio's studio, Leonardo developed some of the key features of his artistic genius. From Virocchio himself, a master sculptor, he gleaned the importance of conveying movement and motion. Working on drapery studies, he honed his ability to depict light and shade so as to convey volume. The mastery of Kiero Skurro from the Italian for light dark was central to many of Leonardo's masterpieces.
在维罗基奥的工作室里，莱昂纳多发展了他艺术才华的一些关键特征。从维罗基奥本身这位大师级雕塑家处，他领悟到了表达运动和动态的重要性。通过研究礼服，他磨练了自己描绘光影以表达体积感的能力。意大利语中Kiero Skurro的精通则是莱昂纳多许多杰作的核心。
But he also forged a different distinctive technique, Sumato. Rather than depicting his subjects as static objects, he blurred contours and outlines to mimic the shifting perspective of the viewer. Blurred edges and shadows merging with matter produced a more realistic version of human perception, but also left room for mystery and enigma and for our imagination to take hold. The speculation and intrigue about the smile of the Mona Lisa is just one example of this effect.
他还锻造了一种独特的技术，叫做Sumato。他不是将他的主题描绘成静态的物体，而是模糊了轮廓和线条，以模仿观察者的移动视角。模糊的边缘和阴影与物质融合产生了一个更真实的人类感知版本，但也留下了神秘和谜团，让我们的想象力发挥作用。蒙娜丽莎的微笑引起的猜测和好奇只是这种效果的一个例子。
After opening his own workshop in 1477, Leonardo's first breakthrough artwork was sparked by a commission to create an adoration of the Maggi for a nearby monastery. With mathematical precision, he mapped out the intricate lines of perspective of an ancient Roman palace in Piazza, with the Madonna marking the vanishing point of a preparatory drawing. The three Maggi are sketched like whirlwinds of movement across the scene.
在1477年开设自己的工作室之后，列奥纳多的第一个突破性艺术品是因为一个委托任务激发的，他为一个附近的修道院创作了一幅“三博士来朝”的画作。他用数学精确地勾勒了Piazza上一个古罗马宫殿的复杂透视线条，而圣母玛利亚则作为预备画的消失点。三位博士在场景中活泼地旋转，形成了旋风般的动感。
When Leonardo began transmuting this full-scale sketch into an oil panel, he created figures so lifelike they seemed poised to jump out of the painting. He began etching in the colors of the sky, and then suddenly, put his brush down, never again to work on the painting. According to Isaacson, it became the most influential unfinished painting in the history of art.
当列奥纳多开始将这份全尺寸的草图转化为油画板时，他创造了如此栩栩如生的图像，使它们似乎随时可以从画面中跳出来。他开始涂上天空的颜色，然后突然放下了画笔，再也没有继续完成这幅画作。据艾萨克森所说，它成为了艺术史上最有影响的未完成的画作。
And, in the words of art historian Kenneth Clark, the most revolutionary and anti-classical picture of the 15th century. Leonardo's abrupt abandonment of the piece would become a recurring theme across a lifetime of painting. Da Vinci would rather abandon a work than produce something substandard. Other works such as the Mona Lisa or Virgin and Child with St. Anne remained in progress for years, as he carried on adapting, adding and improving.
在艺术史学家肯尼斯·克拉克的话中，这是15世纪最具革命性和反古典的一幅画。达·芬奇突然放弃这幅画，这成为他绘画终身的一个经常出现的主题。达·芬奇宁愿放弃一件作品，也不愿意创作出质量低下的作品。其他作品，比如《蒙娜丽莎》或是《圣母与圣安妮》则在多年的时间里逐步完善之后才完成，达·芬奇不断调整、添加和改进这些作品。
Georgio Vassari was a fellow artist who interviewed many of the central figures of Leonardo's time for his lives of the most eminent painters, sculptors and architects, published in 1550. Vassari wrote that Da Vinci sometimes deserted his drawings because he feared his painting techniques could not reach the perfection of art in carrying out the things which he imagined.
乔治·瓦萨里是一位艺术家，他采访了许多莱昂纳多时代的中心人物，为他的《最杰出的画家、雕塑家和建筑师的生平》一书做了记录，并于1550年发表。瓦萨里写道，达·芬奇有时会放弃他的绘画作品，因为他担心他的绘画技巧无法达到他所想象的艺术完美表达。
Let's take a quick break before we continue with our look into Walter Isaacson's biography of Leonardo Da Vinci. But first, let's go over everything we've covered. We looked at how Da Vinci, born out of wedlock, would be barred from many benefits of his father's class. He apprenticed in Florence under Virochio. There, he developed his technique of blurred edges and contours that his work is known for.
在我们继续研究瓦尔特·艾萨克森所写的列奥纳多·达·芬奇传记之前，让我们先小休一会儿。但首先，让我们回顾一下我们所讲的内容。我们探讨了达·芬奇如何因为婚外出生而被剥夺了父亲阶级的许多好处。他在弗洛伦萨的维罗基奥的指导下担任学徒，学会了他作品所著名的模糊的边缘和轮廓技巧。
We'll continue next time by exploring some of his designs. We'll look at his weapons of war, flying machines and the last supper. We'll also look into his rivalry with Michelangelo.
下次我们会继续探索他的一些设计。我们会看看他的战争武器、飞行器和最后的晚餐。我们还会探讨他与米开朗基罗的竞争关系。
Enjoying this episode of Book Insights? If so, people listening and learning. There's a collection of over a hundred titles you can read or listen to now at memodeapp.com slash insights. That's memodeapp.com slash insights.
喜欢这期《书籍见解》吗？如果是的话，那么这里有许多超过一百本书籍供您阅读或收听，地址是 memodeapp.com/insights。
We're continuing our look into Walter Isaacson's bestselling biography on Leonardo Da Vinci. Here's Isaacson speaking at the Aspen Institute. At certain points in our life, we quit puzzling over every day phenomenon. We might save her the beauty of the blue sky, but we no longer wonder why is it blue? Leonardo did. He wrote it in his notebook.
我们继续探索沃尔特·艾萨克森关于列奥纳多·达·芬奇的畅销传记。这里是艾萨克森在阿斯彭研究所演讲时的讲话。在我们生命中的某些时刻，我们停止对日常现象感到困惑。我们可能会欣赏蓝天的美丽，但我们不再想知道为什么它是蓝色的？而列奥纳多则不同。他在笔记本上写下了这个问题的答案。
Last time we went over Da Vinci's early years, focusing on his apprenticeship in Florence. Now, we'll look at some of his designs from the last supper to an untested early schematic of tanks. We'll also glimpse at his notorious rivalry with Michelangelo.
上次我们了解了达芬奇早年的经历，重点是他在佛罗伦萨的学徒生涯。现在，我们将会看一些他的设计，包括《最后的晚餐》及未经过测试的早期坦克蓝图。同时也会瞥见他与米开朗基罗的恶名相争。
Leonardo abandoned not just the adoration of the Magi, but the entire Republic of Florence. He set off for Milan, a much larger city-state which was ruled by a series of self-crowned dukes backed by military might.
莱昂纳多不仅放弃了对于三博士的赞美，也离开了整个佛罗伦萨共和国。他前往米兰，这是一个由一系列自封的公爵支持的大城市国家，拥有强大的军事力量。
Because Milan's duke, Ludovico Savozza, was at the time better known for his love of armed power than art, Leonardo wrote a carefully scripted letter of application for a position in his grand court. He underscored his mostly imagined expertise in the art of war and engineering, hardly mentioning his artistic skills.
因为当时米兰公爵路多维科·萨沃伐 (Ludovico Savozza) 更以他对武装力量的热爱而闻名，所以达芬奇为了申请他的宫廷职位写了一封精心打造的申请信。他强调了自己在战争和工程方面的专业知识，几乎没有提到自己的艺术技能。
One of the points of his letter states, if a place under siege cannot be reduced by bombardment, I have methods for destroying any fortress even if it is founded on solid rock. He also claimed he could sculpt lightweight mobile cannons, along with unassailable armored chariots that can penetrate the ranks of the enemy.
他的一份信中提到，如果一个被围攻的地方不能通过轰击减弱，他有方法摧毁任何要塞，即使它是在坚硬的岩石上建造的。他还声称他能雕刻轻便的移动大炮，以及坚不可摧的装甲战车，能够穿透敌人的阵线。
After promising to demonstrate these military breakthroughs, in his notebooks, Leonardo began adding to an arsenal of futuristic weapons he found in a book by an arms inventor. He sketched out his fantastical designs, including a tight and sized crossbow and the world's first armored tank, a circular craft featuring a ring of cannons that could shoot in any direction.
在他的笔记本中承诺展示这些军事突破后，列奥纳多开始向一位武器发明家的书籍中添加一些未来武器，他描绘了他的奇幻设计，包括一个小巧的十字弓和世界上第一个装甲坦克，这是一个圆形器具，配有一圈加农炮，可以朝任何方向射击。
But, mercifully perhaps, Milan's ruler never attempted to bring these imaginative weapons to life on the battlefield. Instead, he hired Leonardo to design the theatrical productions that served to mesmerize the city's residence as long as he remained in power.
但或许是出于怜悯，米兰的统治者从未试图将这些富有想象力的武器用于战场上。相反，他雇佣了莱昂纳多来设计戏剧演出，以迷惑城市居民的眼睛，直到他掌权的时期结束。
It was the Duke of Milan who later commissioned Leonardo to paint the last supper inside a monastery in the heart of Milan. Leonardo would devote years to perfecting the wall painting, and interspersed manic painting sprees with entire days just observing the mural from different angles.
后来米兰公爵委托莱昂纳多在米兰市中心一所修道院内绘制最后的晚餐。莱昂纳多花费多年时间完善这幅壁画，他会在疯狂的画作冲动中穿插整整一天观察从不同角度看壁画。
When the impatient Duke urged him to speed up, Leonardo told him, men of lofty genius sometimes accomplish the most when they work the least, for their minds are occupied with their ideas and the perfection of their conceptions, to which they afterwards give form.
当渴望迫切的公爵催促他加快速度时，达芬奇告诉他，卓越天赋的人有时会在工作最少时完成最多的事情，因为他们的头脑被自己的想法和构思的完美所占据，随后将其付诸行动实现。
Across the painting, the diagonal lines of perspective all converge on Christ's temple, like the inverted rays of a halo. Around him, Leonardo sketched the complex reactions that flashed across the faces of the apostles in the instant after Jesus says, one of you will betray me. Judas is seen clutching the bag of silver he'd been given in exchange for betraying Jesus. Peter moves in agitation, perhaps preparing to take up arms against this traitor. Positioned behind Judas, he holds a sharp knife, which he later uses in defense of Jesus when the mob comes to seize him.
这幅画中，所有的斜向透视线都汇聚在耶稣殿堂上，像一个倒置的光环。周围，列奥纳多勾勒出了耶稣说“你们中的一个要出卖我”的那一瞬间，门徒们脸上充满复杂的反应。犹大紧握着他为出卖耶稣而得到的银袋子。彼得则非常不安，或许准备用武力对付这个叛徒。他站在犹大的背后，手持一把锋利的刀，后来当暴徒前来抓捕耶稣时，他用这把刀保护了耶稣。
Although a freeze frame in time, the painting evokes in many viewers the powerful drama that would be played out by these 13 characters over the next hours and days. The mural would help make Leonardo one of the first star artists of the Renaissance, and legends of the painting and its creator, begin spreading across Europe.
虽然这幅画静静地定格在某一时刻，但它激起了许多观众的想象，让他们感受到这13个人物在接下来的几个小时和几天中所经历的强烈戏剧性。这幅壁画帮助使列奥纳多成为文艺复兴时期最早的明星艺术家之一，而关于这幅画和它的创造者的传说也开始在欧洲流传开来。
The last supper would also act as a talisman-like shield for Leonardo when French troops invaded Milan shortly after it was unveiled. The French king, Louis XII, was so impressed by the mural that he ordered that Leonardo be safeguarded during the city's takeover and would even begin collecting some of his artworks.
最后的晚餐也成为了莱昂纳多的护身符，保护他免受法国军队入侵米兰时的威胁。法国国王路易十二对这幅壁画印象深刻，他命令在米兰接管期间保护莱昂纳多，并开始收藏他的一些艺术品。
Sadly, Leonardo's innovative techniques, using a combination of oil and temper on dry plaster rather than traditional fresco painting on wet plaster, meant that within only 20 years, the painting had started to deteriorate. It's been subject to many restoration attempts over the centuries, some more haphazardly than others.
遗憾的是，莱昂纳多创新的技术，使用油和颜料在干燥的石膏上绘画而非传统的湿搽法壁画，意味着仅仅20年内画作就开始退化。这幅画经历了多次修复尝试，有些尝试更没有条理。
Even as his status as an artistic star grew, from around 1490, Leonardo devoted himself to the study of birds and flight. His interest in flying machines stemmed from his work on theatrical spectacles in Baroqueo studio. Evidently, these spectacles included all manner of breathtaking contraptions to elevate and suspend actors as if they were flying.
尽管莱昂纳多的艺术明星地位不断上升，自1490年左右开始，他却将自己专注于鸟类和飞行的研究。他对飞行器的兴趣源自他在Baroqueo studio的戏剧表演工作。显然，这些表演包括各种令人惊叹的装置，可以使演员像飞行一样上升和悬浮。
Leonardo's investigations into flying machines represent the meeting point of his interest in the natural world and his flair for engineering. After studying the flight patterns of birds, he began designing an array of supersized bat-shaped wings that he hoped would one day propel human aeronauts.
列奥纳多对飞行器的研究代表了他对自然世界的兴趣和他工程才能的结合之处。在研究鸟类的飞行模式之后，他开始设计一系列超大型蝙蝠状的翅膀，希望有一天能够驱动人类航空员飞行。
Although he sketched out plans and potential sites for flight tests, from a palace roof or above a lake, Leonardo didn't record the results of any of these experiments. He would ultimately jettison the pivoting wings for a simple glider that could allow its navigator to coast along air currents and gently touch down to earth.
尽管莱昂纳多草绘了飞行测试的计划和潜在场地，如从宫殿屋顶或湖面上，但他没有记录任何这些实验的结果。他最终放弃了旋转机翼，转而使用可以让导航员在空气流中滑翔并轻轻降落的简单滑翔机。
These gliders took their place alongside designs for diving suits to outfit an underwater army and preparatory drawings for new paintings in the polymaths ever present notebooks. It would take nearly half a millennium to prove that Leonardo's flying machines were flight-worthy. When engineers tested his design for a hang glider for a British film crew, it successfully flew, as did his pyramid-shaped parachute, which provided a safe landing for skydivers. Leonardo later decided to gather his extensive notes and sketches about flight into a treatise, now known as the Codex on the flight of birds. Aside from his perseverance with the subject, there are hundreds of drawings, intends of thousands of words, and the inventiveness of his designs. What's extraordinary in his compilation is his presaging of Newton's theory of gravity and Galileo's principle of relativity.
这些滑翔器与潜水服设计一起出现在全才笔记本中的准备绘画。近半个千年后，人们证明莱昂纳多的飞行器的可飞行性。当工程师为一支英国电影组测试其滑翔机的设计时，它成功飞行了，同样他的金字塔形降落伞，为跳伞者提供了安全着陆。莱昂纳多后来决定将有关飞行的详细笔记和草图整理成一部论文，现在被称为《鸟类飞行密码》。除了他对这一主题的坚持外，还有数百幅绘画和数千个单词的意图以及他的设计创造力。在他的汇编中特别之处在于，他预感到纽顿的万有引力理论和伽利略的相对原则。
Leonardo returned to Florence and created a new studio to handle a wave of commissions sparked by the last supper. His golden age in painting, launched with the Milan mural, would include the Mona Lisa and the Virgin in Child with St. Anne. Salvador Mondays also from this time, but the world would not become aware of it until centuries later. At times, Da Vinci Studio resembled an art factory, with his team collaborating on many pictures at once. As Leonardo composed oil panels, an array of apprentices would simultaneously create their own copies. The master painter would add his distinct brushstrokes to many of these simulations, which would complicate the search for Leonardo's true autograph painting centuries later.
莱昂纳多回到佛罗伦萨，创建了一个新的工作室来处理最后的晚餐激发的一波委托。他在绘画方面的黄金时期，始于米兰的壁画，包括“蒙娜丽莎”和“圣安妮与童贞玛利亚”。萨尔瓦多·蒙达伊也是那个时期的画家，但直到几个世纪之后，世界才发现他的作品。有时候，达芬奇工作室就像一个艺术工厂，他的团队会同时合作创作多幅画作。当莱昂纳多创作油画时，一组学徒会同时创建他们自己的复制品。大师画家会在许多这些模拟画作中添加他独特的笔触，这在几个世纪后找到莱昂纳多真正的签名画作时会增加复杂度。
The city of Florence had been suffering a period of turmoil while Da Vinci had been away. During his time in Milan, the religious cellot, Girolamo Savan Narola, and his army of rebel youths had launched a cultural revolution marked by the burning of books and paintings. It destroyed Florence's position as Europe's cutting-edge art center. When the Pope and public turned on him, Savan Narola was burned at the stake. The city's leader is aiming to restore Florence's role as the epicenter of the Renaissance, commissioned Leonardo to paint a massive mural inside their council hall. Although he was offered a princely payment for the artwork, there was a catch. Oppositely, Leonardo's wall painting, a rival work had been commissioned. The artist was Michelangelo.
在达芬奇离开期间，佛罗伦萨市遭遇动荡时期。宗教领袖杰洛拉莫·萨凡·纳罗拉及其反叛青年军发动了一次文化运动，以焚烧书籍和绘画为特点，摧毁了佛罗伦萨作为欧洲前沿艺术中心的地位。当教皇和公众反对他时，萨凡·纳罗拉被烧死了。城市领导人希望恢复佛罗伦萨作为文艺复兴中心的地位，并委托达芬奇在他们的议会大厅里绘制一幅巨大的壁画。尽管他为这幅艺术品获得了丰厚的报酬，但存在一些条件。相反，米开朗基罗也受委托绘制了一件竞争作品。
During Leonardo's Sojourn in Milan, Michelangelo had become Florence's rising art star. His marble sculpture of David, armed with a slingshot and preparing to do battle against Goliath, had just been positioned in Florence's central piazza. It instantly became a symbol of the city's state's resurging fortunes. With these dueling commissions, the rulers of Florence pitted the era's greatest artists against each other. Each was slated to create a gigantic painting of a Florentine victory on the battlefield. Both would produce wall-spanning sketches, with soldiers the size of Titans charging across the tableau.
在列奥纳多在米兰逗留期间，米开朗基罗已成为佛罗伦萨崭露头角的艺术明星。他的大理石雕塑《大卫像》手持弹弓，准备对抗歌利亚，刚刚被放置在佛罗伦萨的中央广场。它立即成为该城市状态复苏的象征。通过这些对决性委托，佛罗伦萨的统治者将时代最伟大的艺术家相互对抗。每个人都被安排创建一幅关于佛罗伦萨在战场上获胜的巨大画作。双方都会产出跨越整堵墙的素描，其中像巨人般的士兵在场景中冲锋。
Leonardo and Michelangelo began shooting arrows of criticism at each other, and ultimately, each would abandon his unfinished mural. Michelangelo was summoned to Rome on the orders of the Pope and would later begin painting the Sistine Chapel. Leonardo, after an escalating train of disasters with experimental painting techniques that destroyed his mural, would escape the project by returning to Milan. Yet young artists, including Raphael, flocked to Florence to view each artist's sketches. The sculptor Ben the Nuto-Cilini wrote that this served as the school of the world. The dramatic showdown between Michelangelo and Leonardo, and their respective abandonment of Florence, catapulted the status of both men. They had now ascended into the realm of super artists.
李奥纳多和米开朗基罗开始互相发射批评的箭头，最终每个人都放弃了未完成的壁画。教皇命令米开朗基罗前往罗马，后者随后开始在西斯廷教堂上绘画。经过连续几次实验性绘画技术所带来的灾难性失败，毁掉了他的壁画，李奥纳多选择返回米兰逃离了这个项目。然而，包括拉斐尔在内的年轻艺术家涌向佛罗伦萨观看每个艺术家的素描。雕塑家本•努托-奇利尼写道，这就是世界学校。米开朗基罗和李奥纳多之间的戏剧性对决，以及他们各自放弃佛罗伦萨，将两人的地位提升至超级艺术家的领域。
Let's take one final break before we complete our discussion on Walter Isaacson's Leonardo da Vinci biography. This time, we've gone over some of Da Vinci's designs. Despite his lack of expertise, Da Vinci submitted designs for an armored car and a massive crossbow. The Duke of Milan rejected these ideas, but hired him as a designer. The Duke eventually commissioned him to paint the last supper. Da Vinci designed bat-like gliding devices for human flight, which wouldn't be tested until 500 years later. Finally, we touched on the pinnacle of the Leonardo Michelangelo feud when they painted across the hall from one another, although both abandoned their murals.
在我们结束讨论沃尔特·艾萨克森的《列奥纳多·达·芬奇传》之前，让我们最后休息一下。这一次，我们看了一些达·芬奇的设计。尽管他缺乏专业知识，达·芬奇还是提交了装甲车和大型弩的设计。米兰公爵拒绝了这些想法，但还是雇佣他作为设计师。公爵最终委托他绘制最后的晚餐。达·芬奇设计了类似蝙蝠的滑翔装置，用于人类飞行，然而这项技术直到500年后才得以测试。最后，我们提到了达·芬奇和米开朗基罗之间的高潮时刻，当他们在同一大厅对面画壁画，尽管两人都放弃了自己的壁画。
We'll wrap up next time when we delve into Da Vinci's French protectors and patrons. Then, we'll end on the recent sale of the Salvador Monday.
下一次我们会深入探讨达芬奇的法国保护者和赞助人，接着我们会以最近萨尔瓦多·蒙达伊的售卖作为本次讲座的结束。
We're concluding our look into Leonardo da Vinci, written by best-selling biographer Walter Isaacson. Last time, we went over some of Da Vinci's little-known schematics for flying machines and weaponry, and one of his most famous, the last supper. We also covered his rivalry with Michelangelo.
我们正在结束我们对莱昂纳多·达·芬奇的探究，这篇文章是由畅销传记作家沃尔特·艾萨克森撰写的。上一次，我们介绍了达·芬奇鲜为人知的飞行器和武器的草图，以及他最著名的画作《最后的晚餐》。我们还涉及了他与米开朗基罗之间的竞争关系。
We'll end this time by exploring Da Vinci's appointment as King Francis I's first painter, and the last portion of his life spent at the French court. Then, we'll end by taking another look at the Salvador Monday, and what it means to the lasting legacy of Da Vinci.
我们将通过探究达·芬奇被任命为法兰西国王弗朗西斯一世的首席画家，以及他在法国宫廷度过的生命的最后一部分来结束这个时间段。然后，我们将再次审视萨尔瓦多·星期一，以及它对达·芬奇持久的遗产意味着什么。
Just as Leonardo's last supper protected him during Louis XII's invasion of Milan, so a new painting would provide a passport back into the French-ruled city and its seat of power. Leonardo's Madonna of the Yarnwinder, delivered to the King's aid, gained him a royal appointment in Milan's court, and with spurred string of commissions from Louis XII. The work portrays a captivating Venus-like Madonna holding a curly-haired Jesus in a scene that could have been drawn from life in Florence. The young child plays with a yarnwinder or spindle, which resembles a cross.
正如莱昂纳多的最后的晚餐在路易十二入侵米兰时保护了他一样，所以一幅新的画作将提供一个在法国统治下的城市和权力中心的护照。莱昂纳多的《纺线女士像》，被送到国王那里帮助，让他得到了在米兰法院的皇家任命，接着又有了从路易十二那里来的一系列委托。这幅作品描绘了一个迷人的维纳斯式的圣母和一个卷发的耶稣，在这幅画面中可以看到佛罗伦萨的真实生活。这个小孩玩弄着一个像十字架一样的纱锭。
Jesus looks innocent in at first playful, Isaacson says, but if you look at his mouth and eyes, you can sense a resigned and even loving comfort with what will be his destiny. Mary, whose right hand is frozen in motion, seems torn by an urge to intervene and seize the cross away from Jesus, and counter impulse to yield to divine destiny. The wildly popular painting triggered the production of dozens of copies. It marked the Renaissance break with centuries of traditional paintings, when Catholic icons were depicted as remote and stylized. Now the major figures of Christianity were transformed into living beings who might walk the streets of Milan or Rome.
作者Isaacson说，耶稣在一开始看起来是无辜的游戏者，但是当你看他的嘴唇和眼睛时，你可以感到他对将来命运的顺从和甚至是爱的舒适感。玛丽的右手似乎被冻结了，她似乎在挣扎着要干预并夺走耶稣的十字架，同时还有反抗神圣命运的冲动。这幅深受欢迎的画作引发了数十幅复制品的制作。它标志着文艺复兴时期与几个世纪以来传统绘画的分界点，当时天主教的圣像被描绘为遥远和程式化的。现在基督教的重要人物被转变成可能在米兰或罗马走过街头的生命存在。
The French King's successor, the 21-year-old Francis I, began bombardingly in order with invitations to join his court at the French-Summer Palace. A charismatic leader on the battlefield, Francis was also a passionate admirer of how the Renaissance had transformed Italian art and aspired to extend the movement across France. Recruiting Leonardo to his court would help him achieve that goal.
法国国王的继承人，21岁的弗朗西斯一世开始积极地邀请人们来到法国 - 夏季皇宫参加他的宫廷。弗朗西斯不仅是战场上的领袖，而且还是意大利文艺复兴变革所带来的艺术的狂热爱好者，他希望将这股运动推广到整个法国。招募莱昂纳多来到他的宫廷将有助于他实现这一目标。
After Leonardo crossed the Alps into France, the King provided him with a royal chateau, an aristocratic stipend that was not dependent on his rate of production, an unbound freedom to immerse himself in his scientific experiments, technological designs, and artistic passions. Appointing Leonardo's first painter, engineer, and architect to the King, Francis was a dream patron, admiring and encouraging, but never troubling him with reminders about unfinished paintings. Leonardo crafted designs for a utopian royal city to be intersected with a chess board of gleaming canals and newly sculpted lakes.
莱昂纳多穿越阿尔卑斯山进入法国后，国王提供给他一座王室城堡，一个贵族津贴，不受他生产速度的影响，以及不受约束的自由，让他沉浸于科研实验、技术设计和艺术热情之中。弗朗西斯国王任命了莱昂纳多的第一位画家、工程师和建筑师，成为他的梦想赞助人，赞赏并鼓励他，但从不催促他完成未完成的绘画作品。莱昂纳多设计了一座乌托邦式的皇家城市，交叉布满闪耀的运河和新雕刻的湖泊。
Jousting tournaments in his fantasy-like master plan would be staged across battling boats and assuring new palace complex would rule over this amphibious city. When Leonardo arrived in France, he brought with him a cluster of paintings that he had been continuously changing for more than a decade, including the Mona Lisa, the Virgin and Child with Saint Anne, and Saint John the Baptist.
在他那种幻想般的总体规划中，骑士比赛将在互相对抗的船只上展开，而这座两栖城市的新宫殿将统治整个城市。当达芬奇到达法国时，他带来了一系列超过十年不断改变的绘画作品，包括《蒙娜丽莎》、《圣母与圣安妮及圣约翰洗者》等。
The portrait of Mona Lisa had been started in 1503, and the contracted date of delivery had long since passed, but Leonardo had fallen in love with the painting and would spend the rest of his life adding brushstrokes to further animate the image. Vassari wrote that if one gazed upon it most intensely, even the beating of the pulse could be glimpsed flickering across the portrait.
蒙娜丽莎的肖像画始于1503年，交货日期早就过去了，但列奥纳多爱上了这幅画，花费余生不断地添加细节，以使画面更加生动。瓦萨里写道，如果人们沉思地看着它，甚至可以看到画像上跳动的脉搏。
Leonardo had these paintings, the chosen ones he could never bear to relinquish positioned across his royal chambers and would continue perfecting the panels, adding sparks of life and color until his final days. In his closing passages on Leonardo, Vassari recounted that the artist, sensing imminent death, asked for a priest to administer the Holy Sacrament. He repented that he had offended God and mankind in not having labored at his art, as he ought to have done.
莱昂纳多在他的皇家房间里放了这些画作品，这些被他选出来的作品他永远也舍不得放弃，他会一直完善这些画作，添加更多的生命和色彩，直到他最后一天。在关于莱昂纳多的结尾段落中，瓦萨里回忆了艺术家在感到死亡临近时，请求教士给他施行圣餐的时刻。他悔过自己在艺术上从未尽力，对冒犯上帝和人类深感愧疚，认为自己应该更加努力地创作。
As King Francis moved to prop up the artist Vassari, the spirit of Leonardo, which was most divine, breathed its last in the arms of the king. That scene would be immortalized by the French painter Jean Auguste Domanique Ingris, but Leonardo's drama in art would continue to play out over the following centuries. The French king acquired the paintings that Leonardo had kept by his side and made them the core of his royal collection. While helping launch the French Renaissance, Francis expanded the Louvre Palace and laid the foundations for it to become the globe's premiere stage to exhibit Leonardo's masterworks.
随着法国国王弗朗西斯支持艺术家瓦萨里，莱昂纳多最神圣的灵性逝世在国王怀里。这一幕将被法国画家让·奥古斯特·多马尼克·英格里斯永载史册，但莱昂纳多的艺术剧本将在接下来的几个世纪继续上演。法国国王购得了莱昂纳多一直保管在身边的画作，并将它们作为皇家收藏的核心。在帮助开创了法国文艺复兴的同时，弗朗西斯扩建了卢浮宫，为它成为全球展示莱昂纳多杰作的舞台奠定了基础。
Da Vinci's visionary notebooks would be collected by artists and admirers, kings and conquerors. Over the course of centuries, they'd be taken apart and assembled into new compilations. Although they're now scattered across Europe and the US, expanding access to these codices has helped modern scholars reconstruct the notebooks as Leonardo created them. Their contents have also aided in the incredibly complex process of differentiating Leonardo's autograph paintings from myriad copies crafted by his disciples.
达芬奇的远见卓识的笔记本会被艺术家和爱好者、国王和征服者收集。几个世纪以来，它们被分离和重新组合成新的汇编。尽管现在它们散布在欧洲和美国各地，但扩大对这些手稿的获取有助于现代学者重建达芬奇创作的笔记本。笔记本的内容也有助于区分出由他的门徒制作的无数复制品与达芬奇亲笔绘制的作品之间的非常复杂的过程。
We're wrapping up in a moment, but before we go, let's recap what we've gone over. In this book insight, we've touched on key moments in Leonardo's life. From his early years of apprenticeship and Florence, to his move to Milan and work for the militaristic ruling family there, including painting the last supper, and onwards to his pioneering experiments with flying machines and competition with another Renaissance man, Michelangelo. Finally, we've discussed Leonardo's later years when he came under the patronage of the French king Francis I and his enduring artistic legacy.
我们马上就要结束了，但在结束之前，让我们回顾一下我们所学的内容。在这本书中，我们涉及了达芬奇生命中的重要时刻。从他在佛罗伦萨的学徒期开始，到他搬到米兰为军事统治家族工作，包括绘制最后的晚餐，再到他的飞行器先驱实验和与另一位文艺复兴大师米开朗基罗的竞争。最后，我们还讨论了达芬奇晚年时期，当他成为法国国王弗朗西斯一世的赞助人，以及他永恒的艺术遗产。
At the start, we mentioned the rediscovery of one of Leonardo's paintings, Salvador Mundé. It's worth retelling the story of the discovery before we wrap up this book insight. We'll do that next. The Salvador Mundé, a spellbinding panel depicting Christ holding a crystalline sphere representing the universe, had been found in an obscure sale and was marred by amateur efforts to restore it. It had been sold in 1958 for less than $100 and was acquired half a century later by a group of art dealers who suspected it might be Leonardo's lost masterwork, despite damage in layers of over-painting and varnish.
开头我们提到了莱昂纳多的一幅画作“Salvador Mundé”的重新发现。在结束本书之前，值得重述一下这个发现的故事。我们马上就会讲述这件事情。这幅令人沉醉的画作描绘了基督手持一个代表宇宙的晶球，它曾经被发现于一个不知名的拍卖会上，但是它已经遭遇了业余人士进行的修复，导致画面上有多层过度绘制和涂亮。在1958年，它仅以不到100美元的价格售出，半个世纪之后，一群艺术品经销商认为这幅画可能是莱昂纳多的失落杰作，尽管画作有过度绘制和涂亮的损伤。
The art dealers who had found the panel brought it to one of the world's leading restoration experts to clean and conserve and then began quietly showing it to Leonardo scholars around the world. Advanced imaging technology now revealed something extremely exciting, the sketched outlines of an under-painting. When the under-painting was revealed with its glorious details of intricate brushstrokes, at that point, Isaacson says, most of the experts agreed that it was an authentically anardo.
这幅画板是由一群艺术品经销商找到的，他们将其送到世界顶级的修复专家那里进行清洁和保护，然后悄悄地向世界各地的列奥纳多学者展示。现在，先进的成像技术显示出了令人激动的事情：底层绘画的轮廓。当底层绘画揭示出它繁复刷法的细节时，艾萨克森表示，大多数专家都同意它是真正的列奥纳多的作品。
As a result, the price of the painting begins skyrocketing. First, it was acquired by a Swiss-based art dealer for nearly 80 million. He quickly flipped the work by selling it to a Russian collector for 127 million. At the end of 2017, as we learned earlier, Salvador Mundé fetched a record-breaking 450 million at auction. It was sold to an anonymous bidder who turned out to be Prince Bader, the Saudi minister for culture. The painting was due to be unveiled in September 2018, but the exhibition at the Louvre Abu Dhabi was canceled without explanation. It was no longer even clear where the painting was.
因此，这幅画的价格开始飙升。起初，它被一家总部位于瑞士的艺术品经销商以近8000万美元的价格买下。他迅速将作品转手卖给了一位俄罗斯收藏家，售价达1.27亿美元。正如我们之前所了解的，2017年底，萨尔瓦多·孟德的拍卖价格高达创纪录的4.5亿美元。这幅画被匿名竞拍者买下，后来证实是沙特文化部长巴德尔王子。这幅画原定于2018年9月在阿布扎比的卢浮宫展出，但由于原因未明，展览被取消。甚至连这幅画现在的位置都不太清楚了。
Perhaps in a vault in Geneva, its mysterious disappearing act reignited debates about the painting's attribution, and there are some experts who still cast doubt onto its authenticity. But after interviewing some of the world's leading Leonardo scholars, Isaacson himself is convinced it's the real thing. He notes the beautiful scientific precision with which Leonardo renders the crystal orb that Jesus is holding. He also pointed out a telling error in its rendering. The fabric and part of Christ's palms seen through the orb show no signs of distortion.
也许这幅画在日内瓦的保险库里，它神秘的消失行为重新点燃了人们对于画作归属的争议，一些专家仍对其真实性表示怀疑。但在对一些世界领先的列奥纳多·达·芬奇学者进行采访后，艾萨克森本人确信这是真迹。他注意到列奥纳多对耶稣手中的水晶球所做的美丽科学精度。他还指出了其描绘中的一个告诉性误差。水晶球中可以看到包裹和基督手掌的部分，但没有显示扭曲的迹象。
Was Leonardo a keen student of optics missing a trick? Did he choose not to depict these potentially distracting visual effects? Or was this a mission entirely intentional? Suggestive of Christ's miraculous nature, whose purity prevents distortion and further proof of Leonardo's own genius? Here's Isaacson again speaking at the Aspen Institute. Being relentlessly and randomly curious about everything around us is something that each of us can push ourselves to do each day. Provoking questions like this, the Salvador, like the Mona Lisa, has an uncanny power to interact with every viewer in an individual way. Along with its technical mastery, every Leonardo painting has a certain something that draws us in.
莱昂纳多是否是光学的热心学生，错过了一个技巧？他是否选择不描绘这些可能会分散注意力的视觉效果？还是这完全是一个有意的任务？这些特征暗示了基督的奇迹性质，其纯洁性防止了扭曲，也进一步证明了莱昂纳多自己的天才。以下是Isaacson在阿斯彭学院演讲的内容。对我们周围的一切保持不断好奇和随机性，这是我们每个人都可以每天自我激励的事情。像蒙娜丽莎一样，萨尔瓦多具有神奇的力量，可以与每个观众以独特的方式互动。除了它的技术精湛外，每一幅莱昂纳多的画作都有一种吸引我们的某种东西。
It's hard to put our finger on what this is. But Isaacson's biography is a brilliant starting point to begin our own appreciation of the master. Thank you for listening to Book Insights. Check out the rest of our content at memo.com. Please keep in mind that the information provided in or through our Book Insights episodes is for educational and informational purposes only. It's not intended to be a substitute for advice given by qualified professionals and should not be relied upon to disregard or delay seeking professional advice.
很难说这是什么。但是艾萨克森的传记是开始欣赏这位大师的绝佳起点。感谢您收听《图书洞见》。请在 memo.com 上查看我们的其他内容。请注意，在我们的《图书洞见》中提供的信息仅供教育和信息目的，并非替代经过专业人士建议的建议，不应依赖于忽略或延迟寻求专业建议。