Mona Lisa

蒙娜麗莎吸引力的背后是什么呢？它具有獨(dú)特魅力的主要原因是那難以理解的微笑所表達(dá)的神秘莫測。這微笑是每個人都能從那朦朧的、霧一般的的形象中為自己找到一點(diǎn)特別的東西。

What lies in the intrigue of the Mona Lisa? The principal explanation for its paticular appeal must lie in the mystery conveyed by the ambiguous smile which allows everyone to find something special for themselves in the obscure, smoke image.

讓我們來看一看這幅畫。肖像本身很簡單。蒙娜麗莎站在椅子里轉(zhuǎn)身向左，帶著那個微笑看著觀賞者，用16世紀(jì)美術(shù)史家和傳記作家喬爾瓦?瓦薩里的話來說這個微笑“……是如此令人愉悅，與其說它真實(shí)還不如說它神圣。”她的坐姿端莊又充滿活力。她的頭發(fā)有些散亂，帶著小卷披下來，衣著極簡單，也沒有戴首飾。一襲面紗挽在右臂，從頭上順左肩垂下

Let's look at the painting itself. The figure itself is simple. Mona Lisa turns to her left in her chair to look at the viewer with that smile, a smile that 16th century art historian and biographer Giorgio Vasari said:"…was so pleasing it seems divine rather than real." Her pose is compact yet dynamic. Her hair is partly undone and falls in little curls. Her dress is very simple and she wears no jewellery. A veil is caught up in her right arm and draped over her head and left shoulder.

唯一的裝飾是衣服領(lǐng)口上精心制作的打結(jié)流蘇圖案。這種互相交織的花結(jié)很令列奧納多著迷。他的名字也許可以玩味一番，因為在意大利語中“vincere”正是鑲花邊或打結(jié) 的意思。她的雙手交叉放在膝上，表現(xiàn)出謙卑和順從。這雙手畫得極其完美，說明作者對骨骼和肌肉都有精確的了解。

The only decoration is an elaborated pattern of knotting on the neckline of her dress. Interlaced knots such as this fanscineted Leonardo and there may be some play on his name since in Italian "vincere" is to lace or knot. Her exquisitely painted hands, drawn with an accurate knowledge of the structure of bone and sinew are crossed in her lap as a sign of humility and submission.

這幅不凡的肖像畫有兩個獨(dú)特之處：模糊輪廓技巧和引人注目的風(fēng)景。

Two special features are special to this extraordinary portrait:"the sfumato" technique and the remarkable landscape.

      模糊輪廓是列奧納多將顏料調(diào)和成煙霧一般柔和的方法。他將光影的轉(zhuǎn)變處理的如此巧妙以致一切都溶成一體，看不出線條和界限的痕跡。在描繪蒙娜麗莎頭部時，列奧納多對皮膚下面頭骨的了解——得益于他對解剖學(xué)的研究，使得他描繪表象的技藝更臻完善。然而正是她在陽臺上的姿勢給了這幅描繪非常成熟婦女的肖像具有一種廣闊和諧的情趣。在離她更遠(yuǎn)更深的地方是一片巨大的巖石風(fēng)景。風(fēng)景斷斷續(xù)續(xù)，時有時無，宛若夢境一般，這片風(fēng)景出自想象，而想象又源于多年對巖石構(gòu)成的研究。

The sfumato was Leonardo's way of blending colors as softly as smoke. He worked the transitions of light and shade so subtly that everything blends without any hint of lines or borders. In the dipiction of Mona Lisa's head, this skill in suface painting is surpported by Leornado's knowledge of the skull beneath the skin——derived from his studies in his anatomy. But it is her position on a balcony that gives this picture of superbly mature woman a sense of drama. Beyong her and far below is an immense rocky landscape. The landscape is divided and unsteady which makes it like a dream. It is a landscape of the imagination but imagination based on years of study of rock formations.

在他的手記里，列奧納多談到了藝術(shù)家想象力的威力：“你可以設(shè)計出大片的土地，塑造山峰，可以看見它們后面遙遠(yuǎn)天際的大海。”蒙娜麗莎的背景就是這樣一幅風(fēng)景。風(fēng)景帶當(dāng)中顯露的山的形狀，以及變化的視角都與中國古代繪畫風(fēng)景的方式類似，表明對自然有同樣的敬畏之情。

In his notebooks Leonardo speaks of the powerof the artist's imagination:" You can design vast tracts of land, form moutain peaks and look at the sea on a distant horizon behind them." Such a landscape is the background to the Mona Lisa. The moutain forms, arranged in bands of scenery, and the shifting viewpoint are similar to the way landscapes are portrayed in ancient Chinese painting and suggest the same awe before Nature.

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