| Now, this was very different from, really, what had gone before, because we're coming out of the Counter-Reformation, a strict time, a severe time, a time of a sort of moral crackdown, and suddenly we have this explosion of sensual extravagance, really. The restraints of the Counter-Reformation are long gone by this stage, and what you're out to is really to draw in the viewer and that's why you do things that are absolutely theatrical and absolutely dramatic, and that explains why you have such an erotic piece that ends up in a church, where you would at least expect it. The viewer thinks, a modern-day viewer would think, "OK, this is something absolutely secular. What is it doing inside a church?" But it is part, I think, of this emotional sensibility that people expected at the time, even inside a church, even from the faithful. It is part of the religious picture of the time. | |
| 此时，这和过去的的确有所不同，因为我们才离开反宗教改革这一区域。反宗教改革是一个严苛的时代、一个严峻的时代、一个信仰凌驾于所有之上镇压其他信仰的时代。我们确实可以了解这时纸醉金迷的生活。 在这个时期，为反宗教改革所设立的一些限制条款已不复存在了。人们打算做什么都如实记载下来供人们参观，这就是为什么这个时期人们处理事情时会如此戏剧化并这般夸张，这也解释了人们为什么会将一色情色彩极浓的作品放在教堂里了，这是你无论如何都想像不到的。参观者认为，如今的观光者以为：“好吧，这是不朽的杰作，不过为什么要把它放在教堂里？”。不过我觉得这体现了那个时代人们情感认知的一部分，哪怕在教堂里从对教会忠实的角度体现出来。这是那个时代宗教画卷的一部分。 |
| Now, this was very different from, really, what had gone before, because we' re coming out of the CounterReformation, a strict time, a severe time, a time of a sort of moral crackdown, and suddenly we have this explosion of sensual extravagance, really. The restraints of the CounterReformation are long gone by this stage, and what you' re out to is really to draw in the viewer and that' s why you do things that are absolutely theatrical and absolutely dramatic, and that explains why you have such an erotic piece that ends up in a church, where you would at least expect it. The viewer thinks, a modernday viewer would think, " OK, this is something absolutely secular. What is it doing inside a church?" But it is part, I think, of this emotional sensibility that people expected at the time, even inside a church, even from the faithful. It is part of the religious picture of the time. | |
| ci shi, zhe he guo qu de di que you suo bu tong, yin wei wo men cai li kai fan zong jiao gai ge zhe yi qu yu. fan zong jiao gai ge shi yi ge yan ke de shi dai yi ge yan jun de shi dai yi ge xin yang ling jia yu suo you zhi shang zhen ya qi ta xin yang de shi dai. wo men que shi ke yi liao jie zhe shi zhi zui jin mi de sheng huo. zai zhe ge shi qi, wei fan zong jiao gai ge suo she li de yi xie xian zhi tiao kuan yi bu fu cun zai le. ren men da suan zuo shi mo dou ru shi ji zai xia lai gong ren men can guan, zhe jiu shi wei shi me zhe ge shi qi ren men chu li shi qing shi hui ru ci xi ju hua bing zhe ban kua zhang, zhe ye jie shi le ren men wei shi me hui jiang yi se qing se cai ji nong de zuo pin fang zai jiao tang li le, zhe shi ni wu lun ru he dou xiang xiang bu dao de. can guan zhe ren wei, ru jin de guan guang zhe yi wei:" hao ba, zhe shi bu xiu de jie zuo, bu guo wei shi me yao ba ta fang zai jiao tang li?". bu guo wo jue de zhe ti xian le na ge shi dai ren men qing gan ren zhi de yi bu fen, na pa zai jiao tang li cong dui jiao hui zhong shi de jiao du ti xian chu lai. zhe shi na ge shi dai zong jiao hua juan de yi bu fen. |
| Now, this was very different from, really, what had gone before, because we' re coming out of the CounterReformation, a strict time, a severe time, a time of a sort of moral crackdown, and suddenly we have this explosion of sensual extravagance, really. The restraints of the CounterReformation are long gone by this stage, and what you' re out to is really to draw in the viewer and that' s why you do things that are absolutely theatrical and absolutely dramatic, and that explains why you have such an erotic piece that ends up in a church, where you would at least expect it. The viewer thinks, a modernday viewer would think, " OK, this is something absolutely secular. What is it doing inside a church?" But it is part, I think, of this emotional sensibility that people expected at the time, even inside a church, even from the faithful. It is part of the religious picture of the time. | |
| cǐ shí, zhè hé guò qù de dí què yǒu suǒ bù tóng, yīn wèi wǒ men cái lí kāi fǎn zōng jiào gǎi gé zhè yī qū yù. fǎn zōng jiào gǎi gé shì yí gè yán kē de shí dài yí gè yán jùn de shí dài yí gè xìn yǎng líng jià yú suǒ yǒu zhī shàng zhèn yā qí tā xìn yǎng de shí dài. wǒ men què shí kě yǐ liǎo jiě zhè shí zhǐ zuì jīn mí de shēng huó. zài zhè gè shí qī, wèi fǎn zōng jiào gǎi gé suǒ shè lì de yī xiē xiàn zhì tiáo kuǎn yǐ bù fù cún zài le. rén men dǎ suàn zuò shí mǒ dōu rú shí jì zǎi xià lái gōng rén men cān guān, zhè jiù shì wèi shí me zhè gè shí qī rén men chǔ lǐ shì qíng shí huì rú cǐ xì jù huà bìng zhè bān kuā zhāng, zhè yě jiě shì le rén men wèi shí me huì jiāng yī sè qíng sè cǎi jí nóng de zuò pǐn fàng zài jiào táng lǐ le, zhè shì nǐ wú lùn rú hé dōu xiǎng xiàng bú dào de. cān guān zhě rèn wéi, rú jīn de guān guāng zhě yǐ wéi:" hǎo ba, zhè shì bù xiǔ de jié zuò, bù guò wèi shí me yào bǎ tā fàng zài jiào táng lǐ?". bù guò wǒ jué de zhè tǐ xiàn le nà gè shí dài rén men qíng gǎn rèn zhī de yī bù fen, nǎ pà zài jiào táng lǐ cóng duì jiào huì zhōng shí de jiǎo dù tǐ xiàn chū lái. zhè shì nà gè shí dài zōng jiào huà juàn de yī bù fen. |
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