蒙娜丽莎
蒙娜丽莎吸引力所在
Mona Lisa
蒙娜丽莎吸引力的背后是什么呢？它具有独特魅力的主要原因是那难以理解的微笑所表达的神秘莫测。这微笑是每个人都能从那朦胧的、雾一般的的形象中为自己找到一点特别的东西。
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.
让我们来看一看这幅画。肖像本身很简单。蒙娜丽莎站在椅子里转身向左，带着那个微笑看着观赏者，用16世纪美术史家和传记作家乔尔瓦•瓦萨里的话来说这个微笑“……是如此令人愉悦，与其说它真实还不如说它神圣。”她的坐姿端庄又充满活力。她的头发有些散乱，带着小卷披下来，衣着极简单，也没有戴首饰。一袭面纱挽在右臂，从头上顺左肩垂下
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.
唯一的装饰是衣服领口上精心制作的打结流苏图案。这种互相交织的花结很令列奥纳多着迷。他的名字也许可以玩味一番，因为在意大利语中“vincere”正是镶花边或打结 的意思。她的双手交叉放在膝上，表现出谦卑和顺从。这双手画得极其完美，说明作者对骨骼和肌肉都有精确的了解。
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.
这幅不凡的肖像画有两个独特之处：模糊轮廓技巧和引人注目的风景。
Two special features are special to this extraordinary portrait:"the sfumato" technique and the remarkable landscape.
模糊轮廓是列奥纳多将颜料调和成烟雾一般柔和的方法。他将光影的转变处理的如此巧妙以致一切都溶成一体，看不出线条和界限的痕迹。在描绘蒙娜丽莎头部时，列奥纳多对皮肤下面头骨的了解——得益于他对解剖学的研究，使得他描绘表象的技艺更臻完善。然而正是她在阳台上的姿势给了这幅描绘非常成熟妇女的肖像具有一种广阔和谐的情趣。在离她更远更深的地方是一片巨大的岩石风景。风景断断续续，时有时无，宛若梦境一般，这片风景出自想象，而想象又源于多年对岩石构成的研究。
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.
在他的手记里，列奥纳多谈到了艺术家想象力的威力：“你可以设计出大片的土地，塑造山峰，可以看见它们后面遥远天际的大海。”蒙娜丽莎的背景就是这样一幅风景。风景带当中显露的山的形状，以及变化的视角都与中国古代绘画风景的方式类似，表明对自然有同样的敬畏之情。
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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