评论
打印
The Creation of Adam: Neurology and Neoplatonism
米开朗基罗:《创造亚当》
All right, cherubs. Right now we're looking at a detail from the Fresco on the ceiling of Sistine Chapel by Michelangelo.
好的，天使们。现在我们要看米开朗基罗在西斯汀礼拜堂天花板上的局部壁画。
This particular detail is often called Creation of Adam and it's one of the most recognizable paintings ever made. People often discuss how Michelangelo painted this while lying on his back, or use it for a fart joke Memes, but this has been reproduced for more interesting reasons. It visually tells a story of God giving life to mankind out of dust, which is what Adam's name means.
这块特定的局部通常被称作《创造亚当》，而它是至今最具辨识度的画作之一。人们通常讨论米开朗基罗是怎么背靠在地上画出这个的，或是把它拿来做恶搞图，但这画被复制是因为更有趣的理由。它以视觉讲了上帝从尘土中给了人类生命的故事，而尘土正是亚当名字的意思。
Now that's a big task—how can one paint God? Michelangelo chose to make him look old and wise here, which God should be since he's infinitely old and infinitely wise. But he's also really fit. Check out those triceps. He's youthful and strong, which God should be since he's infinitely powerful and should be energetic enough to be infinitely present.
现在那是个大工程－－人怎么可以画出上帝？米开朗基罗选择了让他在这看起来年长又有智慧，上帝应该这样，因为他是极其年老和极其有智慧的。但他同样也非常强壮。看看那些三头肌。他朝气蓬勃又强壮，上帝应该这样，因为他是极其强大、应该要有足够的精力永远存在。
Adam is stationary here as dust is, while God is in motion, stretching to give...is it life? Adam already looks awake, I guess. He kind of has a blank stare here but his eyes are open. He can be viewed as an allegory for dust: lifeless and still, waiting for the breath of life to enter him.
亚当在这就跟尘土一样是静止的，然而上帝在移动中，伸展着要给他...是生命吗？亚当看起来已经是醒过来的，我猜。他在这像是有着无神的凝视，但他的双眼是睁开的。他可以被看做是尘土的象征：毫无生气且静止不动，等待着生命的气息进入它。
An interesting idea here is that God is giving Adam consciousness or intelligence. This is perhaps the reason that it's so popular to discuss the relationship with God's vehicle, here, to the human brain. I mean, this does look like a brain.
这里一个很有趣的想法是，上帝正在给予亚当知觉或智慧。这也许就是为何如此流行讨论神的乘坐工具，这里，与人类大脑关系的理由。我是说，这确实看起来像颗脑袋。
This scarf looks like a vertebral artery, and this cherub's leg was like a pituitary gland. Some even claim this section of the painting here represents synapses, which is a part of the neuron to transmit chemical or electrical signals to one another.
这条围巾看起来像脊椎动脉，而这个天使的腿像脑下垂体。有些人甚至称画作的这区块代表神经突触，这是神经相互传递化学或电子讯号的部位。
Now Michelangelo certainly would not have known about synapsis, but the comparison is fun to think about. He did work with dissection and knew quite a bit about the human body. You can easily see his knowledge of anatomy in the Statue of David. So this brain theory isn't entirely crazy.
米开朗基罗当然不会已经了解突触，但思考这比拟是很有趣的。他确实有做过解剖且了解相当多关于人体的事。你可以轻易地看出他对大卫像结构分析的了解。所以这个大脑理论并非完全疯狂的。
This part of the brain is called the occipital lobe, and it's partly responsible for sight. Sight has an interesting relationship with consciousness, particularly when we think about an intellectual movement Michelangelo was a part of called Neoplatonism.
大脑的这部份称为枕叶，它负责部分视觉。视觉和知觉有种有趣的关系，特别是当我们想到米开朗基罗曾参与、叫做新柏拉图派哲学的知识运动。
This movement, encouraged by the first Latin translations of Plato's work in Florence during the late 1,400's, revived Platonic philosophy and the content of ideal forms during the High Renaissance. Plato's works stressed the importance of metaphysical forms, immune to any corruption, over temporary earthbound forms subject to decay.
这个运动，由1,400晚期间在佛罗伦斯柏拉图作品的首批拉丁文翻译所引领，在文艺复兴盛期使柏拉图哲学和理想形式的内涵重新流行起来。柏拉图的作品强调了抽象形式的重要性，免于任何在受制于衰败的暂时、受世俗束缚的形式中任何腐化。
What we can visually see in the physical realm, using our occipital lobe, is a reflection of a higher ideal form, and in the Christian framework, it's a reflection of the light of God.
我们可以在物质方面从视觉上看到的，利用我们的枕叶，是更高一等理想形式的反射，而在基督教的架构中，这是上帝之光的反射。
Mankind uniquely has this double nature. We have the ability of comprehend like a God, but we have to perceive the universe with flaw senses made from dust. In this painting, Adam has been given the insight to recognize higher spiritual forms through their earthbound shadows or representations.
人类独特地拥有这种双重特质。我们拥有像上帝一样理解的能力，但我们必须要用由尘土做成、带有缺陷的知觉来理解天地万物。在这幅画中，亚当被给予识别出更高一等精神形式的洞察力，透过他们受世俗所束缚的幻影或是形象。
Michelangelo also plays with Neoplatonic thought by representing mankind in ideal form. I mean, no man in the real world has that kind of muscle structure, or at least I'd like to think it's not possible. By representing Adam in an ideal way rather than a natural way, he's forcing us to consider the idea of man rather than the physical and temporary real men.
米开朗基罗同样也透过以理想形式描绘人类，摆弄新柏拉图派哲学的思想。我是说，在现实世界没有男人拥有那种肌肉结构，或至少我想认为这是不可能的。借由以理想的方式而不是自然的方式描绘出亚当，他正迫使我们思考“男人的概念”、而不是实际上当代的“真正男人”。
It's interesting to think this painting illustrates God giving humanity the breath of life through consciousness and a physical brain that is literally the vehicle through which we can perceive the metaphysical by showing God riding on that vehicle.
那是很有趣的，想想这幅画描绘出上帝给予人类生命的气息，透过知觉、以及透过其实就是那骑乘工具的实体脑袋，透过那个我们可以借由表现出上帝骑乘着那工具，理解那抽象概念。
Just sit with that for a little while.
就接受那想法一下下。
If you like the way we discussed this painting and want to see more, please subscribe for a new art history video every other Monday.
如果你喜欢我们讨论这幅画作的方式，且想要看更多，请订阅以在每隔週一看到新的艺术史影片。
