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「克林姆:〈吻〉」- Gustav Klimt, The Kiss, 1907-8


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We're in the Belvedere in Vienna, and we're looking at Gustav Klimt's The Kiss from 1908, probably the most famous Klimt. And I actually have to admit that I have forgotten that the painting was almost a perfect square because I've seen it in so many posters where it's been cut down and made into a rectangle.
我們在維也納的美景宮美術館,我們正在欣賞古斯塔夫˙克林姆於1908年的〈吻〉,也許是克林姆最出名的畫作。我其實必須坦承我已忘了這幅畫幾乎是個完整的正方形,因為我已經在許多被剪裁並做成長方形的海報中看過它。

It's a very large painting, and there's so much gold that it's hard not to think of a religious icon.
And I think in some ways, Klimt was trying to create a modern icon—something that suggested a sense of transcendence.
這是個非常大的畫作,且有許多金箔,以致於很難不去想到聖像畫。我認為在某些方面,克林姆正試著創作一個現代的聖像--某些暗示出超然感的東西。

Well, there's no question that the gold here makes you think of the Byzantine tradition—maybe some of the tile work at Ravenna. There is a way that patterning, especially around the faces, becomes a kind of a halo as well.
嗯,毫無疑問這裡的金箔讓你想到拜占庭傳統--也許一些在拉溫納的磁磚藝術。有個方式,特別是在臉部周圍,那圖形也變成一種光暈的方式。

You have Klimt building up the gold. He's got those gold circles that actually rise off the surfaces of the canvas, and catch the light much the way that the gold was tooled in medieval paintings.
你有克林姆鋪疊那金箔。他有那些確實從畫布表面升起的金色圓圈、捕捉到那光線,大致像金箔在中古世紀畫作被利用的那方式。

There is this sense of the male figure, of patterns that are direct linear in contrast to the curvilinear, to the circles and the ovals that we see in the female form.
有這種男性人物的概念、這種直接線性的圖形概念,相反於曲線、相反於我們從女性外形上看到的圓圈和橢圓形。

But the point that you made about the sense of the spiritual is so powerful in this painting. I think we forget that that darker gold ground seems so much as if the figures are somehow being dissipated into the cosmos that they are so lost in the intensity, the eternity of that kiss.
但妳所提出關於心靈概念的看法在這幅畫作中是如此強而有力。我認為我們忘記那較深的金色底色看似如此之多,好似人物們不知怎麼地消失進入和諧的宇宙裡,以至於他們是如此迷失在那個吻的強度、永恆之中。

And all removed from the everyday world. I mean, we have to remember that this is a time of incredible modernization in Vienna. The City of Vienna has been transformed in the previous 30 years into a modern city.
且全都遠離日常的世界。我是說,我們必須記得這是在維也納一段驚人的現代化時期。維也納市在前三十年中已轉型為現代城市。

Here, Klimt is abstracting a universal experience from the trauma, the difficulties, the anxieties of everyday life. I think it's also important to see this in relationship to Klimt's Beethoven Frieze, where the figures confront evil forces, these mythic figures. And in the end, there's this embrace, this kiss, this emergence from evil into fulfillment and perfection.
此處,克林姆正從日常生活的創傷、困難、及焦慮中,將一個普遍的經驗抽象化。我認為同樣很重要的是要看到這個與克林姆的〈貝多芬橫飾帶畫〉的關係,這幅畫中的人物面對惡勢力、這些神話人物。在最後,有這個擁抱、這個親吻、這個從邪惡進入成就和完美的現身。

A minute ago, we were looking at the painting by Egon Schiele called The Embrace. But there, there was so much more of a sense of the physicality of the bodies.
一分鐘前,我們正欣賞埃貢·席勒名為〈擁抱〉的畫作。但在那裡,有更多身體形體特徵的概念。˙

The way that the bodies really aren't present here and are cloaked in these decorative forms reminds us how much Klimt, although he was exploring this kind of sensuality, was also disguising and covering it with a kind of decorative patterning.
那些肉體實際上在此處並沒有出現、且被這些裝飾形式掩飾其中的方式,提醒我們,雖然他正在探索這種感官享受,克林姆同樣以一種裝飾的圖形偽裝、掩蓋了多少事物。

And that's absolutely right, with the exception of the faces. And here, this is where the entire painting changes. The female figure is completely full-frontal but horizontal, so that there's this beautiful sense of her passivity, receiving that kiss, but also kind of deep interior feeling with her eyes closed.
那是完全正確的,除了臉部之外。在這裡,這裡是整幅畫作改變之處。女性人物是完全朝向前方但也是橫向的,所以這裡有這種她被動的美感概念,接收那吻,但同樣隨著她的雙眼閉上也有種深入的內心感受。

Her fingers just delicately touching his as he holds her head. And his neck reaches out and around. And you get the sense of his physical power through the strength of that neck, but also the intensity of his desire.
她的手指就這樣微妙地摸著他的手指,就在他捧著她的頭的時候。他的脖子伸出到周圍。你透過那脖子的力度感受到他體能的概念,還有他慾望的強度。

And, of course, they're both crowned. On his head you can see a wreath of leaves. On hers—almost as if they were the stars of the heavens.
而,當然,他們兩個都被加上冠冕。在他的頭上你可以看到一圈葉子。在她的頭上--幾乎就像它們是天堂的繁星。

Schiele gives us an image of a couple that's electrified by kinds of agitated outlines.
席勒給了我們一個被各種顫抖輪廓所刺激的情人畫面。

Schiele is showing us a kind of truth through the energy of the moment, whereas Klimt seems to be reaching out to a truth that is for all time. That is so aestheticized it feels as if it has a degree of absolute permanence.
席勒正透過那瞬間的能量展現某種真相給我們看,然而克林姆似乎要伸向一個永恆的真實性。那是如此美學化的,感覺好似它有個絕對永恆的程度。

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