如何欣赏荷兰画家彼埃·蒙德⾥安的画稿（⾮具象绘画的创始者之
⼀）双语⽂章
⼤师何为⼤师？
简介
彼埃·蒙德⾥安（Piet Cornelies Mondrian；1872年3⽉7⽇-1944年2⽉1⽇），荷兰画家，风格派运动幕后艺术家和⾮具象绘画的创始者之⼀，对后代的建筑、设计等影响很⼤。ointment
蒙德⾥安及其荷兰“风格派”，作为⼀种艺术运动，并不局限于绘画。它对当时的建筑、家具、装饰艺术以及印刷业都有⼀定的影响。事实
上，“风格派”内的许多成员正是各艺术领域的积极活动家。提到蒙德⾥安，我们马上会想到那些规格不同的矩形⽅格⼦。某些美术评论家认为蒙的作品只适⽤于⼴告设计、家具、印刷品和建筑装潢，根本谈不上“绘画”⼆字。这种批评其实是抽象的，因它离开了时代特征，当时蒙德⾥安不这样认为，他⼀步⼀步地⾛上绘画⼏何学的抽象构图道路，是沿着⽴体派和未来派的单纯化结构⽽来的。
下⾯翻译⼀则国外的⽂章
pytOur eyes are far too good for us. They show us so much that we cant take it all in, so we shut out most of the world, and try to look at things as briskly and efficiently as possible.What happens if we stop, and take the time to look more carefully? Then the world unfolds like a flower, full of colors and shapes that we had never suspected.In this column, I am going to be pondering how we e the world. I will be describing how to look at paintings, photographs, and sculptures (that is my field, art), but also grass, sand, twigs, sunts, Egyptian scarabs, discolored porcelain teeth, cheddar chee, virus, X-Rays, spectra, fingerprints, candle flames, galaxies, graphs of bird song, engineering drawings, ice halos behind palm trees, the lines in an elderly face, the ripples of muscle in a shoulder, the logic of crystals, the colors in a rainbow, the shapes of culverts, the species of mirages, the faint lights in the night sky, the zig-zag patterns on moths wings, the engraved designs in postage stamps, the things you can contrive to e inside your own eyes.
我打算漫谈我们看待这个世界的⽅式。我会说说怎么看待绘画、摄影、以及雕塑（这些艺术算是我的专业领域），但同时还有草叶、沙粒、枝桠、⽇落、古埃及的圣甲⾍、褪⾊的陶瓷⽛齿、英国的切达芝⼠、病毒、X光、光谱、指纹、烛光、星系、鸟鸣声谱、⼯程制图、棕榈树后的光晕、⽼⼈脸上的皱纹、肩部肌⾁的起伏、晶体的结构、彩虹的⾊彩、⽔渠的形状、海市蜃楼的种类、夜空中的微光、飞蛾翅膀的蜿蜒、还有邮票上的雕刻设计，那些你⽤⾃⼰的双眼⽆法捕捉到的事物。
What I have in mind is a ries of lessons about how to u your eyes more concertedly, with more patience, than you might ordinarily do. Its about stopping, and taking the time to simply look, and keep looking, until the details of the world slowly reveal themlves. I especially love the strange feeling I get when I am staring at something, and suddenly I understand: the object has structure, it speaks to me. What was once a shimmer on the horizon becomes a specific kind of mirage, and it tells me about the shape of the air I am walking through. What was once a meaningless pattern on a moths wing becomes a code, and it tells me how that moth looks to other moths. And paintings show me more each time I look; there is apparently no limit to what they can mean.
我现在想到⼀连串的内容，都是关于怎样⽐平常更耐⼼更⾃如地运⽤你的双眼。关键在于逗留，把时间充分⽤于观看，并且保持观看，直到每个细节都慢慢地展露出来。我尤其享受⼀种奇特的感觉，就是当我盯着某件东西，然后顿悟的瞬间：原来这样东西是有结构的，它本⾝就在和我对话。
My opening example is Mondrian.
Specifically, one of the Mondrian paintings in the collection of the Art Institute of Chicago, across the street from where I work. It is called Lozenge Composition with Yellow, Black, Blue, Red, and Gray and it was painted in 1921. Its a simple picture: off-white, with black stripes and four color areas: black, blue, pale lemon yellow, and a touch of orangey red. At least thats权力的游戏第三季05
what I thought before I had looked cloly at it.
我的⾸例就是蒙德⾥安。here alone
具体地说，是我⼯作的⼤街对⾯的芝加哥美术馆收藏的⼀幅蒙德⾥安画作。这幅叫《黄、⿊、蓝、红、灰菱形构图》的画作绘于1921年。这是幅简单的作品：灰⽩背景，⿊线条，以及四个⾊块——⿊⾊、蓝⾊、淡淡的柠檬黄、和少许橘红⾊。⾄少在近距离看它之前，我是这么认为的。
I have occasionally taught a cour in which students copy paintings in the muum. The cour was open to anyone, even students who had never painted. The only requirement was bravery, becau it turns out that when you put up an eal and canvas in the muum, everyone talks to you. They give you advice and criticism, and they arent always polite. One of my students was harangued for choosing to paint a nude, "even though," as the angry visitor said, "youre a woman yourlf." Another time, a guard asked me if I thought my student was worthy of copying a small painting showing Mos crossing the Red Sea. "Do you think your student believes the Bible story?" the guard asked. I said, "I dont know, but do you think the painter believed in the Bible?" He said he wasnt sure, and hed get back to me. The next week, he said hed decided the painter was an atheist, becau the painting didnt have enough thunder and lightning in it--it wasnt dramatic enough to ring
true. (I think the guard was thinking of the movie "The Ten Commandments.") After that, the guard left us alone: he decided that a non-believer could copy a non-believers painting, but he just wasnt interested in the result.
美国恐怖故事 第二季>负担英文我教过⼀门课专门让学⽣临摹展馆⾥的绘画。这门课⾯向任何⼈，甚⾄是从没画过画的学⽣。唯⼀的要求是勇⽓，因为在博物馆⾥⽀起画架放上画布的结果是，⼈⼈都来和你说话。他们会对你的画指⼿划脚，⽽且不⼀定客⽓。我有个学⽣就曾因为选择临摹裸⼥被⼤声训斥过，“尽管你⾃⼰也是个⼥的。”那个⽓愤的参观者说。还有⼀次，⼀个保安问我觉得某个学⽣临摹⼀副摩西穿越红海的⼩画值不值得。他问：“你看这个学⽣相不相信圣经？”我说：“不知道，但你看这个画家相不相信？”他回答说不确定，但是会稍后给我回答。到第⼆周，他告诉我确信了这幅画的作者是个⽆神论者，因为画⾥没有⾜够的雷鸣电闪——不够戏剧化也就不⾜以为真。（我估计他想像的是《⼗诫》的那种情形。）再之后，这个保安就不管我们了：他表⽰⽆信仰者是可以临摹⽆信仰者的画的，他只是对结果不再感兴趣了。
When one of my students asked to copy that Mondrian, I said it might not be very rewarding, becau it was so simple. It
turns out I was very wrong, and since then Ive had three students try to copy the painting. Its a very difficult and complex image, masquerading as a simple abstraction.
If you step right up to the cordon, youll e that Mondrian changed his mind about whether the stripes should go right up to the edges of the canvas. He painted out the ends of the stripes, so that they appear to stop where the canvas stops.
当⼀个学⽣要求临摹蒙德⾥安的时候，我回应说那对他不⼀定有什么好处，因为这画太简单了。可结果我完全错了，并且从那时起已经有3个学⽣试着临摹这画。这是⼀个相当困难复杂的图像，只是被冒充成简单的抽象画罢了。
如果你从右边的边线开始画，你会发现这⾥蒙德⾥安改变了主意，没让线条继续往上⾛到画布的边缘。他描出了线条的终点，使之看起来结束在画布边缘。
(All photos: author.)
He wasnt especially careful with his repainting, which is a clue to how cloly he expected people to look. Art historians have noticed his change of mind, and it has been said that before the early 1920s, Mondrian thought of his compositions as part
of an infinite plane, which could go on indefinitely in all directions. Starting with paintings like this one, the canvas is the whole object, the whole univer, and there is nothing beyond it.
他在重画的时候不是那么细⼼，所以可以推断出他当时估计⼈们看画时的距离。艺术史学家注意到他改变了想法，⽽且据说在20世纪20年代前，蒙德⾥安曾把他的作品当作是⽆限平⾯上的⼀部分，所以每个⽅向都会⽆限延伸。从诸如这样的绘画开始，画布就成为⼀个完整的对象，完整的宇宙，没有任何东西可以超越。
If you bend down, and look up against the light--often a good trick in muums, becau it reveals flaws and shows off the paintings surface--you can also e that Mondrian painted the black rectangle with thin paint, so the warp and weft of the canvas shows through. (The warp and weft are at forty-five degrees to the stripes, becau the stretcher is rotated.) The yellow area is painted much more thickly.
An even clor look at the yellow shows how luscious the paint surfaces are, some ribbed, some rubbed into the weave. Its also possible to e how Mondrian smoothed the edges of the yellow region, creating a glossy painted frame.
如果你蹲下⾝，逆光往上看这幅画——在展馆⾥是个很狡猾的办法，因为这样会暴露出画作的裂缝以及表⾯——从画布的纹理可以看出蒙⽒画作中⿊⾊长⽅形⽤的颜料较薄。（画布纹理与线条呈45度，原因是框架是转过的）⽽黄⾊⾊块使⽤的颜料就厚重多了。
assurance
再凑近点看黄⾊区域能发现这个绘画表⾯相当丰郁，⼀部分起了棱纹，⼀部分渗⼊了纺线⾥⾯。这⾥也能看出蒙德⾥安打磨了黄⾊⾊块的边缘，弄
出了⼀个光滑的边框。
Each surface and stripe has its texture: the stripes are scored with little ridges, and some of the surfaces, like the blue area, show tho freehand back-and-forth brush textures hou painters try to avoid. Altogether the painting is rich in surface textures, what art historians call facture.
每个表⾯和线条都有它的纹理：条纹被刻出了脊线；⼀些表⾯，⽐如蓝⾊区域，有油漆⼯⼈试图避免的徒⼿画出来回刷笔的纹理痕迹。放在⼀起这幅画作有了丰富的表⾯纹理，艺术史学家称之为制作法。
My student tried hard to get the thick furred look of the blue area, but all he could manage was a flaccid, watery pool of blue:
我的学⽣花了很多⼒⽓想弄出蓝⾊⾊块上厚实茂密的表⾯，但是他的努⼒只得到⼀⽚松软散淡的蓝⾊：
So far none of this is new to art history, and there have also been some very careful analys of the
ways some stripes go over others, and how Mondrian built his paintings into a kind of woven bas-relief. (There are excellent accounts of this by Yve-Alain Bois and Harry Cooper.) But it is not difficult to go beyond what has been discusd in art history.
⽬前为⽌提到的对艺术史都不是什么新鲜事，除此之外还有很多谨慎的分析讲到线条如何相交，蒙德⾥安如何把他的绘画塑造成浅浮雕编织。（维亚阿兰保尔和哈利库珀的评论⾥⾮常多的证据。）然⽽，要往超出这些艺术史的讨论之外了说也不难。
If you look very cloly at the borders of the stripes, you e they arent just lines where black meets white or blue or yellow. The edges of the stripes are rough. It is known that Mondrian painted his stripes by laying down strips of paper, the way decorators and contemporary painters u masking tape. But that produces a clean border, and the borders in this painting are messy. Unfortunately, with the naked eye its hard to e exactly what makes them messy.
如果你向这些条带的边界凑得⾮常近的话，你会看到它们并不只是单纯的⿊与⽩或蓝或黄交会的线。这些条带的边缘是粗糙的。据悉蒙德⾥安是⽤铺上纸条来画的，就像很多装潢师和当代画家⽤封⼝胶纸的道理⼀样。但是这种办法可以形成⼀个清爽的边界，⽽这幅画⾥的边界却是混乱的。不幸的是，⾁眼很难看出到底是什么搅乱了它们。
I have two devices to me solve mysteries like that: a camera with a macro lens, and a pair of surgeons glass, which are heavy metal frames with little binocular telescopes mounted on them. The little telescopes are amazing: if I stretch my arm out in front of me, the telescopes focus on one-quarter of one of my fingernails. (The surgeons glass are also embarrassing to u, becau they have a kind of dorky mad scientist look. My student and I got lots of odd stares while we were inspecting the painting.)
我有两个设备来揭开这个谜：⼀架有微距镜头的相机，和⼀副内置了微型双⽬显微镜的重⾦属框架⼿术眼镜。微型显微镜太厉害了：如果我在⾝前伸展胳膊，显微镜会聚焦到我⼀⽚⼿指甲上的⼀⼩块。（⼿术眼镜倒是让我⽤得有些难堪，因为它戴起来就像个呆⾥呆⽓的疯狂科学家。在勘测这幅画时，我和我学⽣就荣获了不少古怪的注⽬礼。
In this photograph, taken with my macro lens, my student is trying to reproduce the complicated marks at the border of one of the stripes. (He is wearing plastic gloves to protect himlf from the toxic chemicals in the paint; some painters prefer the old, poisonous solvents and pigments to the new healthier materials.) He is painting freehand, without a paper strip to help him, becau he thought that is what Mondrian did.
在这张⽤我的微距镜头拍下的照⽚中，我的学⽣试图复制其中⼀条条带边界的复杂的痕迹。（他戴着塑胶⼿套以防⽌颜料⾥的有害物质；⼀些画家会宁可选择旧的有毒溶剂⽽不是新的更安全的材料。）他在徒⼿作画，也没有⽤纸条辅助，因为他觉得蒙德⾥安就是这么做的。
A clor look at the original shows that Mondrian did put a paper strip down, and he painted over it to get a sharp edge: but then he removed the strip, put another one down in a slightly different place, painted over that one, and so on, creating a kind of little stairway of paint.
⽽靠近蒙德⾥安的原作看可以发现他的确铺过纸条上去，⽽且他从上⾯涂过以得到⼀个利落的边缘：但是之后他移动了这张纸条，在略微不同的地⽅铺上了另外⼀张，涂过了那张上⾯，诸如此类，结果就成了⼀种阶梯状的绘作。
In other parts of the painting, Mondrian clearly painted freehand, with no paper to guide him. On one place, its possible to e
how he painted vertically, carefully edging up to the stripe. To e that, look very cloly at the bottom edge of the stripe in the next photo, about an inch to the left of center.
英文朗读软件
在这幅画的其他部分，蒙德⾥安显然是⽤徒⼿画的，完全没有⽤纸条引导。在⼀个地⽅，可以看出他
征程什么意思
是怎样垂直往，⼩⼼地绘完这条带⼦。要想发现这点，可以往下张照⽚⾥的条带底部边缘，也就是中⼼偏左⼀⼨左右，使劲凑近看。
My student and I studied that, but again his copy failed, becau he couldnt get just the right texture of paint--Mondrians paint was sticky, and the bristles on his brushes were stiff. My student ended up with an ugly ridge of paint:
我学⽣和我的研究结果是，他的临摹再⼀次失败是因为他没法弄出笔触的准确质地——蒙德⾥安的颜料⾮常的粘稠，⽽且他画笔上的⽑刷⾮常坚硬。我学⽣的最后画出的是⼀个难看的边脊：
In some places, Mondrian painted parallel to his stripes, trying to keep his hand from wavering. In other places it ems he enjoyed the slight tremble and wander of his hand. There is a lot to e in this last detail: underneath the stripe, you can e where Mondrian carefully edged his brush up to the stripe, overlapping some horizontal marks hed made freehand. Over the stripe there is a thick hedge of short marks, all freehand, intended to give the stripe a rich, entangled margin.
在某些地⽅，蒙德⾥安以和线条平⾏的⽅向作画，以避免让⼿摇晃。⽽在其他地⽅，他似乎挺满意⼿上轻微的颤抖和晃动。在最后⼀张细节图上有很多值得注意的地⽅：在条带下⾯，你可以找到蒙德⾥安⼩⼼的在线条上收尾，改过他徒⼿⽔平画的痕迹。在线条之上有⼀栏很厚的短痕迹，全部徒⼿，为
这个条带形成丰富⽽相互缠绕的边缘。
You dont e any of this from two or three feet away, and its clear Mondrian expected his viewers to stand back so they wouldnt e things like the sloppy way he truncated the ends of his stripes. But you are aware of a richness, a shimmering effect, a depth. The paintings are three-dimensional. The paint has visible gestures, it is human, it moves. In the language of
art history, it is painterly. It belongs to the tradition of Titian and Rembrandt and Delacroix, and not just to the asceticism and idealism of the early twentieth century.
从两三步之外你是完全看不出这些的，显然蒙德⾥安估计观者应该往后站从⽽不会发现像他截断条纹末端的草率。但是你意识到⼀种丰富，光耀的效果，⼀种深度。这幅画是三维的。画有看得见的姿态，它是⼈性的，是灵动的。在艺术史的语⾔⾥，它是画家式的。它属于提⾹、伦勃朗和德拉克洛⽡的教派，⽽不仅仅是20世纪初期的禁欲主义和唯⼼主义。
In the Art Institute of Chicago, as in many muums, the Mondrians hang next to other paintings of the time, also geometric and abstract. In comparison to their resolute, sterile flatness, Mondrians paintings have depth. They speak to the deeper history of painting. Its true Mondrian is forbidding, ascetic, pure, impersonal, ideal, clear beyond the mess of an ordinary life. But it is also true that he
was thinking of Old Masters, and of what paint could do. He just kept the poetry so tightly reined that it is nearly invisible.
在芝加哥美术馆，和在许多别的展馆⼀样，蒙德⾥安的画作被悬挂在了同时期的同样是⼏何和抽象的作品边上。与它们坚决⽽枯燥的平坦不同，蒙德⾥安的绘画是有深度的。它们在向绘画的历史深处诉说。诚然蒙德⾥安是严峻的、禁欲的、单纯的、冷漠的、唯⼼的，明显凌驾于世俗⽣活的喧嚣之外。然⽽他⼼念着早期的绘画巨匠，思索着绘画能做什么也是事实。他只是把那份诗意封锁得太紧以⾄于⼏乎看不见了。
Perhaps it requires a slightly abnormal sort of eing to notice all this--geeky doctors glass, an expensive camera lens, a student who is willing to fail while people watch. But once you have en how the painting works, Mondrian will never be the same.
可能这些还是需要某些⾮常⼿段才能注意到——⽐如怪胎医⽣的眼镜、昂贵的相机镜头，还有敢于在众⼈⾯前失败的学⽣。但是⼀旦你看到这幅画是怎样完成的，蒙德⾥安就和之前不再是同⼀个⼈了。
I know there are many questions lingering here. What is clo looking, exactly? What happens to the experience of the artwork when you look very slowly? It ems artificial or unnatural to look cloly: after all, it runs against the grain of todays very distracted, fast-motion eing. And yet poets do it all
resorttothe time: clo reading is part of good reading.
我知道还有很多没解决的问题。到底什么才是细看？缓慢地观看艺术作品会带来怎样的经验转变？看起来细看是很做作⽽不⾃然的：毕竟这违背了今天分散⽽快速移动的观看⽅式。⽽诗⼈却⼀直那样做：⽂本细读是精读的⼀部分。
I am up for all tho subjects, and more. I hope this column will inspire you to stop and consider art more cloly, but also to e all sorts of things that are absolutely ordinary, things so clearly meaningless that they never emed worth a cond thought. Once you start eing them, the world--which can look so dull, so empty of interest--will gather before your eyes and become thick with meaning.
我希望这篇⽂章能激发你去停留去更细致地思考艺术，同时去观赏⽣活中最平凡的那些事物，那些似乎都不值得再看⼀眼的事物。⼀旦你开始凝视它们，这个世界——这个本来如此乏味⽽了⽆乐趣的世界——会在你的眼前重新组合，浓墨重彩，意味深长。
⽂献参考资料
他的画稿
Alberi 1908
At The Amstel Sun
Broadway Boogie Woogie 1943
Amaryllis 1910
Anemones In A Va
加刘景长语：有的东西或许你觉得很简单，只是因为不知道那有多难。（此话并不⽤于#你⾏你上#这种逻辑）
很多⼈第⼀次看到蒙德⾥安的作品也是⼀样不解他就是摆了⼏个⾊块为何能成为⼤师，但实际上看似随意的⾊块和线条都是经过精细的配⽐和组织。
现在蒙德⾥安的作品理念已经被应⽤到⽣活的⽅⽅⾯⾯。
