文明

解说写的实在太漂亮，决定挑一些喜欢的誊下来。

时隔一年半，我终于把剩下的三集看完了。一集一集写。

E06 Radiance

26’20’’ Goya

The Black Paintings seem to me to be an endgame for Goya, not just in his own life and career in his 70s, but also his feeling about an endgame for art, the art that aspired through beauty to ennoble the spirit of civilization.

Shock at his own monstrousness, Francisco de Goya,1820-1823

//www.museodelprado.es/en/the-collection/art-work/saturn/18110a75-b0e7-430c-bc73-2a4d55893bd6

One of the most terrifying of all these paintings, perhaps the most famous one, shows Saturn devouring one of his children. That’s what it’s come to. The huge tradition of classical mythology reduced to a mad, antic, capering monster, chewing on the stump of a small body, but look at that body. Not a child at all. It’s the body miniaturized of a female nude. Two millennia of looking at the nude, of seeing it as a symbol of art’s perfection is reduced to this horrifying image of sadistic cruelty.

Fight with Cudgels, or Fight to Death with Clubs, Francisco de Goya, 1820-1823

//www.museodelprado.es/en/the-collection/art-work/duel-with-cudgels-or-fight-to-the-death-with-clubs/2f2f2e12-ed09-45dd-805d-f38162c5beaf

In one of the paintings, he puts the lights back on. We’re able to see something, but what is it we’re seeing? The light is given to us to reveal another kind of horror. These two huge peasant-like figures beating the living daylights out of each other. Blood is streaming down the head of one of them, even as they sink deeper and deeper into a kind of sandy quagmire. This is what Spain has become. Endless, relentless, mutual slaughter.

Now, all these monsters and horrors and demons and dragons of course had appeared all over European art before, but where had they appeared? They’d appeared in images of the Last Judgment and the Apocalypse, and they were always balanced by a sense of the optimism of salvation. But Goya has come to the conclusion that God is absent without leave and there is one painting, which in a sense is least likely to have the horrifying pessimistic eloquence, but it does.

The Drowning Dog, Francisco de Goya, 1820-1823

//www.museodelprado.es/en/the-collection/art-work/the-drowning-dog/4ea6a3d1-00ee-49ee-b423-ab1c6969bca6

There are no figures, there’s just a dog, a mutt. But for this dog, the master is gone, dead, slaughtered, missing. He’s no longer going to be fed. He’s simply faced with drowning inside this formless brown vacuum. It’s all come down to this, then. A dog without a master. Spain without its god. Humanity absolutely without civilization.

E01 Second Moment of Creation

4’53’’

We can spend a lot of time debating what civilization is or isn’t, but when it’s opposite shows up, in all its brutality and cruelty and intolerance and lust for destruction, we know what civilization is; we know it from the shock of its imminent loss as a mutilation on the body of our humanity.

16’58’’

With this exquisite, intensively carved female head, we have for the first time, something immensely and movingly momentous. We have the revelation of the human face. It’s a tiny thing, it can just go in the palm of your hand and it could have only been made by an extraordinary array of dexterous skills.

39’36’’

Ultimately, all civilizations want exactly what they can’t have: the conquest of time. So they build bigger, higher and grander as if they could build their way out of mortality, and it never works.

There always comes a moment where the most populous of cities with their markets and temples and palaces and funeral tombs are simply abandoned. And that most indefatigable leveller of all, mother nature, closes in, covering the place with desert sand, or strangling it with vegetation. And then, civilization dies the death of deaths, invisibility.

E02 How do we look?

25'41"

The one thing you really get here is that size matters. These vast monumental figures, perhaps four or five times life size and with that nice hint that they’d been even bigger if they bothered to stand up for you, simply dominate. They take over your field of vision. It’s an assertion of the power of the pharaoh through his huge, superhuman, enthroned body.

33’31”

If early Athenian pottery reflects how man and women were expected to live within the social context of the city, its statues attempt to embody the interior life within.

The beginning of the fifth century BCE saw an amazing transformation in Greek sculpture. Rigid figures with the fixed gaze of phrasikleia give way to daring new experiments in the human form. One of the first of these is known as the Kritios boy, and he would transform how we see the sculpted human body.

The Kritios boy show us that you can signal anteriority through the person’s movement, through their stance. But particularly, if you lose the archaic smile, and you have an expression which isn’t necessarily blank, that immediately invites you, the spectator, to psychologise it. So with that one step, the statue acquires not just a body that is an organism rather than a mechanism, but also what we would probably call, a soul.

41’57’’

“This was quite simply the most sublime statue of antiquity to have escaped destruction. An eternal springtide, clothes the alluring virility of his mature years with a pleasing youth and plays with soft tenderness upon the lofty structure of his limbs."

49’46’’

We still have a lot of really unexamined assumptions about what constitutes a beautiful or desirable body. We have a lot of unexamined assumptions about what constitutes an attractive, or aesthetically appealing way to look. And you have only to open up the pages of a women’s magazine, as people are commonly pointing out, to see how incredibly narrow the space is in a certain kind of western aesthetic consciousness, for what a woman can look like. Similar kinds of things can be applied to men as well.

Reinforced by commercial interests, the cult of youth and beauty begun by the ancient Greeks, is perhaps more powerful than ever today.

E03 Picturing Paradise

6’34’’

李成《晴峦萧寺图》

http://collection.sina.com.cn/zgsh/20121116/152092655.shtml

What makes Li Cheng’s painting a masterpiece, is that it literally rises above royal propaganda.

As our eye ascends through the painting, so our whole approach to it also ascends to a higher order of question. And Li Cheng has changed the wash of the ink. It’s lighter, finer, more ethereal. It suggests deep distance. But depths of our own response as well as physical depths. What is nature? What lies beyond surface appearance? What truly moves the universe? And how above all, does the dialogue between flowing water and the adamant face of that eroded rock, bring us harmony?

18’56’’

But renaissance humanism took a different attitude to the serpent of temptation.

This is Villa Barbaro. … A place where renaissance ideals of culture and sophistication could meet the earthy pleasures of the country. A building of harmony, grace and pleasure, where it would be forever summer.

Leonardo Da Vinci wrote something fascinating. He says, “one of the values of painting is it can show you the beauty of nature and perhaps your lover in nature, in the middle of winter.” When you’re stuck inside, you’re stuck indoors, but you can remember what the meadows and what lovely picnics were like last summer by looking at a painting of it.

If you extend that into a kind of a theory of landscape art, you might say that the first way that people express the desire to escape into landscape is by actually creating escapist worlds.

30’41”

Hunters in the Snow, Pieter Bruegel 1565

//www.wikiart.org/en/pieter-bruegel-the-elder/hunters-in-the-snow-1565

Bruegel painted these compendious, visually inexhaustible masterpieces after the longest, bleakest, coldest Flemish winter anyone could remember. Let’s just think for a minute the way in which Bruegel makes us look at these pictures. On the one hand, they are an invitation into a wealth of detail, wherever our eye travels, it picks out these lovely minutiae of work and play. The skaters gliding across the ice. Our eye travels from one kind of landscape, a village huddled on the hill, to a completely different one. A frozen mountain or a storm tossed estuary out to the broad open sea. But there are moments as well when the pure compositional muscle that Bruegel can command makes everything come together in one great universal vision. It makes us stop. It makes us have a moment of contemplation. And then If we’re very, very lucky, like these wonderful paintings, it all seems to add up. A whole of the human condition and our special little place within it.

40’30”

There were a few kind of particular characteristics that marked out the American approach to the landscape. One of those was a sense of inferiority and competition with Europe that Americans in the 18thcentury and the early 19thcentury, were the poor country cousins. And they were on the outermost fringe of an European world in which they had been taught that Rome is the centre of all art, that the best landscapes, the tallest mountains are to be found in Switzerland. And here are Americans, on the threshold really of their own great continent, which they are beginning increasingly to move west across, trying to say, “wait, you know what, we have really high mountains also. And we have really big animals that we can celebrate in the same terms you guys are using but with our characters instead.” And I think that was out of inferiority in a funny sense, that a kind of American pride in the American landscape was born.

43’21”

More and more (Ansel) Adam’s photographs became preachy. But those vision sermons were radiant, mystical, ecstatic. They were passionate statements about how humanity could be redeemed through the encounter with nature.

But throughout, he remains steadfast that his job in life is to give visual form to that silken cord, tying together the fate of man with the fate of the earth.

E04 The Eye of Faith

43’49’’

What all of these movements within religions have in common is that they come along saying we have a purer form of faith than the one that is currently being practiced, and if your fundamental goal is purity, then one of the central things you might try to do would be to eliminate opulent aesthetic or potentially sinful representations of things to act as intermediaries, because then maybe you’re just worshipping the object, you’re not actually worshipping the divine. So it makes sense that protestants in the Reformation went into the monasteries and stripped everything out saying “it’s time to get rid of these images.”

51’35’’

We passionately want to rediscover the spiritual in art, we passionately want to discover that kind of power and purpose that religious art has. Whether it’s reinventing Christian art in cathedrals or whether it’s reinventing Islamic art, it’s about wanting to resacralise art, wanting to rediscover that wonderful, almost magical, charismatic purpose that religious art has.

For much of history, art has been religious art. For some, the creative impulse has been the very expression of divinity. For others, a challenge to God’s authority. For those that believe, religious art has always been transformative; yet for everyone, art retains a primal, spiritual feeling, a way to express the mysterious and it speaks to our earliest human drive to touch and define a world beyond our own.

E05 The Triumph of Art

50’49’’

Out there the western hurly burly is getting ready to make terrible mischief to smash its way into the domed heavenly vault, to stick its bloody great brutal boots right into the paradise garden. It’ll make an empire based on machines, money and muskets. Then slowly but surely, the Moghul Empire will disappear entirely inside its courtly refinement, becoming inextricably just a cultural ornament.

After centuries of extraordinary flowering, the eastern Renaissance was transformed by the twin forces of empire and colonialism. The delicate blooms and glowing jewels survived in what Europeans wore on their bodies and how they decorate their homes. While painters were mislabeled as miniaturists, as they were forced at least for a time, to rely on the patronage of their new British rulers. Western art critics increasingly called the artistic beauty of the east decorative, to distinguish it from pictures they put in frames where Europeans consider real art. But it was in the east, that the ancient meaning of ars, craft was preserved in all its splendor and still is. Because here, unlike in the west, the Renaissance wasn’t about the rebirth of classical knowledge. Unlike Europe, the east had never lost touch with its ancient heritage. A rich heritage which it continues to celebrate and share with the world to this day.

E06 First Contact

28’07’’

《冰山屏风》圆山应举Cracked Ice, Maruyama Okyo

//theartsdesk.com/tv/civilisations-first-contact-bbc-two-review-david-olusoga-goes-gold

What’s regarded as his greatest work, cracked ice, combined everything Okyo knew from both eastern and western traditions.

It’s so subtle, so minimal, a work of art that almost feels like it isn’t there. And everything about it feels ephemeral and frail. It’s painted on paper not canvas as in the west, and great expanses of it are just white blank areas that seem almost untouched by the artist. And yet all of that belies the fact that this is one of the most sophisticated works of cultural synthesis that I know. It shows a sheet of ice, presumably on a lake, and these broken jagged cracks in the ice disappeared into the mist. The effect is three-dimensional space. Now, that is European vanishing point perspective. And yet, this is one of Okyo’s masterworks, just could not be more Japanese, because it’s a philosophical contemplation of two concepts, fundamental to Buddism, imperfection and impermanence. Imperfection because these lines are uncontrolled and irregular; Impermanence because of course the ice will melt. And those two are just as fundamental to Japanese art, as the classical Greek roman ideas of beauty and perfection are to European art.

So this is Okyo incorporating European ideas into his art, but in ways that are in keeping with Japanese philosophy and Japanese tastes.

32’11’’

In this frenzy of trade and wealth, Dutch art also became the object of conspicuous consumption. A modern commercial art market was born, supplying landscapes, still lifes, portraits and scenes from Dutch life to the aspirational new merchant class. What they wanted in their art was not the pomp of monarchy, or the flamboyance of the catholic church, but a new type of realism, one that reflect their protestant desire to portray the world as it truly was, often with warts and all moral lessons.

With art from renaissance, it’s about beauty. Dutch art, it’s not about that, it’s about reality. So you do paint rotten fruits, and you do paint fat ladies that just woke up in their bed. And you do look at dirty dogs in the street. Because it’s about nature in every sense, and not just in the sense that you want it to be, but in the sense it is.

33’22’’

One of the star artists of this golden age of Dutch painting was Vermeer. Jan Vermeer is not an artist known for his epic landscapes. Most of his paintings are famously intimate, set within a neat, ordered, almost claustrophobic world of the Dutch home.

What Jan Vermeer specialized in was the art of everyday life and his world was an interior world. What he captured on canvas were simple fleeting moments. A woman reading a letter is bathed in a delicate light that pours from a side window. But that only serves to emphasize the fact that we are in an enclosed room and the rest of the world is hidden from sight, that it’s somewhere out there. But if you look a little more closely at the details, what you realise is that Vermeer’s seemingly interior domestic space is infused with the globalism of the Dutch golden age.

From the innovative pottery of his hometown of Delft, which mimicked Chinese porcelain, to prized rugs from the orient, and a geographer wearing a fashionable Japanese robe, Vermeer captures a world built on encounters with distant civilizations and peoples.

50’05’’

Hundreds of public buildings built in the British neoclassical tradition would follow. They represented not only a separation of cultures that had before freely intermingled, they also marked the passing of the age of discovery. The world had entered an age of high empire, in which to justify their exploitations and conquests, European powers would willfully overlook the achievements of other civilisations. It was a story that would be repeated around the globe and we are only just emerging from its cultural legacy today.

In a wonderful twist, Richard Wellesley’s government house is used by the government of Bengal. It has been taken back by Indians for their own government. And so we have to unthink some of the inevitability that we tend to ascribe to encounters that ultimately led to European dominance. If you look at the history of European encounters with the non-European world, you find a huge range of ways that they took shape.

And although there is a history that has to be told, a story that is one of imperialism, but a story that is also one of globalization, one of increasing interconnection across different parts of the world that has yielded the world in which we live today.

Our modern world of digital communication has massively broaden the scope of our encounters, both with foreign cultures and civilisations and within the different cultural groupings of our own. And by connecting new audience with traditional artistic practices, the global art market continues to transform new encounters into new kinds of art. From the reemergence of the long overlooked sacred art, like that of North American first nations, the indigenous people of Australia and the carvings of the African Makonde people, to new artists such as Ghanaian born sculptor El Anatsui, who sews together bottle tops into large scale assemblages that comment on consumption, waste and the environment. Today, in our increasingly globalized civilization, the sheer variety of our encounters both foreign and at home continues to be a major source of inspiration, shaping both our art and our world.

謝謝大家的支持

Ep. 1 Second Moment Creation

西班牙：Cuevas de Altamira 阿爾塔米拉山洞（壁畫）-- Picasso 的猛牛作品的靈感來源。

德：Archäologische Staatssammlung 慕尼黑考古博物館。

法：Musee d´Archeologie Nationale (St. Germain-em- Laye).

希臘：Akrotiri （部分古城遺址）Santorini；Crete（壁畫）。

中國：三星堆。

約旦（今）：Al-Kahazneh 卡茲尼神殿 Petra.

墨西哥：瑪雅文化 象形文字 墨西哥考古博物館。

洪都拉斯：瑪雅邦 Copan Ruinas.

Ep. 2 How do we look？

埃及：Colossi of Memnon 門農像 1300BC； Luxor Temple Thebes- Ramesses

希臘：Athens 700BC 追求人體形象，不怎麼關心風景。通過塑像傳達文明理念。日常雅典瓷器； Phrasikleia 女塑像，尋找她裙子上的紀梵希標誌 550BC； 棺蓋 Artemidorus （Mummy）拒絕死亡？

Naxos 大理石採石場 半人半山雕像

中國：陝西兵馬俑 The Terracotta Army 1974挖掘 大躍進？

英國：Syon House 收藏品 - Apollo Belvedere （複製品）

墨西哥：Tabasco - Olmec奧爾梅克文明 巨石頭像

Ep. 3 Picturing Paradise

中國（儒家山水畫）：木心 （有木心的畫好激動，他自成一派的轉印法作畫--木心美術館 烏鎮）宋 李成 晴巒蕭寺圖 ； 北宋 喬仲常 後赤壁賦（Nelson-Atkins Museum of Art）； 元 王蒙 青卞隱居圖（上海博物館藏）。

伊斯蘭國家：伊斯蘭花園； 花園地毯（The Metropolotan museum of art）。

基督教世界：

意大利： Duomo di Orvieto 教堂浮雕--Lorenzo Maitani；Ambrogio Lorenzetti（ ffetti del Buon Governo in città e in campagna-- Siena：Palazzo Pubblico 錫耶納市政廳）；維吉爾 -- The Georgics 《 農事詩 》 ；Villa Barbaro（ Veneto 避世主義）。

德國：Albrecht Altdorfer -- Laubwald mit dem Heiligen Goerg -- Landscape with a Woodcutter (Kupferstichkabinett Berlin) -- Danube landscape with castel worth（The National Gallery in London ）。。。各種巴伐利亞風景畫

荷蘭： Pieter Bruegel de Oude -- The Hunters in the Snow 雪中獵人+ The Retern of the Herd 放牧歸來+A Gloomy Day.....（Kunsthistorisches Museum, Wien）； Esaias van de Velde -- Cattle Ferry（ Rijksmuseum, Amsterdam 終於有一個去過的）； Pieter de Molijn -- Landscape with a cottage（The Metropolitan Museum of Art ）； Salomon van Ruysdael -- Landscape with Cornfields （Stockholm Hallwylska museet ）； Jacob van Ruisdael -- A Landscape with a Ruined （The national gallery London）

戰爭影響的藝術風格：

美國：Frederic Edwin Church -- Twilight in the Wilderness （Cleveland Museum of Art Ohio）； Thomas Moran+ Winslow Homer；Albert Bierstadt -- Looking Down Yosemite Valley （ Birmingham Museum of Art ；Yosemite National Park 約瑟米帝國家公園-- Ansel Adams 攝影作品1927）This is our land.

愛護地球，世界和平。

Ep. 4 The eye of faith

柬埔寨：吳哥窟Angkor Wat 高棉王國。

印度：Maharashtra- Ajanta Caves 阿旃陀石窟 2至7世紀的壁畫；德里鐵柱（Quw-watul Islam Mosque）。

意大利：Revenna （Basikica di san Vitale）耶穌三種時期的畫像 浮華的危機？；威尼斯 Scuola Grande di san Rocco ´´藏寶室´´-- 受難 （Tintoretto畫）。

西班牙：Seville （Basilica de la Macarena）聖母像-- 盲目崇拜？

土耳其；伊斯坦布爾（Sancak Mosque 21世紀現代主義）；Blue Mosque 伊斯蘭國家書法；Kennicott Bible （複製品藏於Oxford）。

英國：Ely Cathedral 遭破壞的建築。。。

希臘：Parthenon .

何謂文明，就是比信仰多一點點。

Ep. 5 The Triumph if art

○ No beginning no end

土耳其：Istanbul Hagia Sofia 圣索菲亞 （Turk Mimar Sinan）

意(梵蒂岡)：Rom St.Peter -- Michelangelo（Bromante），Sistine Chapel -- The Last Judgement 最後的審判。 藝術（Ars）：動手能力。技術工程，構造能力，非凡天賦。Il Divino。Caravaggio（David and Goliath -- Galleria Borghese Rom； Madonna di Loreto -- Basilica di Sant Eustachio in Campo Marzio）；Artemisia Gentileschi 16世紀女畫家 -- Self Portrait（ London Kensington Palace ）

Florence： Benvenuto Cellini 金匠（Leda and the Swan -- Museo Nazionale del Bargello；Saliera -- Kunsthistorischen Museum Wien ）；Donatello （Judith and Holofernes *複製品 -- Piazza Della Signoria）。

巴基斯坦：Lahore Fort

西班牙：Velázquez（Las Meninas宮娥--Museo del Prado Madrid）。

荷蘭：集體畫像：N.Pickenoy -- Civic guardsmen from the company of captain Jacob Backer (Amsterdam Museum); 倫勃朗 -- 夜巡！-- Rijksmuseum Amsterdam 控制了混亂，透視法，活力與秩序；模仿細密畫。

印度： Itimad-ud-Daula Moti Bagh, Agra 太美了！！！！

藝術是一場輪迴-

Ep. 6 First contact

非洲：Benin Bronzes（British Museum, London-- 葡萄牙士兵）起源尼日利亞土著傳統藝術 Benin City; Queen mother Idia 尼日利亞首位女王象牙頭像，象征優雅與權力 (Metropolitan Museum of Art, New York)。

葡萄牙：Lisbon里斯本 -- Torre de Belem受非洲雕塑影響；犀牛-- Albrecht Dürer 使用印刷品；未知作者的King s Fountain描繪16世紀葡萄牙出於全球化的中心時場景（Berardo Collection Museum）。

墨西哥: Aztec 阿茲特克文化 殉葬者活人獻祭 日曆石（ Museo Nacional de Antropología, Ciudad de México）；兩頭蛇 羽蛇神；金子對歐洲人的誘惑Gold Art；天主教入侵aztec文明，根除當地信仰，摧毀神像，建起天主教堂-- 亡靈節day of dead（結合了天主教的萬聖節）死亡的頭骨Calavera 。

西班牙：16世紀歐洲最富有的國家，侵略性的傳播自己的文化；Toledo -- El Greco- View of Toledo (Metropolitan Museum of Art, New York)； 基督獻祭圖（Santa Lglesia Catrdral Primada de Toledo）。

日本：九州kyushu南海岸； Nanban screens 南蠻屏風 （Museu Nacional de Arte Antiga, Lisbon）描繪16世紀從葡萄牙來的商人；Tokugawas 德川家族 感受到了外來文化對自身文化的威脅，開始驅逐基督教--·閉關鎖國· 封建運動--強調自律的佛家傳統，嚴格遵循茶道禮儀，詩歌，書法；荷蘭人在日本的貿易，同時將歐洲的文化帶入日本--荷蘭鏡藝術家 Maruyama Okyo圓山應舉 葵祭 Aoi Matsuri，Bamboo in wind and rain雨竹風竹圖屏風17世紀（圓光寺收藏，京都），冰圖屏風 cracked ice 缺憾與無常（British Museum, London）。

荷蘭：海外貿易樂此不疲，富人藏有世界珍品；The Avenue at Middelharnis -- Meindert Hobbema（National Gallery, London）;Still life with Gilt cup -- W.C.Heda (Rijksmuseum Amsterdam)......; Jan Vermeer足不出戶的畫家，側窗內的世界（Delft）；德裔荷蘭人 Maria Sibylla Merian 女生物學家（昆蟲變態繪畫） 1699年抵達蘇里南研究當地生物種類，是好奇心推動了科技革命。

印度：兩位宮廷畫師：Ghulam Ali Khan+Johan Zoffany 英國東印度公司和莫臥兒王朝

Ep. 7 Radiance

法國：亞眠主教堂 （Cathedrale Notre-Dame d Amiens）哥特式+彩色馬賽克窗；沙特爾主教堂；莫奈花園 (Fondation Claude Monet 浮世繪畫作收藏) -- 乾草堆Les Meules, Rouen Cathedral Series（廬恩主教堂；Musée d’Orsay, Paris; J. Paul Getty Museum......）；梵高 -- Père Tanguy 生命力（Musée Rodin, Paris ）The Harvesters (Metropolitan Museum of Art，New York），Nuit étoilée sur le Rhône隆河上的星夜 雙重三位一體（Musée d’Orsay, Paris）；Henri Matisse 伊斯蘭藝術的東西結合，全新的藝術領域 -- Jazz 二戰時期，（The Rosary Chapel, Vence 不同文化的相互融合，和諧共存）。

意大利：Giovanni Belini 貝利尼 神聖的對話1505（San Zaccaria --Venezia）與文藝復興樸素的對立面；提香 A man with a Quilted Sleeve 穿棉襖的男子 約1509, Bacchus and Ariadne 酒神與阿利阿德尼 ( National Gallery, London)。

德國：Redidenz Würzburg 巴洛克宮殿（世界最大的天花板壁畫）-- Giambattista Tiepolo 自由。

印度：Hindu Festival of Holi 印度教的盛大節日，春天的歡愉，色彩是因果的象征；Three Aspects of the Absolute -- Bulaki金箔畫，虛無與具象，形而上學（Mehrangarh Museum Trust）。

西班牙：Francisco de Goya 戈雅-- El perro,The San Isidro Meadow, The Great He-Goat......（Museo del Prado, Madrid）恐怖氣氛畫作，拿破崙入侵西班牙的歷史背景，對神聖秩序的徹底失望，從光明走向黑暗。

日本：江戶（今東京）新型都市文化，批量生產的木版畫 -- 浮世繪畫家 Suzuki Harmobu 鈴木 春信；Kitagawa Utamaro 喜多川 歌麿 歌女圖；Utagawa Kunisada 歌川 國貞 平等主義的春宮圖；Katsushika Hokusai 葛飾 北齋 描繪Fuji 自然風景圖，佛教精神，永生的靈符，大自然的靈性（富岳三十六景 對莫奈影響很深的圖集）。

藝術為我們的啟迪之光

Ep. 8 The cult of progress

英國：18世界利用自然的力量生產工作，英格蘭中部最初工業革命開始的地方。一部分人享受著美好的世界，一部人擔心進步帶來的代價。Derbyshire — Joseph Wright of Derby懷特 - Arkwright‘s Cotton Mills （Derby Museum & Art Gallery）, Self Portrait (National Gallery of Victoria, Melbourne), an Experiment on a bird in the Air Pump (National Gallery, London); J.M.W. Turner - Dubley, Worcestershire 工業炙熱的火爐，對舊生活被摧毀的控訴 ( Tate/ Lady Lever Art Gallery).

埃及：Giza-文明發源地，拿破崙進入埃及，對古埃及藝術的迷戀，打著啟蒙運動的名義搞研究：《the Description of Egypt 對埃及的描述》記錄了失落的國度，滿足西方人對這片土地的獵奇。實際上也把歐洲文明強加於埃及，用文字做武器。 西方開始流行東方主義題材，藝術家開始大行創作（杜撰和腦海中的意淫，實際上並沒有見過真正的埃及）描繪阿拉伯家庭的日常生活— Eugène Delacroix - Women of Algiers in their Apartment (Louvre, Paris); Marià Fortuny - The Odalisque (Museu Nacional d’Art de Catalunya, Barcelona); Jean-Léon Gérôme- The Slave Market (Clark Art Institute); Jean-Auguste-Dominique Ingres - The Turkish Bath( Louvre, Paris).

美國： 英國畫家 Thomas Cole - View of Schroon Mountain （Cleveland Museum of Art），The Course of Empire 帝國的歷程（Historical Society， NY）；年輕的美國和原住民；Frederic Edwin Church- Niagara Falls； Harriet Cany Peale- Kaaterskin Clove； George Catlin為當地原住民畫像，See-non-ty-a （National Gallery of Art，Washington D.C）。

新西蘭：捷克畫家Gottfried Lindauer為當地毛利人畫像，成為毛利後裔對祖先的紀念；紋身藝術。

法國：銀版攝影法 Louis-Jacques Daguerre拍攝巴黎街道，照片中第一次出現人形； Charles Marville 城市街道建築攝影；Nadar拍攝巴黎名人，攝影改變人的感受。G.E.Haussmann 城市規劃，輻射狀街道網絡型態；印象派 Pierre-Auguste Renoir - Bal du Moulin de la Galette 煎餅磨坊的舞會（Musée d’Orsay, Paris）；莫奈 - La Gare Saint-Lazare 聖拉扎爾火車站（Musée d’Orsay, Paris），Un bar aux Folies Bergère女神遊樂廳的吧台 鏡中反射的場景，女神並不快樂，冷漠臉，是商品（Courtauld Institute of Art，London）；法國黃金時代 Berthe Morisot - Summer‘s Day（National Gallery， London）；Gustave Caillebotte - 雨天的巴黎街道 （The Art Institute of Chicago）；Mary Cassatt - In the Loge ‘你在看風景，別人在看妳’（Museum of Fine Arts，Boston）；Edgar Degas 德加 關注被現代社會異化的人們 - L'Absinthe 咖啡館裡 被酒精毀掉的人（Musée d’Orsay, Paris）；世博會 欸菲爾鐵塔； Paul Gaugin高更 痛恨資本主義，尋找解脫，尋找天堂 大溪地- Self Portrait，D'où venons-nous ? Que sommes-nous ? Où allons-nous ? 我們從何處來？我們是誰？我們向何處去？（Museum of Fine Arts, Boston）；

西班牙：20世紀 蠻族工藝品 比加索 面具 - Les Demoiselles d'Avignon 亞維儂少女 青樓大戲 非洲藝術 什麼是野蠻？什麼是文明（The Museum of Modern Art，New York）。

德國：第一次世界大戰 歐洲青年都上戰場，Otto Dix 素描紀錄戰爭的泥濘苦難的面孔，戰士=犧牲品；防毒面具野蠻主義 - War Triptych 三聯畫（Gallery of western Bohemia）藝術家詩人預見了未來的恐懼。

Ep. 9 The Vital Spark

捷克：Theresienstadt，Terezin（納粹集中營，18世紀軍事基地）惡魔的遊戲場景，文化的騙局。Arbeit macht frei 工作使人自由（放在這裡是多麼諷刺的一句話）；Pinkas Synagogue+ Jewish Museum Pragze 集中營中被關的兒童作的畫（ Friedl Dicker-Brandeis包豪斯畢業，在被關起來後一直教孩子們畫畫，直到遇害。偉大！！！！！！），反抗大屠殺的證明，拷問，藝術面對戰爭和恐怖的意義？革命的100年，恐怖的100年。避世之所。

此刻 何為藝術？深刻？持久？裝飾？生命之光？

日本：Chichu Art Museum，Naoshima Island 地中美術館 直島 藝術島（Tadao Ando 安藤忠雄設計；Soichiro Fututake創立）藏有莫奈：Water-lily Pond；現代作品 -- James Turrell：Afrum Pale Blue，Open Field光纖，空間；Walter de Maria：Time/Timeless/No time 禪意。

荷蘭：Piet Mondrian 蒙德里安 -- Lighthouse in Westkapelle， Dune V (Zeeland的 燈塔和沙灘)； 抽象,符號，視覺語言，再教育（清醒，嚴肅，刻意的藝術--Play） -- Pier and Ocean（Composition No.10）（ Kröller-Müller Museum， Otterlo）；Broadway Boogie-Woogie（The Museum of Modern Art, New York）；未完成的-Victory Boogie Woogie+ Composition with Large Red, Yellow, Blue，Grey and Black三原色，純平面，完美的平衡（Gemeentemuseum Den Haag ）冥想過程，四大皆空，治愈世界；William de Kooning -- Abstraction（Museo Nacional Thyssen-Bornemisza, Madrid）個人英雄主義。

美國抽象與POP藝術：Jackson Pollock -- One No. 31 樂隊般的節奏（The Museum of Modern Art, New York）+Blue Poles 11（The National Gallery of Australia, Canberra）; Lee Krasner -- Celebration（Cleveland Museum of Art）；Andy Warhol -- Gold Marilyn Monroe + Campbell's Soup Cans（The Museum of Modern Art, New York）；Jasper Johns -- Three Flags（Whitney Museum of American Art, New York）；Wayne Thiebaud -- Lipsticks（National Gallery of Art, Washington）；Marcell Duchamp -- Foutain （複製品 Musée National d'Art Moderne, Paris）；James Rosenquist -- F-111（The Museum of Modern Art, New York）。胡來，衝擊。

現代藝術家

Kara Walker -- Stone Mountian 石頭山雕像+ The Jubilant Martyrs of Obsolescence adn Ruin 剪影（High Museum of Art）+ African/American（The Museum of Modern Art, New York）+ A Subtlety 糖漿做成，黑人奴隸的主題，種族主義 -- 暴力 。怎能袖手旁觀？

德國：Anselm Kiefer 新表現主義 -- 佔領（揭傷疤，召喚記憶）Walhalla炸彈（Regensburg）+ Böse Blumen+ Nigredo 天才和暴徒+ Iron Path+ Arsenal；Caspar D. Friedrich -- Der Wanderer über dem Nebelmeer（Hamburger Kunsthalle）。

加納： El Anatsui -- Gravity and Grace 瓶蓋壓扁拼接 城市和傳統的拼接。

中國：蔡國強 -- 火藥 轉瞬即逝 烏托邦的夢想 永恆 愉悅和毀滅； 艾 weiwei -- Law of the Journey 生死之間（National Gallery，Prague ）難民議題。

以色列：Michal Rovner 石頭上記錄文明。

勇於突破的藝術家，從世界一端將文明傳遞至另一端。

美 在不停的轉化 不停地被重新定義

永存

不朽

All the civilisations want what they can't have the conquest of time.They build higher and grander to escape mortality.It never works.There's always an ending.Cities with their markets, temples,palaces and tombs are simply abandoned and that great leveller,Mother Nature,close in,strangling the place with vegetation,covering it with desert sand.It might seem,then,that's all for nothing but that's entirely wrong.All these ruins,all these remains are monuments to human creativity,to human ambitions,human hopes.Monuments to shaping hands and shaping minds.Monuments to humanity itself.

《文明》是一部深度而又富有洞见的纪录片，由历史学家西蒙·沙玛、玛丽·比尔德和戴维·奥卢索加主持。该片全面展示了人类文明的进程，以及各种艺术和文化对社会的深远影响。透过这部纪录片，我们可以看到人类历史的宏大叙事，理解各种文化的价值和影响。这部作品充满洞见，富有启发性，是一部难得的历史纪录片。

正如西蒙·沙玛在最后一集《人性的火花》所说，文明是一个很宏大的词汇，但文明真正的力量却来自那些简单的小东西——壶，印刷品，挂毯以及雕刻品，或者源自那些恢宏的建筑和精美的画作。它不是出自国家意志，或者某个富裕阶层的要求，它更多的来自于那些天赋异禀的艺术家们为全人类创造艺术的内心渴求。这些经由自由心灵，敏锐洞察力，无与伦比的创造力所创作出来的最美好的东西，注定将被永久地保存下去。对抗这个同样被我们创造出来的充满暴力，战争，迁徙，破坏，死亡的满目疮痍的世界。

“伟大的艺术自其诞生的那一刻起就把分割我们的时空堡垒给打破了。它给我们带来了暂停，它让我们以无数种意想不到的方式来重新构想这个世界。这就是为什么即使处在这个充斥着电子图片和闪烁屏幕的狂躁的现代，我们仍能在艺术中发现其他地方发现不了的，即以某种方式将我们与永恒而深刻的东西连接起来的喜悦之情。这也是为什么会有数百万人涌入画廊或博物馆去参观艺术品的原因所在。”

不得不说，只有高度发达的国度才能有这样的能力，这样的气魄拍出这样水平的纪录片。

不囿于本土的文化，不急于证明自己的祖先有多么多么伟大，不标榜自己的“丰功伟绩”，不顾影自怜。他们将目光投注于全世界、全人类，超越宗教、国度、文化、时间，试图不带偏见地，去欣赏、赞叹、从解读中理解自己，从凡俗中理解不朽。在这个过程中，我们从多元的形式中窥见了相通的情感，对美的追求，对爱的渴望，对英雄的膜拜，战争的伤痛，死亡的神秘与苦楚，神明赋予的救赎。

最后我们发现，我们之间的共同点比想象中要多得多，而这是对话的基础，是谋求一切全人类福祉的开端。

话语权理该属于能引导这一切的强者，也从来属于这样的强者。

式微的原文明不可避免地需要借助西方的解读理解自身，一味的抱残守缺、偏狭、傲慢，只能加速衰落而已。正如麦克斯·缪勒所说：“如果只知道一种宗教，对宗教就一无所知。”

如果只了解一种文明，对文明就一无所知。