第五季第二十集：威尔顿双联画——中世纪之谜

欢迎来到沃尔登本迪的本迪世界。

Walden Hello, and welcome to Walden Bendy's Bendy.

艺术的冒险。

Adventures in Art.

我是本迪，艺术史学家，也被称为本德尔·格罗夫纳博士，通常我会和沃尔登一起出现，他就是《星期日泰晤士报》的艺术评论家沃尔马尔·雅努什恰克。

I'm Bendy, the art historian also known as doctor Bendel Grovner, and I'm usually joined by Walden, also known as Waldemar Januszczyk, the Sunday Times art critic.

但他目前仍在外忙于其他项目，所以这周又只有我一个人，为大家带来常规的艺术史内容。

But he's still away catching up on other projects, so this week, it's just me again, bringing you your regular art historical fix.

今天我想和大家深入探讨一幅有史以来最引人入胜的画作。

What I thought we'd do today is take a deep dive into one of the most fascinating pictures ever painted.

这幅画是威尔顿双联画，创作于六个世纪前的1390年代。

It's the Wilton Diptych, made more than six centuries ago in the thirteen nineties.

它是英国中世纪艺术的瑰宝，也是了解14世纪末英格兰王权观念的绝佳窗口。

It's a jewel of English medieval art, and a remarkable window into how kingship was imagined in late fourteenth century England.

它不仅仅是一件美丽的艺术品。

And it's not just a beautiful object.

它也是一个非常神秘的作品。

It's also a really mysterious one.

几个世纪以来，艺术史学家们一直争论它描绘了什么、为何创作，以及可能由谁绘制。

For centuries, art historians have argued over what it shows and why it was made and who might have painted it.

因此，我想向你们讲述它的故事，并看看我们是否能理解它更深层的含义。

So I'd like to tell you its story and see whether we can make some sense of its deeper meaning.

在开始之前，先做一个简单的实用说明。

A quick practical note before we begin.

威尔顿双联画属于国家美术馆，他们在官网上提供了高分辨率的高清图片。

The Wilton diptych belongs to the National Gallery, and they've got an excellent high resolution photograph of it on their website.

你可以放大到最细微的笔触。

You can zoom right down to the tiniest brush strokes.

所以，如果你想通过视觉来跟随我们的讨论，只需搜索‘威尔顿双联画’，并随着我们的讲解逐步放大查看。

So if you'd like to follow this discussion visually, just search for Wilton Diptych and zoom along as we go.

或者你也可以在瓦尔德马的YouTube频道ZCZ Films上观看本集。

Or you can watch this episode on Valdemar's YouTube channel, ZCZ Films.

但你不必非得这么做。

But you don't have to do either.

如果你正在散步或开车，我会描述我们看到的一切。

If you're out walking or driving, I will describe everything we see.

这本质上是一场音频体验。

This is intended very much to be an audio experience.

顺便说一下，如果你好奇为什么它叫威尔顿双联画，因为它长期属于威尔顿庄园的彭布罗克伯爵，这个名字就保留了下来。

By the way, in case you're wondering why it's called the Wilton Diptych, for a long time, it belonged to the Earls of Pembroke at Wilton House, and the name stuck.

但今天我们其实不需要太关注它的流传历史。

But we don't really need to worry about provenance too much today.

所以我想这样做。

So what I'd like to do is this.

首先，我会描述这幅画，并指出一些关键特征。

First, I'll describe the painting and point out some of its key features.

理解总是从观察开始。

Understanding always begins with looking.

然后我们会退一步，思考它为何被创作以及它可能意味着什么。

And then we'll step back and think about why it was made and what it might mean.

威尔顿双联画是一幅小型便携式祭坛画。

The Wilton Diptych is a small portable altarpiece.

它由两块木板组成，每块约53乘37厘米，像一本书一样用铰链连接。

It's made up of two wooden panels, each about 53 by 37 centimeters, and they're hinged together like a book.

这两块木板的两面都绘有图案。

The panels are painted on both sides.

当它合上时，你看到的是外表面。

When it's closed, you see the outer surfaces.

当它打开时，你看到的是内侧的宗教图像。

When it's opened, you see the inner devotional image.

让我们从外侧开始。

Let's begin with the outside.

这很重要，因为它立即告诉我们威尔顿双联画是为谁制作的。

And it matters because it tells us immediately who the Wilton diptych was made for.

在左侧面板上，我们看到英格兰的王室纹章。

On the left hand panel, we see the royal arms of England.

这是你今天仍然能在英格兰足球队球衣上认出的三头狮子。

This is the three lions that you'll still recognize today from, say, an England football top.

但在这里，它们与法国王室纹章中的鸢尾花图案结合在一起。

But here, they're also combined with the fleur de lis of the French royal coat of arms.

这提醒我们，当时的英格兰国王虽然依据不足，却声称自己也是法国国王。

And that's a reminder that English kings then claimed, somewhat tenuously, to also be kings of France.

在右侧面板上，我们看到一颗白心。

On the right hand panel, we see a white heart.

‘心’是古代对成熟公鹿的称呼，这颗白心躺在一片绿草如茵、繁花点缀的地面上。

A heart is an archaic word for mature stag, and this white heart lies on a grassy, flower strewn ground.

它的脖子上戴着一条链条和一个王冠形状的项圈。

Around its neck is a chain and a collar shaped like a crown.

王室纹章与白心的搭配，让我们和当时的观者都毫无疑问地知道这幅画的主人或受赠者是谁。

The pairing of the royal arms and the white heart leaves us and contemporary viewers in no doubt who this painting belonged to or was made for.

统治英格兰从1377年到1399年的国王是理查二世。

It was King Richard II who ruled England from 1377 to 1399.

白心是理查的个人徽章。

The White Heart was Richard's personal badge.

在那个时期，纹章学非常重要。

Heraldry mattered a great deal in this period.

国王和贵族们把他们的标志到处张贴。

Kings and nobles plastered their symbols everywhere.

今天，我们会把它们看作品牌。

Today, we would think of them as brands.

实际上，理查的白心至今仍具有品牌价值。

And actually, Richard's white heart still has brand value today.

你可能知道，英格兰一家受欢迎的酒吧名字至今仍是‘白心’。

You may know that a popular name for a pub in England is still the White Heart.

这可以追溯到理查统治的时代。

This goes back to Richard's reign.

1393年通过了一项法律，要求所有酿造和销售麦芽酒的地方必须悬挂标识。

And a law passed in 1393 requiring anywhere that brewed and sold ale to display a sign.

这便是酒馆招牌的起源。

This is the beginning of the pub sign.

当时，许多客栈和酒馆都选择了当时国王理查德的徽章。

And at the time, many inns and pubs chose the badge of the then king Richard.

因此，如果你遇到一家名为‘白心’的酒馆，它很可能历史悠久。

So if you come across a pub called the White Heart, it may in fact be quite ancient.

现在，这是一个谈论理查德二世本人的好时机，因为他的故事与这幅画密不可分。

Now, this is a good moment to say something about Richard II himself, because his story is inseparable from this painting.

理查德于1377年、年仅10岁时继承祖父爱德华三世的王位。

Richard came to the throne in 1377 at the age of 10, succeeding his grandfather, Edward III.

我们正处于英法百年战争中期，而此时英格兰正处于一段失利时期。

We're in the middle of the Hundred Years' War with France, but at a point when England was on one of its losing streaks.

因此，我们正处于爱德华三世在克雷西战役中的重大胜利与亨利五世在阿金库尔战役中的辉煌胜利之间。

So we're midway between Edward III's great victory at the Battle of Crecy and Henry V's great triumph at the Battle of Vagincourt.

理查德自己的军事记录平平无奇，但他的统治却充满了非凡的戏剧性时刻和个人勇气。

Richard's own military record was fairly unremarkable, but his reign was punctuated by moments of extraordinary drama and personal courage.

最著名的是1381年的农民起义，我们稍后还会回到这个话题。

Most notably, during the Peasants' Revolt of thirteen eighty one, which we'll be coming back to.

与此同时，理查德证明自己是一个反复无常且日益专制的统治者，引发了多次叛乱。

At the same time, Richard proved an erratic and increasingly autocratic ruler, provoking repeated rebellions.

他被指控为暴政，1399年，他被堂兄亨利·博林布鲁克废黜，后者成为亨利四世。

He was accused of tyranny, and in 1399, he was deposed by his cousin, Henry Bolingbrook, who became Henry IV.

威廉·莎士比亚在他的最伟大的历史剧之一中，将理查德描绘成一个自负而缺乏安全感，但同时也富有文化修养和诗意的人。

William Shakespeare, in one of his greatest history plays, presents Richard as a vain and insecure, but also cultured and poetic man.

他赋予理查德许多令人难忘的台词，包括著名的‘空王冠’独白。

He gives him many unforgettable lines, including the famous Hollow Crown monologue.

那就是那段充满哀伤的段落。

That's the one with the haunting passage.

让我们坐在地上，讲述国王们死亡的悲伤故事。

Let us sit upon the ground and tell sad stories of the death of kings.

在我们离开这个双联画的外侧之前，还有一个细节至关重要。

Before we leave the outside of the diptych, there's one further detail on it that matters a great deal.

在理查德王室纹章的左侧，我们看到一个十字架，周围环绕着五只鸟。

On the left hand side of Richard's royal coat of arms, we see a cross surrounded by five birds.

这些并不是英格兰标准的王室纹章。

These are not the standard royal arms of England.

它们属于爱德华忏悔者，最后一位盎格鲁-撒克逊国王，也是唯一一位英格兰皇家圣人。

They belong to Edward the Confessor, the second last Anglo Saxon king and the only English royal saint.

理查德非常钦佩爱德华忏悔者，以至于他将自己的纹章与爱德华的纹章融合在一起。

Richard admired Edward the Confessor intensely, so much so that he incorporated Edward's arms into his own.

这种纹章学上的做法称为四分法，这为我们提供了这幅画年代的关键线索。

The heraldic term for this is quartering, and this gives us a crucial clue to the date of the painting.

我们知道理查德直到1395年才开始将爱德华忏悔者的纹章纳入自己的纹章中，因此威尔顿双联画不可能早于那时创作，当时理查德已年近三十。

We know Richard only began quartering Edward the Confessor's arms in 1395, so the Wilton diptych cannot have been made before then, when Richard was in his late twenties.

这就是外侧的内容。

So that's the outside.

在我们进入内部之前，现在可能是时候向你们介绍一下这幅画的技法了。

Before we move to the inside, this is probably a good time to tell you a little bit about the painting's technique.

首先，它使用蛋彩画技法绘制，这是油画的前身，颜料与蛋液混合作为粘合剂。

First of all, it's executed in egg tempera, which is a precursor to oil paint, in which the pigment was mixed with an egg binder.

由于蛋彩画不像油画那样容易流动，因此需要大量细小的笔触。

Now because tempera doesn't flow like oil paint, it requires lots of small strokes.

在熟练的手中，这种技法能实现非凡的精确度，就像手抄本插图或微型肖像那样。

In skilled hands, this allows for extraordinary precision, like you see in a manuscript illumination or a a portrait miniature.

在威尔顿双联画中人物的背后，我们看到的是金色背景。

Behind the figures in the Wilton Diptych, we see a gold background.

有时它像外部那样是纯色的，但在内部，它被刻上了成千上万细小的冲压痕迹，可能形成星星、树叶或花朵的图案。

Sometimes it's plain, like on the outside, but on the inside, it's incised with thousands of tiny punch marks, which may form stars or leaves and flowers.

那个时代的大多数宗教画都是这种所谓的金底画。

Most devotional paintings of the period were so called gold ground paintings like this.

它们旨在营造一种神秘感，写实的人物与闪耀的金色背景之间的对比，暗示了尘世与神圣领域之间的相遇。

They were meant to seem magical, the contrast between the realistic figures and the luminous gold background suggesting an encounter between earthly and heavenly realms.

现在让我们打开这个双联画，看看里面的内容。

Now let's open the diptych and have a look inside.

想象它被放置在你面前的祭坛上，打开用于祈祷，或许在烛光中微微发光。

Imagine it placed on an altar before you, opened for prayer, perhaps glowing in candlelight.

在画板的左侧，我们看到四个角色置身于风景之中。

On the left hand side of the panel, we see four figures in a landscape setting.

其中三人站立着，每人头上都有光环，他们正指向第四位跪在他们面前的人物。

Three of them are standing, each with a halo, and they're gesturing towards a fourth figure who kneels before them.

他没有光环。

He has no halo.

他以侧脸呈现，面向右侧，双臂张开，仿佛正在献上什么或接受什么。

He's shown in profile, facing to the right, with his arms outstretched as if he's offering something or receiving something.

我会直接关注这个跪着的人物，因为他是画面的主角。

I would go straight to this kneeling figure because he's the star of the show.

这又是理查德二世。

It's Richard the second again.

我们知道这一点，因为他戴着王冠，披着一件绣有他徽章——白色心形——的红色斗篷。

We know this because he wears a crown and a red cloak embroidered with his badge, the white heart.

他脖子上挂着一条华丽的金链，上面同样装饰着白色心形和小巧的金黄色金雀花果荚。

Around his neck hangs a magnificent gold chain decorated again with a white heart and small golden broom pods.

金雀花果荚是金雀花植物的种子头，而这种植物在拉丁语中被称为Plantagenista。

A broom pod was the seed head of the broom plant, and in Latin, that plant is called plantagenista.

因此，这很可能是对理查德所属的金雀花王朝的一种视觉双关。

So this is probably a visual pun on the Plantagenet dynasty to which Richard belonged.

但金雀花果荚也可能有其他含义。

But the broom pods may mean something else as well.

当时，法国国王查理六世也使用它作为个人徽章。

They were also used as the personal badge by the King of France at the time, Charles the sixth.

在1396年，也就是威尔顿双联画创作的时期，英格兰与法国达成了百年战争的停战协议，这一协议通过理查德迎娶查理的女儿伊莎贝尔而正式确立。

And in 1396, around the time the Wilton Diptych was made, England and France agreed a truce in the Hundred Years' War, which was sealed by Richard's marriage to Charles's daughter, Isabel.

然而，至少在最初阶段，这纯粹是一场政治联姻，因为伊莎贝尔当时只有六岁，而理查德已经二十九岁了。

Now this was very much, at least in the initial stages, just a diplomatic match because Isabelle was six and Richard was 29.

而且，真的，那时候的人做事方式很不一样。

And no, it's true, they did things differently back then.

在很多年里，这段婚姻并不被视为传统意义上的婚姻。

There was no intention of the marriage being a marriage in the conventional sense for many years.

但这是一个重要的时刻。

But it was an important moment.

双方交换了礼物，我们知道查理六世送给理查德一条带有金雀花枝的金链，与画中我们看到的这条非常相似。

Gifts were exchanged, and we know that Charles VI gave Richard a gold chain with broom gods, quite similar to the one we see here in the painting.

在继续之前，我们必须注意到理查德的某个特点。

Before we move on, there's something we must notice about Richard.

他看起来非常年轻。

He looks very young.

他没有胡须。

He doesn't have a beard.

他不算孩子，但显然也不是成年人。

He's not quite a child, but he's certainly not an adult.

他更像一个十几岁的少年。

He's more like a boy in his early teens.

我们稍后再回到这个重要的点。

We'll come back to this important point later on.

站在理查德身后的是三位留着胡须的圣人。

Standing behind Richard are three saints, all bearded.

左边是圣埃德蒙，东盎格利亚的盎格鲁-撒克逊国王，他被维京人殉道。

On the left is Saint Edmund, the Anglo Saxon king of East Anglia who was martyred by the Vikings.

他通过王冠、貂皮长袍和贯穿身体的大箭矢来辨识，而他似乎以非凡的镇定承受着这一创伤。

He's identified by a crown, a ermine robes, and a large arrow piercing his body, an affliction he seems to bear with remarkable composure.

在他旁边站着忏悔者爱德华，同样头戴王冠、身着长袍，手持他的象征物——一枚戒指。

Next to him stands Edward the Confessor, also crowned and robed and holding his attribute, which is a ring.

这枚戒指据传是他某天施舍给一位乞丐的，而那位乞丐后来显露出自己是圣约翰福音书作者。

This is a ring which, according to legend, he'd given in charity to a beggar one day, who later revealed himself to be St John the Evangelist.

理查德二世对忏悔者爱德华极为虔诚。

Now Richard II was deeply devoted to Edward the Confessor.

如今，在我们这个更加不可知论的时代，很难理解宗教与政治在中世纪时期是如何紧密交织在一起的。

Nowadays, in our more agnostic age, it can be hard to understand just how deeply religion and politics were intertwined in the medieval period.

但对于理查德来说，二者是不可分割的。

But for Richard, they were indivisible.

他完全相信自己是上帝所膏立的，受圣徒力量的庇护。

And he believed completely that he was God's anointed and in the power of the saints.

威廉·莎士比亚完美地捕捉到了这种信念，他让理查德说出这句话：‘整个粗粝海洋中的所有海水，都无法洗去一位受膏之王身上的圣油。’

William Shakespeare captures this belief perfectly when he gives Richard the line, Not all the water in the rough root sea can wash the balm from an anointed king.

忏悔者爱德华为理查德提供了一个强有力的榜样。

Edward the Confessor provided Richard with a powerful model.

他是一位由上帝拣选的国王，也是一位圣人。

He was a king chosen by God and a saint.

理查德多次前往威斯敏斯特修道院忏悔者爱德华的墓地朝圣，尤其在危机时刻。

And Richard made repeated pilgrimages to Edward the Confessor's tomb in Westminster Abbey, especially in moments of crisis.

有时，他甚至赤脚往返于圣龛之间。

On occasion, he would even walk to and from the shrine barefoot.

现在，当你看到这一时期爱德华忏悔者的表现时，他通常会与圣约翰福音作者一同出现，正如我们刚才所听到的，爱德华曾把戒指赠予他。

Now normally when you see representations of Edward the confessor from this period, he appears alongside Saint John the evangelist, to whom, as we've just heard, he'd given his ring.

但在这里，第三位圣人实际上是施洗者圣约翰，他手持羔羊，即上帝的羔羊，以此作为标识。

But here, the third saint is in fact Saint John the Baptist, and he's identified by the lamb he's holding, the lamb of God.

与前两位圣王不同，约翰穿着粗糙的衣裳。

Unlike the two previous saintly kings, John wears rough clothing.

他的头发和胡须明显十分凌乱。

His hair and beard are obviously quite wild.

他的双臂裸露，甚至能看见皮肤下隆起的血管。

His arms are bare, and you can even see the veins beneath his skin, quite raised.

这些血管是用极其精妙的笔触绘制的。

They're painted with the most astonishing delicacy.

值得注意的是，施洗者圣约翰是理查的守护圣人。

Important to note here that Saint John the Baptist was Richard's patron saint.

三位圣人和理查都朝向右侧的画板凝视。

All three saints and Richard are looking towards the right hand panel.

那么我们现在来看看画面的这一侧。

So let's look at that side of the picture now.

在这里，我们看到圣母玛利亚抱着婴儿基督，基督似乎正伸出手为画面另一侧的理查德祝福。

Here we see the Virgin Mary holding the infant Christ, who appears to be reaching out to bless Richard on the other side of the picture.

玛利亚和基督周围环绕着十一翼天使，背景为金色，并装饰有星星。

Mary and Christ are surrounded by a glorious array of 11 winged angels, set against a gold background and decorated with stars.

天使们佩戴着白色心形徽章，显然与理查德密切相关。

The angels wear white heart badges, so they're clearly identified with Richard.

有些天使甚至长得像理查德本人，这恐怕并非巧合。

And some even resemble Richard himself, which is probably not a coincidence.

与玛利亚不同，他们身着鲜艳的蓝色长袍，使用的是群青颜料绘制。

Unlike Mary, they're clothed in vivid blue gowns, which were painted with ultramarine.

这种颜料由研磨过的青金石制成，当时从遥远的海外进口，因此得名‘群青’，而我们现在知道，那地方就是阿富汗。

Now this was an expensive pigment made from ground up lapis lazuli stone, which was imported from what was then simply known as beyond the seas, hence ultramarine, but which we now know to be Afghanistan.

这里还有一个最后的细节。

There's one last detail here.

画中一位天使高举一面带有圣乔治红十字的旗帜。

One angel in the picture holds up a banner bearing the Red Cross of St.

在旗帜的顶端，有一个微小的岛屿形象。

George, and at the tip of this banner is a tiny representation of an island.

这代表英格兰。

This is England.

在中世纪晚期，英格兰常被描述为玛丽的嫁妆，是圣母的特殊财产。

In the later Middle Ages, England was often described as a Mary's dowry, the Virgin's Special Possession.

我们知道理查德深信这一点，因为一幅类似的双联画曾描绘过他，但如今不幸遗失，画上题有文字：‘这是你的嫁妆，圣母。’

We know Richard believed this fervently, because a similar diptych in which he featured, but which is now sadly lost, bore the inscription, This is your dowry, holy virgin.

因此，玛丽，请统治它。

Wherefore, rule over it, Mary.

我们已经详细描述了这幅画。

So we've described the painting there in some detail.

让我们稍作休息。

Let's take a quick break.

我们回来后，可以提出一个显而易见的问题。

And when we come back, we can ask the obvious question.

这一切意味着什么？

What does it all mean?

沃尔蒂和班加利。

Wolty and Bengali.

欢迎回来。

Welcome back.

我们正在讨论威尔顿双联画，这是英国中世纪艺术的伟大杰作之一。

We're discussing the Wilton Diptych, one of the great masterpieces of English medieval art.

艺术史学家们长期以来一直对这幅画感到困惑。

Art historians have been puzzled by this picture for a long time.

1997年，一本完整的书专门研究了它，但最终结论是，关于威尔顿双联画，唯一确定的是它描绘了理查德二世国王在圣埃德蒙、圣爱德华和施洗者约翰的引领下，向圣母与圣婴献上自己。

In 1997, an entire book was devoted to it, But it concluded that the only certainty in the Wilton Diptych is that it shows King Richard II being presented to the Virgin and Child by Saints Edmund, Edward, and John the Baptist.

其余的都是推测。

The rest is conjecture.

现在让我们看看，再多一些历史背景是否能丰富这一推测。

Now let's see if a little bit more historical context can add to that conjecture.

从基本层面来看，我认为这幅画的寓意已经足够清晰。

At a basic level, I think the message of the picture is clear enough.

理查德被表现为一位由上帝授权的国王，受到基督、圣母、圣徒和天使的祝福。

Richard is represented as a divinely sanctioned king, blessed by Christ, the virgin, saints and angels.

这与我们所知的他的个人信仰相符。

And this fits with what we know of his personal beliefs.

这一点也反映在他统治时期创作的其他艺术作品中。

And it's also reflected in other works of art that were made during his reign.

例如，在威斯敏斯特大厅——就在威斯敏斯特修道院对面，属于理查德主要宫殿的一部分——我们看到一列由理查德委托制作的英格兰国王全身雕像，从忏悔者爱德华开始，以他本人结束。

In Westminster Hall, for example, just over the road from Westminster Abbey and part of Richard's main palace, we see a series of full length statues of English kings which were commissioned by Richard, starting with Edward the Confessor and ending with himself.

这些雕像被安置在威斯敏斯特新落成的锤梁屋顶下，屋顶两侧装饰着26个雕刻天使，与威尔顿双联画中的天使极为相似，它们托举着理查德的纹章。

And they were made to be displayed under a new hammer beam roof in Westminster, which was lined with 26 carved angels, looking very like the ones we see in the Wilton Diptych, which held Richard's coat of arms.

它们的设立是为了为理查德下方的尘世宫廷提供一种神圣的守护。

They were meant to provide a kind of heavenly guard for Richard's earthly court below.

今天你仍然可以在威斯敏斯特大厅看到这些天使和一些石像。

And you can still see these angels and some of those stone statues in Westminster Hall today.

但历史学家们一直试图在威尔顿双联画中寻找更具体的含义，一些更深层的寓意。

But aunt historians have always looked for more specific meanings in the Wilton Diptych, something a little deeper.

一个流行的理论认为，这幅画描绘的是三博士来朝，理查德是三位国王之一。

A popular theory is that it's kind of adoration of the Magi, with Richard as one of the three kings.

确实，他的生日是主显节，即1月6日。

And it's true, his birthday was on the feast of Epiphany, January 6.

另一个理论认为，这幅画是在理查德去世后创作的，描绘了他进入天堂的场景。

Another theory is that it was made after Richard died and shows his entry into heaven.

还有许多其他理论。

There are many others.

但对我来说，这些理论都没有完全解释画中的所有细节。

But for me, none of them quite explain everything in the picture.

还有一个无法忽视的细节：理查德被描绘成一个男孩。

And there is that one detail that refuses to go away the fact that Richard is shown as a boy.

这很奇怪，因为画板的科学年代测定以及可能的法国关联表明，这幅画创作于1390年代中后期，那时理查德已年近三十，而且我们确知他当时留着胡须。

This is odd, because the heraldry in the scientific dating of the panel and the possible French connection tell us that the painting must have been made in the mid to late thirteen nineties, when Richard was in his late twenties and when we know he wore a beard.

一幅现存于西敏寺的他的全身肖像画，我认为很可能与威尔顿双联画出自同一画室，画中的他看起来非常符合实际年龄。

A contemporary full length portrait of him, which still survives in Westminster Abbey, and in my view, is likely from the same workshop as the Wilton diptych, shows him looking very much his true age.

而且，他同样留着胡须。

And again, he has a beard.

那么问题来了：为什么威尔顿双联画要把他画成少年模样？

So the question is, why does the Wilton diptych show him as a teenager?

要回答这个问题，我认为我们需要退一步，不仅从画作本身，更要回到理查德统治时期，追溯其决定性时刻——1381年的农民起义。

To answer that, I think we need to step back, not just from the painting itself, but step back into Richard's reign, and go back to its defining moment, the Peasants' Revolt of thirteen eighty one.

至少在我看来，这才是最契合这幅画的背景。

This, at least to my mind, is the context that best fits the painting.

农民起义的起因众多，但其根源在于黑死病。

The courses of the Peasants' Revolt were many, but its roots lay in the Black Death.

这场可怕的瘟疫首次于1348年袭击英格兰，经过多次爆发，夺去了大约一半人口的生命。

This terrifying plague, which first struck England in 1348, killed, after repeated waves, around half the population.

黑死病也对英国经济产生了深远影响，由于劳动力稀缺，工资上涨，而统治阶级却抵制支付更高的工资。

And the Black Death also profoundly affected the English economy, Because with workers scarce, wages rose, and the ruling classes resisted paying workers more.

首先，他们试图通过法律固定工资，然后引入移民劳工。

First of all, they tried to fix wages by law, then they brought in immigrant labor.

他们还转向养羊业，以满足蓬勃发展的羊毛贸易，因为养羊所需的劳动力少得多。

And they also did things like shift towards sheep farming to cater for the booming wool trade, because sheep required far less labor.

这反过来意味着，不仅是贵族，教会也开始围占公共土地。

And this meant in turn that common land was enclosed by not only the aristocracy, but the church.

到了十四世纪末，英国农民的生活因此十分凄惨。

By the late fourteenth century, the life of an English peasant was therefore pretty bleak.

你认识的一半人死于黑死病，你的工资被压制，移民与你竞争工作，而你赖以生存的土地正被夺走。

Half the people you knew had been killed by the Black Death, your wages were suppressed, immigrants competed for jobs, and the land you depended on was being taken from you.

最后的导火索是1380年征收的人头税，每人15岁以上征收12便士。

The final spark was a poll tax levied in 1380, 12p on everyone over the age of 15.

这项税收本意是为另一场对法战争筹款，但却极其不得人心。

This was meant to fund another war in France, but it was deeply unpopular.

随后爆发了暴动，1381年6月，一支庞大的叛军向伦敦进发。

Riots followed, and in June 1381, a large army of rebels marched on London.

他们攻入了这座城市。

They stormed the city.

他们冲进了伦敦塔，在那里找到了坎特伯雷大主教。

They stormed the Tower Of London, and in there, they found the Archbishop of Canterbury.

他们将他斩首，并把他的头颅插在长矛上示众。

They beheaded him, and they stuck his head on a pike.

他们对其他各类官员也采取了类似的手段。

They did similar to all sorts of other officials.

移民尤其成为攻击目标，超过150人被杀害，主要是来自佛兰德斯的移民。

Immigrants particularly were attacked with over 150 murdered, mainly immigrants from Flanders.

叛军还会四处测试人们的国籍，让他们说出‘面包’和‘奶酪’这两个词。

And the rebels used to go around testing people's nationality by asking them to say the words bread and cheese.

如果你用佛兰德斯口音念成‘Bruden kaiser’，就会被处死。

And if you pronounced bread and cheese with the Flemish accent, Bruden kaiser, then you were killed.

很明显，政府已经完全失去了控制。

It was quite clear that the government had lost all control.

最终，同样清楚的是只有一个人能解决这个局面，那就是当时年仅14岁的理查二世。

Eventually, it was clear also that only one person could resolve the situation, Richard II, then just 14 years old.

6月15日，他同意在城外的史密斯菲尔德与叛军会面，听取他们的要求。

On the June 15, he agreed to meet the rebels at Smithfield, just outside the city gates, and hear their demands.

但在前往会面之前，他先去了威斯敏斯特教堂。

But before he went to the meeting, he visited Westminster Abbey.

正是在这里，我们需要特别关注他与威尔顿双联画相关的行踪。

And it's here that we need to pay special attention to his movements with regard to the Wilton Diptych.

首先，他拜访了圣

First, he visited St.

爱德华忏悔者的圣龛，在那里他长时间祈祷。

Edward the Confessor's shrine, where he prayed for a long time.

然后他在主祭坛献祭，并进行了忏悔。

Then he made an offering at the high altar, and he took confession.

这一系列举动表明，他深知自己生命面临巨大风险。

And this sequence suggests that he knew the risks to his life were great.

为了做最后的祈祷，他来到了威斯敏斯特教堂一个小侧堂，名为‘座中圣母堂’，紧邻爱德华忏悔者之墓。

For one final prayer, he visited a small side chapel in Westminster Abbey called Our Lady In The Pew, which is immediately beside Edward the Confessor's tomb.

根据法国编年史家让·傅华萨的记载，这里曾有一座圣母玛利亚的雕像，行过许多奇迹，傅华萨说，英格兰国王们对这位圣母始终怀有越来越深的信任与信心。

And here, according to the French chronicler Jean Froissart, stood a statue of the Virgin Mary, which did great miracles, and in whom the kings of England, says Froissart, had ever greater trust and confidence.

如今，‘座中圣母堂’依然保存在威斯敏斯特教堂中。

Now the Chapel Of Our Lady In The Pew still survives in Westminster Abbey to this day.

你可以走到门外，透过栅栏向内张望。

You can go and stand outside the gate and peer into it.

它的大小大约相当于两个电话亭。

It's about the size of two telephone boxes.

仔细看，你仍能看见当年圣母玛利亚雕像所立的空壁龛。

Look closely, and you can still see the empty niche where a statue of the Virgin Mary once stood.

壁龛上方依稀可见一幅白色心形的绘画痕迹，那是理查德的徽章。

And above it are faint traces of a painting of a white heart, Richard's badge.

因此，这显然是理查德希望与自己产生个人联系的空间。

So this was clearly a space that Richard wished to be personally associated with.

而这也可能是因为它紧邻另一座小礼拜堂——施洗者圣约翰的礼拜堂，那是理查德的守护圣人。

And that might also be because it's immediately beside another side chapel, that of Saint John the Baptist, Richard's patron saint.

而在爱德华忏悔者墓的另一侧，正对着它的，是另一座圣人礼拜堂，我们得知理查德非常崇敬圣埃德蒙。

And opposite it, on the other side of Edward the Confessor's tomb, is another chapel of one of the saints we know Richard was keen on, Saint Edmund.

这四位人物——圣母玛利亚、爱德华忏悔者、施洗者圣约翰和圣埃德蒙——都出现在威尔顿双联画中。

Now, these four figures, the Virgin Mary, Edward the Confessor, John the Baptist, and Saint Edmund, all appear in the Wilton Diptych.

在理查德于威斯敏斯特教堂圣母雕像前做完最后的祈祷后，据说他跃上马背，前往史密斯菲尔德。

Now, after Richard had made his final prayers before the statue of the Virgin Mary in Westminster Abbey, we're told that he leapt on his horse and rode out to Smithfield.

在那里，叛军领袖瓦特·泰勒前来递交他的要求。

There, the rebel leader, Watt Tyler, approached to present his demands.

双方进行了交谈，随后突然发生了争斗。

There was an exchange of words and then abruptly a scuffle.

瓦特·泰勒被国王的一名随从刺伤，在临死前，他呼吁追随者为他复仇。

Watt Tyler was stabbed by one of the king's attendants, and as he lay dying, he called on his supporters to avenge him.

一位编年史家说，叛军甚至开始拉弓搭箭。

One chronicler says the rebels even began to bend their bows.

如果他们决定放箭，凭借人数优势，必定能赢得胜利。

And had they decided to shoot, their greater numbers would surely have won the day.

但理查德在关键时刻表现出极大的勇气，直接策马向他们冲去。

But Richard, in a moment of immense bravery, rode directly towards them.

先生们，”他喊道，“你们怎么了？

Sirs, he shouted, what aileth you?

你们除了我，不会再有别的首领。

You shall have no captain but me.

我是你们的国王。

I am your king.

都安静下来，保持和平。

Be all in rest and in peace.

令所有人惊讶的是，他们同意了，后来发现他们误将他的话理解为废除农奴制的承诺。

And to everyone's astonishment, they agreed, interpreting his remarks mistakenly, it later turned out as a pledge to abolish serfdom.

很快，叛军就开始解散了。

And soon the rebel army began to disperse.

当理查德当天返回威斯敏斯特时，他对母亲琼·肯特说：‘欢欣吧，感谢上帝。’

When Richard returned to Westminster that day, he said to his mother, Joan of Kent, Rejoice yourself and thank God.

我今天夺回了我的继承权和英格兰王国，这本已几乎丧失。

I have this day recovered mine heritage and the realm of England, the which I had near lost.

这确实是事实，因为理查德亲自拯救了当时英格兰国家所代表的一切。

And this was true, for Richard had personally saved everything the English state then stood for.

他是如何做到的？

How had he done it?

试着想象一下，你就是理查德，一位年仅14岁的中世纪国王，直面一支军队并幸存下来。

Imagine for a moment that you are Richard, a medieval king of 14 who's faced down an army and lived to tell the tale.

在一个宗教信仰无处不在的社会里，人们很容易将这样的胜利视为神迹。

In a society saturated with religious belief, it would have been quite easy to see such a victory as miraculous.

这是上帝的作为，是圣母玛利亚和那些在当天早晨于威斯敏斯特教堂助你一臂之力的圣徒们的恩典。

The work of God, the Virgin Mary, and the saints whose helped you sort in Westminster Abbey that very morning.

一旦你相信了这一点，一旦你接受了它，它就几乎不可避免地会影响你对自身权威的看法，并可能最终体现在绘画中。

And once you believed that, once you accepted it, it could hardly fail to shape the way you saw your own authority, and perhaps in time to find its way into paint.

这种信念和这一刻，正是威尔顿双联画所记录的。

This is the belief and the moment that the Wilton Diptych records.

从政治上看，这种信念表现为理查德日益增强的专制倾向。

Politically, this belief manifested itself in Richard's increasing autocracy.

1397年，他试图废除议会，因为议会拒绝顺从他的意志。

In 1397, he attempted to abolish Parliament, which had refused to bend to his will.

威尔顿双联画创作于14世纪90年代末，当时理查德的权威再次受到威胁，就像当年农民起义时一样，他迫切需要相信上天再次站在他这一边。

The Wilton Diptych is made in the late 1390s, when once again Richard's authority is under threat, as it had been during the Peasants' Revolt, and when he needs to believe that heaven is once more on his side.

但这一次，上天并没有站在他这边。

But this time, it wasn't.

理查德把自己描绘成半神般的青年是一回事，真正以半神的方式统治则是另一回事。

It was one thing for Richard to portray himself as a semi divine youth, quite another to rule as one.

同时代对理查德晚年统治的批评者提到了他幼稚的举止。

Contemporary critics of Richard's final years mention his juvenile manner.

有人描述这位少年国王举止稚气。

One wrote about the boy king in his boyish ways.

1399年，理查德被他的表弟亨利·博林布鲁克废黜。

And in 1399, Richard was deposed by his cousin, Henry Bolingbrook.

他被迫在威斯敏斯特大厅交出王冠，那里的巨大锤梁屋顶下，一排排守护天使手持理查德的纹章。

He was forced to surrender his crown in Westminster Hall, beneath that great hammer bean roof, with its rows of guardian angels holding Richard's coat of arms.

威廉·莎士比亚在戏剧《理查二世》中描绘了理查德最初对亨利·博林布鲁克叛乱的从容态度，他告诉追随者不必担忧，并说：‘凡博林布鲁克逼迫举起利剑对抗我们金色王冠之人，上帝为他的理查德，在天庭已备好一位荣耀的天使。’

William Shakespeare, in his play Richard II, portrays Richard as initially at ease with the prospect of Henry Bolingbrook's rebellion, And he tells his supporters not to be concerned, saying: For every man that Bolingbrook hath pressed to lift shrewd steel against our golden crown, God, for his Richard, hath in heavenly pay a glorious angel.

若天使交战，凡人必败，因上天永护正义。

Then if angels fight, weak men must fall, for heaven still guards the right.

但最终，无人为理查德而战。

But in the end, nobody fought for Richard.

没有贵族，没有农民，没有圣徒，更无天使——无论真实还是画中的。

No nobles, no peasants, no saints, and certainly no angels, whether real or painted.

一年后，他在庞蒂弗拉克特城堡饿死。

A year later, he starved to death in Pontefract Castle.

因此，威尔顿双联画是理查德认为讲述了一个奇迹故事的画作。

So the Wilton Diptych is a painting that Richard believed told a miraculous story.

而今天，在我们看来，借用莎士比亚的话来说，它讲述的是国王之死的悲伤故事。

And today, to us, to borrow Shakespeare's phrase, it tells a sad story of the death of kings.

关于威尔顿双联画的创作者是谁，以及它究竟是在哪里绘制的，这个问题依然存在。

There remains the question of who painted the Wilton Diptych, and indeed where it was painted.

恐怕我们没有太多时间深入探讨这一点。

I'm afraid we don't have much time to pursue this in any depth.

在二十世纪初，英国学者往往对这幅画颇为保护，坚持认为它一定是英国作品。

In the early twentieth century, British scholars tended to be rather protective of it and insisted it had to be English.

但残酷的真相是，当时的英格兰由于各种原因，并没有足够多的艺术家能够绘制出像威尔顿双联画这样的作品。

But the painful truth is that England did not then, for various reasons, have many artists good enough to paint something like the Wilton Diptych.

如今，人们的观点不再那么民族主义了。

Today, opinions are less nationalistic.

艺术史学家们已提出过意大利、法国和德国的画手都可能是创作者。

Italian, French, and German hands have all been proposed by art historians.

国家美术馆采取了谨慎态度，仅将其描述为英国或法国作品？

The National Gallery hedges its bets, describing it simply as English or French?

如今在艺术史中，做出归属判断已经不流行了，但即便如此，我认为不妨大胆猜测一下，哪怕只是为了好玩。

Making attributions these days is unfashionable in art history, but even so, I think it's worth hazarding a guess, if only for fun.

我个人认为，它很可能出自一位法国艺术家之手。

My own view is that it's likely by a French artist.

在已知曾于英国工作或其作品曾在英国出现的极少数顶尖法国艺术家中，有一位名叫安德烈·博纳沃的艺术家。

Among the very small number of leading French artists known to have worked in England, or whose work was present there, is one called Andre Bonnevaux.

他是一位多才多艺的人物，既是雕塑家，也是手抄本彩绘师，还是画家。

He was a versatile figure, a sculptor, a manuscript illuminator, and a painter.

编年史家让·弗鲁瓦萨尔曾两次访问英国，他告诉我们，博纳沃在英国为人所知，但这一点究竟是指他曾在英国工作，还是仅指他的作品受到欣赏和收藏，尚不完全清楚。

The chronicler Jean Froissart, who visited England twice, tells us that Bonnevaux was known there, though whether that means he worked in England or simply that his works were admired and collected is not entirely clear.

这个说法之所以诱人，是因为有一幅与之极为相似的博纳沃双联画保存至今。

What makes the suggestion tempting is that a closely comparable kind of diptych by Bonavour survives.

它出现在一部名为《布鲁塞尔时祷书》的法国手稿中，现藏于比利时皇家图书馆。

It's in a French manuscript known as the Brussels Hours, which is now in the Royal Library of Belgium.

在其中一页上，描绘了贝里公爵跪在两位圣徒前，场景与威尔顿双联画左 panel 所见极为相似。

On one page, it shows the Duke de Berry kneeling before two saints in a scene very much like the one we see on the left hand panel of the Wilton Diptych.

而在对面一页上，我们看到圣母与圣婴。

And on the facing page, we see the Virgin and Child.

贝里公爵曾长期担任法国摄政。

Now, the Duke du Barry was for some time the regent of France.

在理查德与伊莎贝尔于1396年结婚后，他成为理查德的姻亲。

And after the marriage of Richard and Isabelle in 1396, he was a relation of Richard by marriage.

我们知道他们曾互赠礼物。

And we know the two exchanged gifts.

我们知道安德烈·博内沃曾为贝里公爵工作。

And we know that Andre Bonnevaux worked for the duke de bury.

因此，或许博内沃被派往英格兰为理查德画像，或者他在理查德访问法国时为他绘制了肖像。

So perhaps then, Bonnevaux was sent to England to paint Richard, or perhaps he painted Richard when Richard was in France.

当然，这只是一个主观判断。

Now this is a subjective judgment, of course.

但在我看来，博纳沃的作品与威尔顿双联画之间存在足够的风格相似性，值得进行这样的比较。

But to my eye, there are enough stylistic affinities between Bonavour's known work and the Wilton Diptych to make the comparison worth considering.

你自己看看，想想你的看法。

Have a look for yourself and see what you think.

非常感谢您聆听关于威尔顿双联画的这场讨论。

Thanks very much for listening to this discussion on the Wilton Diptych.

如果您想要进一步阅读的建议，我提到的那本1997年出版的关于这幅画的书名为《理查二世的皇家形象与威尔顿双联画》。

If you'd like to have any tips for further reading, the book I mentioned published in 1997 all about the painting is called The Regal Image of Richard II and the Wilton Diptych.

该书由戴伦·戈登、丽莎·蒙内斯和卡罗琳·伊拉姆编辑。

It's edited by Dylan Gordon, Lisa Monness, and Caroline Elam.

我在自己的著作《英国艺术的发明》中也写过这幅画，书中基本阐述了我刚才在播客中描述的观点，同时还包含了所有额外的脚注和您可能想亲自查看的证据，以便判断我的论点是否站得住脚。

I've written about the picture in my own book, The Invention of British Art, and that makes basically the case I've just described in this podcast, but it has all the extra footnotes and all the bits of evidence you might like to see for yourself, to see if my case stacks up.

最后，您还可以在网上找到英国国家美术馆自己撰写的详尽藏品条目，内容完全关于这幅画，就在他们的网站上。

And finally, also online, you can find an extensive catalog entry by the National Gallery itself, all about the picture on their website.

就这样了。

So that's it.

祝你本周愉快，下次见。

Have a good week and see you next time.