文明

BBC civilizationsEp1I’ve always felt at home in the past. For after all, what is the present except an endless chain of memories? Some of them are translated into stone. We are all the inheritors of those memories, and we look after them as best we can. All this ,so we can pass on their revelation to the future.A lot of us spend our days talking about are. I doubt very many of us are prepared to lay down our lives for it. 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 civilizations is, we know it from the shock of its imminent loss as a mutilation on the body of our humanity.The record of human history brims over with the rage to destroy. But it’s also imprinted with the opposite instinct, to make things that go beyond the demands of food and shelter, things that make us see the world and our place in it in a different light. We are the art-making animal and this is what we have made.THE SECOND MOMENT OF CREATION by Simon SchamaSouth Africa’s Cape CoastAfrica, where Homo sapiens first evolved about 200,000 years ago.evidence of human habitation strentching back around 100,000 years.A piece of red ochre, a mineral naturally rich in iron, etched in a diamond pattern一块刻有钻石形花纹的赭石was discovered,77000 years old.---发现最早的装饰性图案the oldest deliberately decorative marks ever discovered.Design announces the beginning of culture.

EI Castillo Cave, Spain Hand Stencils (c.37,000 BCE) signalling from a very long way off, but this long-distance greeting somehow makes us bond with the makers of this because they establish a presence that is palpably alive. (遥远的哭声？

)Hand stencils like these have been found in caves as far apart as Indonesia and Patagonia.Undeniably, these hand stencils do what nearly all art that would follow would aspire to.First, they want to be seen by others, and then they want to endure beyond the life of the maker.In northern Spain, extraordinary paintings of bison野牛壁画（毕加索喜欢画牛，可能源自这些壁画，但没有证据证明他看过,coincidence?）有壁画的地方可能是教堂或者寺庙。

在冰河世纪壁画有仪式的功能，人们到这里来祈祷祭拜并把场景记录在壁画中。

It ought not to be seen as art. Though, of course, religion has been a primary purpose of art.冰河时期壁画不应被看做艺术，但宗教是艺术的最初目的。

German cave最早的雕塑非洲Drakensberg Mountains, South Africa壁画里出现了人,但欧洲出现了三维的人像The fragments of this lion-man, carved from mammoth ivory, were found in a German cave made between 35,000 and 40,000 years ago. They remained an unsolved puzzle for 30 years before archaeologists realized that they formed a single figure.

Picasso bought a copy of Venus of Lespugue,《莱斯皮盖的维纳斯》and kept it in his studio all his life.

La Dame de Brassempouy《布拉桑普伊女士》Found in a cave in south-west France in 1892,between 22,000 and 25,000 years old.We have the revelation of the human face. Now we are not supposed to say, us amateurs in this field, we’re not supposed to talk about art, we’re not supposed to talk about things like the birth of a refined sensibility. With this tiny piece from Brassempouy, it seems to me that we have, right in front of us, the dawn of the idea of beauty. (美学概念诞生前的黎明amazing！！！

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The standard of Ur, Mesopotamia(c. 2500 BCE) (乌尔军旗)

The Ram in the Thicket Ur,Mesopotamia(c,2600 BCE) (灌木丛中的公羊)

Bull and Acrobat Minoan Crete(c.1600-1450 BCE) (米诺斯文明克里特岛 公牛和跳牛者)现存大英博物馆

Combat Agate Sealstone Pylos,Greece(c.1500 BCE) 战斗玛瑙印章 希腊 皮洛斯时代We see the long hair flowing free that would have been combed before battle. We see a sword lying on the ground exactly like the swords discovered in the grave. This is the first sight scene in all of European art, in all of world art. There are occasional moments of combat and battle. In other cultures but they’re very stylised, but they are flat, they don’t feel like the smash of bone and bronze and metal and the spout of blood, this does.

三星堆 中国Abundance of masks It’s been suggested that some of the masks might have been used in rituals(降灵仪式) by impersonators of the dead.

Petra ,JordanCivilization is always a balancing act. There may be enemies at the gates, there may be enemies within the walls, and sometimes the very landscape and climate in which a culture grows must be conquered.

Calakmul, Mexico

All civilizations 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 leveler, Mother Nature, closes in, strangling the place with vegetation, covering it with desert sand. It might seem, that it’s all for nothing, but that’s entirely wrong. All these ruins, all these remains are monuments to human creativity, human ambitions, human hopes. Monuments to shaping hands and shaping minds. Monuments to humanity itself. --END---

第一集题为“the second moment of creation”，不禁让我思考这到底指的是什么，为什么这么说。

E01. THE SECOND MOMENT OF CREATION我想，创造力最开始来自宇宙的诞生，是big bang或是cosmic dawn。

随之而来的是人类的诞生。

THE FIRST MOMENT OF CREATION从石器时代开始，人类就在不断的迸发出创作的灵感，也许起初是源于某些仪式，又或是功能性的记录。

但它们渐渐成为艺术与文化的表达，为世人留下文明的丰碑。

人类不断创作出意义和秩序，而工具也不再单纯有使用价值，它们还需要兼具精神层面的交流，并符合时代的审美标准。

跨越时空的相似性每一个失落或繁荣的文明，都是文化的里程碑，它们时而颠覆着现代人的认知，又不时吸引我们向前看。

文化所传达出的跨越时空的相似性，让我们理解过去，也指引未来。

个人觉得，如果把这一部的名字由CIVILISATIONS（文明）改成CULTURE（文化）会更切题一些，这是一部以Art-making为主题的优秀作品！！

膜拜！！

8.5/10。

2018/4/4

1.文明不只是艺术与宗教。

虽然艺术是文明的最好见证与载体，然而艺术并不能承载一切的文明形式。

一部关于文明的纪录片讲成了艺术与宗教的宣传大片。

2.我们承认世界文明多源丰富，比中华文明强大的深邃的文明也不胜枚举。

但讲成了世界文明只有西方文明和其他文明就不大好了，而且中华文明成了其他文明中一个小得不能再小的文明。

这也证实，像BBC这样的西方媒体对中国以及中国文化确实有偏见。

3.日本和荷兰、印度确有相当的本事发扬其本国的文化。

小小的东西就能够吸引BBC的注意。

而中国有着悠久文明，日本借鉴中国的部分数不胜数，一种文明成果在日本发扬光大甚至超过了中国文化的影响力，这所谓的文化窃取，咱也不能只强调窃取，而也得相信人家确实有能力将这个窃取很完美地进行移植并内化为自己的文化，最终进行输出，让世界相信这就是日本文明。

然而说到底，哪有什么窃取，一切的文明属于全人类，一切文明都互相影响互相借鉴。

但是作为中国人，我们也不得不思考这背后的关于文化保护与文化宣传方面的不足与差距，更好地保护本国文化并进行文化宣传，让中国文明在世界上更具影响力。

OK，这部片子就是让我们知道中华五千年文明博大精深也可能只是中国范围内的一种文化自视。

其实在世界上中华文明不过是其中的一支，而且不是太起眼。

毕竟，我们要知道，古代四大文明古国，我们只是其中之一；而所谓“四大”，也只是人们的自封，其实际上牛逼的文明成果不只有四个，如天空星辰，各自生辉。

但是，我们也不能因此而自鄙，中文文明还依旧雄立于世界文明之上。

认清定位之后的文化自信，应该更多一份从容，这本身也是一个加分项。

第一集创世纪的第二个瞬间。

认知革命，人类开始创造艺术，乐器，雕塑，绘画，城市。

整个就是全世界到处切换啊，中间又见到了帕特拉古城，崛起是因为位置重要，垄断香料贸易。

衰落是因为归入罗马，别的城市成为线路必经之地，这就是帕尔米拉，就是开头文物被破坏，馆长被处死的那个地方。

最后给玛雅文化更多的篇幅，四十多个城堡相互征战，为了竞争，互相之间修建更高更好的金字塔，牺牲更多的人，最后天灾水土流失加上社会动乱，玛雅灭亡。

非常羡慕主持人真全球各地现场参观啊，这个只有大型制作组才有这财力，继续看。

第二集如何自视。

各种人像。

墨西哥奥尔梅克文明的各种小人像，这个后面还会讲到被视为最高成就高价购得的摔跤手可能是假冒的。

古希腊纯真的少女，手握花蕾面带神秘微笑。

中国兵马俑，作为活人的替代品殉葬，埋入地下没有多久就遭到起义军的破坏。

大工厂流水线的产物，最后一步雕琢让每个人都有不同。

这段用的是美丽中国的配乐，好亲切。

埃及拉美西斯二世，这人超级自恋，自己给自己搞个人崇拜，把前面法老的雕像也换成自己的名字。

希腊那种红黑的酒杯，专用于仅有男性的宴会，嗯，促进男性之间的友谊。

对女性的描绘就是多生孩子多纺羊毛。

罗马的阿波罗雕像，这个看着很像大卫。

休息的拳击手，美丽和野蛮可以在同一人身上完美体现，这个在当年是失败品。

第三集风景画。

中国李成的山水画，还有乔仲常画的关于苏轼的，画面中苏轼一手提鱼一手提酒，收藏者说这人多才多艺，还是个厨师，发明了好多菜，感觉收藏家可能是饿了。

巴基斯坦的流水花园，天堂就是有水的地方，斑斓地毯，画面里面出现的编织工都是男性。

意大利Barbano别墅，委托人建造者绘画家都是当时的名人，充满玩乐气氛，太会玩了。

又见到了勃鲁盖尔德画，话说还是这么电视上看画好，局部非常清晰，现场看也没这待遇。

荷兰的风车，上帝创造了地球，荷兰人创造了荷兰，想去看看。

地球的一张蓝色弹珠的照片拍摄于1972年，后来还有一张叫pale blue dot. 第四集神的艺术。

Art is the way to wake up the soul，即使语言不通，艺术也可以表达我们的感受。

lionman的那个作品，竟然需要几百个小时的工作量。

吴哥窟每年两次竟然有这么多人来到现场看完美的瞬间，这里是印度教的神殿。

印度ajanta的神庙，如今应该是已经废弃了，拿着蜡烛走向内部画像像活过来一样，没有顺序，每个人都需要自己探索自己找答案。

那个特别的现代清真寺，真是太强了，用的是默罕默德获得启示的山洞的意向。

蓝色清真寺，规模宏大，富丽堂皇，完全想不到修建于帝国即将崩塌的前夕，其实很可能就是依然要向人民和对手显示，你看我还很牛还可以继续，结果花钱太多说完倒闭。

花体是真好看啊，好费工夫。

西班牙征服了墨西哥，把当地的宗教形象用基督教去替代，巧了两边都认为流血会维护世界平衡，最受欢迎的是圣母。

说到圣母，西班牙本国macarena圣母一年一度的复活真是壮观啊，在现场好多泪流满面的。

说到人像崇拜，没有比印度更广泛的，但奇特的是，完全没有造成困扰，各路神仙和平共处，各司其职，日本也是。

伊斯兰向印度扩张的时候，拆了印度教的很多神庙，毁坏砖上面的画像或者倒过来使用，建立了高达72米的清真寺。

清教徒也同样毁坏过基督教的圣像，到底崇拜的是神性还是形象和物体，究竟从什么时候开始走偏，到什么程度又需要纠正呢。

第五集艺术的胜利。

东方西方走了不同的路，西方更注重个体的表达，东方不需要复兴，因为从来没有断过。

真没想到当年索菲亚清真寺和圣彼得大教堂竟然施竞争关系，基本同时，又都是两大宗教的重点建筑。

米开朗基罗举办感谢工人的宴会，在那个时代非常特殊了。

切利尼的黄金盐盒，书上读到过还被偷过。

美第奇家族还挺记仇，卷土重来以后定做了美杜莎被砍头的雕像，制作过程惊心动魄，效果动人心魄，还让美杜莎盯着大卫的方向，非常想超越偶像。

莫卧尔帝国的阿克巴皇帝，养了一百多位画家，不管什么画自己都是最伟大的那个，嗯，一般都有这个想法。

卡拉瓦乔把圣母拉进了平常人的生活。

那位经历坎坷的女画家，在英国大胆表达了女人也要表达，不要堵住我的嘴。

宫女这个画，前面看书竟然没看懂啊，我记得这画好像委托人不太满意，以及伦勃朗的夜巡，委托人们也不满意，都给了钱，为啥把我画的这么靠后。

现在看来，当年都是极为大胆的形式。

泰姬陵出场，不过要介绍的是比它早十年的另外一座陵墓，是当时的皇后为自己的父亲设计，内部装饰色彩明艳，花朵遍布，确实漂亮。

还是一如既往的喜欢慢动作特写，话说为啥有些画面边缘是糊的，难道是打码，也不像，都是风景不需要打码，可能还是他们觉得好看吧。

第六集初次邂逅。

说的是东方和西方，日本和印度在与西方的交流中产生的艺术。

奇怪，上一集和这一集都没有中国，难道是咱们同一时期没有交流吧。

贝宁的青铜器制造，早期就很发达，如今依然存在，统治者已经是第39代了。

葡萄牙的里斯本是当时的大都市。

日本和葡萄牙的交流，各种其它地区的物产，动物，丝绸，世界各地的人，包括传教士，这引起了日本的恐慌，幕府开始闭关，用宗教茶道教育武士阶层，只留下和荷兰的沟通，因为这家比较听话。

南蛮屏风，荷兰玻璃，都是那个时代的交流印证。

混沌武士里面女主的父亲就是被驱逐的传教士，这片音乐故事都相当赞。

荷兰阿姆斯特坦是当时的国际大都市，自由没有审查还钱多，笛卡尔很喜欢，还有一位女插画家在这里出版了插画，而且还在52岁没有男性监护人陪伴的情况下跑到苏里南继续观察昆虫，回到荷兰又出版了一本畅销书。

用水彩不用油画，是因为当时被禁止，现在看来恰恰是油彩才适合。

Vermeer，差点以为戴珍珠耳环德少女又要出镜了还好没有。

看起来封闭的空间，实际上已经受到了外界的影响和改变，东方的地毯，瓷器，衣物服饰。

英国和印度当地贵族的争斗，推行新古典主义建筑，体现自己的优越感。

荷叶作为时间之轮那个挺特别。

左手放大镜右手画笔，画起来也很累。

第七集光辉颜色。

亚眠大教堂门口那一排排的圣徒和天使，打上彩光衣服上色，如此光彩夺目。

沙特尔大教堂里炫目的宝石，靓丽多彩德彩色花窗，犹如置身天堂的体验。

金青色在可以现代合成之前，价格贵过黄金只能用在圣母身上，可是贝利尼打破了这一惯例，世俗画普通人照用，确实美。

油画最大的作用是颜料干的更慢，可以有更充足的时间调出满意的颜色。

维尔茨堡宫四大洲画的那个，前不久那本书上也有，果然壮观，这富炫的有水平。

戈雅相隔三十年同一地点的两幅画，一个明亮充满希望一个彻底绝望，艺术家对传统古典画的彻底灰心，最绝望的就是一条狗的那个，Dog without master. Spain without God. 日本的浮世汇，葛饰北斋是佼佼者，其画作影响了西方画家。

莫奈就有收藏，还做出了模仿，莫奈对着同一个景象重复画，没有确切的对象，一切都是感受，他画的是时间的颜色。

梵高开始的晚结束的早，他说自己是在给下一个弥赛亚铺路，这就是马蒂斯，开创了抽象画。

咦，这集竟然没有毕加索，可能时长不够了。

中国就出现了一点，红色的漆盒。

第八集进步崇拜。

工业文明提高了生活品质也激发了内心野兽。

上一集说没出现的毕加索在这里，上一集因为时间没到。

1798年拿破仑入侵埃及还带了很多专家去学习，还出版了大号书。

对东方主义的想象，出现了众多东方宫廷生活的绘画，DK的那本艺术有这段的介绍。

德拉克洛瓦的是真好看啊。

欧洲人觉得欧洲已经失去了田园味道到美国去体验，卡兹基尔山的瀑布，并非完全真实而是画家认为它应该的样子。

西进运动破坏了原住民的生活，天命论给白人理由夺走土著的生存空间，凯特林的那些单人肖像看着很有冲击力，但人家原住民艺术家说了，你这就是个商人，我们从来都是群体活动。

毛利人的纹身是为了表达信仰，当年发了财的部落酋长也要花大价钱赶个时髦留下自己的肖像，还真是有用，至今着肖像还在。

1830年左右照相机发明，第一张照片上巴黎大街空空荡荡，只有一个擦鞋的人，书上看到过，曝光时间太久，这擦鞋的是摄影师雇佣的，保持静止。

既然有了相机，那绘画就要做相机做不到的事情，那就是捕捉人类瞬间的情感。

毕加索的亚威农少女竟然画了一年啊，划时代振聋发聩的作品，当年得相当轰动。

高更这人虽然缺点不少，但才华确实惊人。

一战爆发，相机记录了战争的残酷，人性中的野蛮展露无遗，Otto Dix把他残酷的体验画出来，大国的谎言被揭穿，文明工具已经失效，士兵不再是勇士，他们只是受害者，人类的前方难道只剩下绝望和恐惧。

第九集重要的火花。

当人类面对恐惧，什么才是我们的护盾？

Terezin这个地方对犹太人的迫害，受害者留下的4500幅画，张张都是对自由和阳光的向往。

日本直岛那个地底博物馆，第一反应是着嘚多少钱啊。

蒙德里安的那些格子作品，主持人看来异常喜欢，抱歉我还欣赏不来，相比来说还是蔡国强的烟花爆炸来的直白震撼直达人心。

杜尚一切皆可商品。

德国艺术家对历史的反思，不能回避，要全力体会。

美国艺术家walker√种族主义的警惕，两位都对川普很有意见，反暴力。

这一集竟然有两位中国的，另外就是这一集基本都是活的艺术家，太难得了。

文明是人类的共通之光，是每个人留给素不相识的后来人的信息。

没有雕塑家可以超越旧石器时代的雕刻家们。

他喜欢称他自己为现代的原始人，在洞穴里那些幽亮的图案中，他找寻着，思考着，艺术天性的一切创造性本源。

这里曾经一定是一个渔村你几乎可以听见那时的喧嚣，两面环海，布局紧凑，即使是在这里，居民也要学习定居生活需要的技能，例如你邻里相处之道。

让我们活下去，让年年丰收。

人和动物的区别，人喝多少酒会变成野兽。

心有期盼，连沉重的柴枝似乎也轻盈了起来，她都会了我，穷人的隐忍与坚持，毕竟她除了坚忍，别无选择。

将一群富二代、官二代描绘成：我们是自由的，但我们也坚强有序。

当一种文明初次遇见另一种文明时，总是伴随着冲突的危险。

他们有一套自己的书写系统，并有一套成熟的周期历法，他们复杂的信仰需要献祭大量的殉葬者，以上抚诸神，下安黎民，确保繁衍。

缺憾与无常。

威尼斯，这座飘荡在闪耀湖水上的城市，因与东方的交流频繁而越来越富有，先是从拜占庭帝国带来了炫目的马赛克，掠夺和复制来的彩色丝绸，然后从伊斯兰世界引进欧洲的是羊毛毯、珠宝和珍贵颜料。

绘画与实体的关系，想要实体，先从绘画开始。

绘画的神灵头部会自带光环，可以理解为意识的觉醒。

伟大的画家是在记录真实。

被纳粹用来镶嵌于纳粹集中营的入口，“劳动带来自由”。

我们这个时代的艺术，到底是浮华于表，仅供富人投资的玩物，还是不可或缺的必需品，映照出人性的勃勃光华。

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

Episode 04 - The Eye of Faith【信仰之眼】 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. 以下是观后的粗略笔记整理。

列出大部分重要建筑和名画。

有错误的地方请指出。

谢谢。

E01 Second Moment of CreationExcavations in Iraq in the 1920s and 30s began to reveal how intensive irrigation of the planes between the rivers Tigris and Euphrates had allowed the world's first true cities to arise. By about 5,000 years ago, cities with tens of thousands of inhabitants, such as Ur and Uruk, were reproducing art that reflected the self-image of the powerful. Here is the Standard of Ur where mosaic inlaid in bitumen showed the scenes that mattered most.

The Standard or Ur - Mesopotamia (c.2500 BCE)Soldiers march

war wagons roll,

and on the reverse,

Standard of Ur - reverse sidea court convenes with the kind depicted larger than his priests and courtiers,

ranged below the catering classes, the toilers and hewers.

It's a complete social world, and it came with writing. These scripts usually recorded administrative matters, but sometimes told the stories of heroes and deities. And animals continue to provide the models for gods and monsters.

The Ram in the Thickets - Ur, Mesopotamia (c. 2600 BCE) - front

The Ram in the Thickets - Ur, Mesopotamia (c. 2600 BCE) - sideThis gorgeous goat, also from Ur, drew materials from far and wide.

The Ram in the Thickets - Ur, Mesopotamia (c. 2600 BCE) - sideWhite shells were from the Red Sea, the blue lapis lazuli from far Afghanistan and the gold leaf was the work of local goldsmiths.

The Ship Procession - Akrotiri, Greece (1550 BCE)

The Ship Procession - Akrotiri, Greece (1550 BCE) enhanced versionThese passengers aren't going to the afterlife, they're on ferries and festival excursions.

And on the land behind them, there are streets with multistorey houses, and in the richer of them, decorative paintings of the kind consumers would want forever after.

And yet in the British Museum, there's a little bronze sculpture, that's pulsing with natural energy that feels absolutely true to life.

Bull and Acrobat - Minoan Crete (c. 1600-1450 BCE)

Bull and Acrobat - Minoan Crete (c. 1600-1450 BCE)What strikes me as being physically real is the fact that this is not a stylised piece of work at all. It has physical immediacy. Even though our jumper has lost his legs, his back is braced, his head is flung back. And the bull, the bull is indeed a bull in full charge - front and back legs tensed. The eyes, you can actually see the eyes, are blazing, and the muzzle is snorting with dangerous foam. E03 Picturing ParadiseWhen your world is collapsing, when everything is closing in, what you want is to be somewhere else. Somewhere you can breathe in peace. A scrap of beauty, far from the noise and ugliness. But, if there is no escape, then you go there in your dreams and you paint that landscape into existence.

Mu Xin - Pure Bamboo by a Cool Stream (1977-79) (its full-size are not available for download)This is what happened in China in the 1970s to the artist Mu Xin. During MZD's CR, he was an obvious target. Middle-class, intellectual, a lover of decadent, Western art. Mu Xin was subjected to solitary confinement, forced labour and then house arrest. But the paper supplied for weekly confessions became the material of his liberation.

Mu Xin - Ancient Road at Shanyin (1977-79) (its full-size are not available for download)

Mu Xin - Ancient Road at Shanyin (1977-79) (its full-size are not available for download)Mu Xin broke out of his confinement by making visible, albeit in deadly secrecy, the landscapes which unfolded in his mind. The art memory of China, its peak and its valleys.

Mu Xin - Wandering in a Dream to West Lake (1977-79) (its full-size are not available for download)the Art Gallery in YaleThe culture which had given the rest of the world, 1,000 years before, true landscape art. While everything else was being smashed up, he was determined that art - now judged a reactionary crime - would survive. Like nature itself, landscape art has always been an antidote to the anarchy wrought by the hand of man. Yet it's rarely a depiction of the way the world is, but a vision of the way we would like it to be. Sometimes it delivers a sense of harmony between nature and humanity. Sometimes, it a picture of a nation's home. Sometimes, it's a dream of heaven writ in fabric or glimpsed through a lens. But, most of all, it's a way to understand our civilisation and to behold that most terrifying and thrilling of all truths - our place in the cosmos. ......"The nation is broken, but mountains and rivers remain." Those words could have come from Mu Xin in the 1970s, but, actually, they were written 1,000 years earlier. In the early 10th century, China was torn apart by endless civil war. As feuding states vied for power, they burned cities and towns and slaughtered their people. Yet it was out of this anarchy and chaos that the Chinese tradition of landscape painting first blossomed as the great subject of ar

Li Cheng - A Solitary Temple Amid Clearing Peaks (10th century)For the Song dynasty, who finally triumphed in the year 960, landscape art represented both a glimpse of a better world and a means to unite this shattered country.

I am looking at a document that attests to a profound alteration in human sensibility because it was in Song China that, for the first time, landscape painting with ink and brush became the true and absolute sign of what civilisation was, both for those who practised it and for those who owned these precious scrolls. This painting is more than 1,000 years old. And it's thought to be by one of the first truly great landscape artists, Li Cheng. Dominating the scroll are mountains, symbols of the Song dynasty. The biggest, most imposing peak is the Emperor, the lesser peaks are his ministers. Li Cheng's message is that this is the protecting force beneath which China can recover its harmony and rebuild its civilisation.

He's an absolutely brilliant painter of human activity, from a man on a donkey to people having their meal, to perhaps dumplings being cooked in the back kitchen there.

And this bottom half of the scroll is crowded, not just with people, there are all sorts of things going on. This is our world, this is the place we inhabit.

This is more than mere propaganda. Li Cheng asks profound questions, which go to the heart of our relationship with the world around us. As our eye ascends through the painting, so our whole approach to it also ascends to a higher order of question.

Right in the visual centre of this beautiful painting is the temple itself, and the temple is almost more important than the whole mountain. It is the place of equipoise, the place of peace.

Above the temple, there is no human action at all, and Li Cheng has changed the wash of the ink.

It's lighter, finer, more ethereal. So this is a borderland between the human and the spiritual world, and gradually we move up and face the greatest of all. 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 free of that eroded rock bring us harmony and bring us what everybody in China wanted - happiness and peace?

Li Cheng offers us a glimpse of who we are by linking the comings and goings of our little lives to the majesty of the cosmos. And that sense of fit between things mortal and things eternal fills the mind with the ancient Confucian sense of rightness. Everything in its ordained place. This is how life is supposed to be. So powerful was the message that, within a century, landscape art had sunk deep roots into the culture of Song China. New painting academics flourished where it was practised. Weighty tomes were written about its philosophy and technique. To be Chinese meant to be civilised and to be civilised meant to paint, above all, landscapes. ......This handscroll was painted by the artist Qiao Zhongchang. It was based on one of the most famous Chinese poems, written by a government official, a man of culture and refinement, called Su Shi. Su Shi had been exiled after a political purge and spent his days writing about excursions he took with his friends up the Yangtze River.

Qiao Zhongchang (960-1127) - Illustration to the Second Prose Poem on the Red Cliff - Left 1st

Qiao Zhongchang (960-1127) - Illustration to the Second Prose Poem on the Red Cliff - Left 2nd

Qiao Zhongchang (960-1127) - Illustration to the Second Prose Poem on the Red Cliff - Left 3rd

Qiao Zhongchang (960-1127) - Illustration to the Second Prose Poem on the Red Cliff - Left 4th

Qiao Zhongchang (960-1127) - Illustration to the Second Prose Poem on the Red Cliff - Right 3rd

Qiao Zhongchang (960-1127) - Illustration to the Second Prose Poem on the Red Cliff - Right 2nd

Qiao Zhongchang (960-1127) - Illustration to the Second Prose Poem on the Red Cliff - Right 1stHere he is carrying fish and wine as his wife sees him off on the journey.

We turned the boat loose to drift with the current. All around was deserted and still. A lone crane flew overhead.

The painting evokes both the pleasures of friendship and the melancholy of the exile.

.A dream, but one with a bittersweet taste. ......But landscape painting wasn't always about escape. Sometimes, artists captured the violence of history. 200 years after Su Shi wrote his poems, China's Song dynasty had fallen to Mongol invaders. The painter Wang Meng refused to serve the Mongol emperors, preferring to retreat to a very particular place, his family's estate in the Qingbian mountains. Those mountains became the subject of his greatest painting.

Wang Meng - Dwelling in the Qingbian Mountains (1366)When you're in the presence of a bona fide masterpiece, which this is, words somehow struggle to be formed. But I will do my best. Not least because this is an extraordinary painting because it belies all the pleasing stereotypes we have about Chinese landscapes. When you think of Li Cheng, you think of that first generation of northern Song painters and it is all about feeling protected by the Imperial mountain. None of this is happening with Wang Meng. This is, above all, a painting about turbulence. It's full of a kind of restless, writhing, sensuous, intense energy. There's a reason for this turbulence. By the time he painted this, Wang Meng's family mountain retreat was right in the middle of a battlefield fought over by armies 200,000 strong.

But the reality was marauding and massacre.

These are not mountains which protect us.

Instead, they trap and threaten us.

Here is a man beautifully painted picked out with a conical cap, which is a cap of this particular region. And it's echoed by the shape of the peak. So, you think the man belongs to the mountains, but the man has nowhere to go. There are paths which make no sense at all. He moves his way through scrubby pines. Wang Meng has lit this dramatically to make it more difficult, to make it more exciting, to make it more perilous and energised. Eventually, we see one isolated, tiny figure, alone.

And this huge orchestration, musical energy, these animated, pulsing rocks, look as though they're about to topple down on him.

What's happened to landscape painting in the hand of Wang Meng is that it's gone from being not just a place of calm, but to an intensely personal expression of his own mood and his own feeling of insecurity. So, everything that is coursing through the imaginative energy of the artist gets registered in these sudden, jabbing repeated strokes. This, then, is a state of mind rather than a state of the mountain.

If this painting depicts Wang Meng's deepest anxieties, then his sense of foreboding was well-founded. Shortly after completing it, he fell victim to his political enemies and died in prison. E07 Radiance

Vincent Van Gogh - Starry Night Over the Rhone, 1888 With this epiphany in mind, Vincent gathered all the intensity of his spiritual longing into one all-consuming obsession - how to bring heaven to earth and turn it into a painting. So on a warm night in September in 1888, he comes down from his little apartment in Place Lamartine in Arles and goes around the corner and he sees this (Vincent Van Gogh - Starry Night Over the Rhone, 1888). Great expanse of the River Rhone with the city of Arles reduced to a little rim of human activity, lit by rather sulphurous gas lights. And somehow, this amazing moment speaks to him that he can actually do this cosmic painting. And he creates a king of compositional double trinity. The first trinity is of land and water and sky. And the land is this little spit of the bank with those very Japanese boats tied up in the harbour there.

Then comes the river and then comes the burning night sky, delivered in great pulsing brushstrokes of heavily-loaded aquamarine.

And the three of them, land, water and sky, are all melting and dissolving together.And the second trinity, the one which really was most important, was that of light. The gas lamps are just indicated by a kind of stab of crusty, dark yellow. And then those gas lamps are reflected in the second element of the trinity lights. Beautiful reflections which soften their harshness.

And these kinds of fans of heavily-loaded brushstrokes just fall into the water.

And the third level of the lights is Ursa Major exploding in the sky. Taking his brush, he squashes it against the canvas, and on top of that, another brush loaded with lead white, and the points go, jab-jab-jab-jab-jab!

And those stars and everything explodes, and he knows he's got it. He's got what he's been looking for. He's got this extraordinary sense of us in the universe and this couple of lovers are staring out, feeling what he wants us to feel.

He said, you don't need to go church. The church of the day is this. This great illumination, like a burst of beauty from a stained-glass window. This is the radiance of here and now. E08 The Cult of ProgressBut Napoleon's invasion had had another purpose - not only to uncover the secrets of ancient Egypt, but also to impose European civilisation on the living, contemporary Egypt. Armed with a library of books and a printing press, Napoleon wanted to re-educate an Islamic world that Europeans had long seen as the enemy, a civilisation they considered to have lost its way. Ultimately, Napoleon's occupation would fail at the hands of the British. But, in a curious twist, Europeans became increasingly obsessed with the very culture Napoleon had tried to change. Or more accurately, their imagined fantasy of what that culture was. Soon artists began to travel throughout the Islamic world to paint the exotic places and people they encountered.

Eugene Delacroix - Women of Algiers in their Apartment 1834This is the painting that inspired an entire genre of 19th century European art - Orientalism. It's the work of the French artist, Eugene Delacroix who painted it in the 1830s, after he'd actually gone on a visit to Algeria, which had recently been conquered and colonised by France. And this is the first real serious attempt to portray ordinary life in the Islamic world.

But like many of the Orientalist paintings that were to follow, not everything about this is what it seems. Now, Delacroix claimed to have based the composition on a visit he'd made to an Arab household in Algeria, but it would've been extremely unusual for a male stranger to be given access to the women of an Arab household, so there's every chance that these women are in fact Jewish.

And there are other elements of this painting which were either fabricated or embroidered by Delacroix. So the painting was completed in Paris using exotic costumes, and the models are Parisian models.

And this figure of the black servant or perhaps black slave was of Delacroix's invention.

So what seems like a real scene is in fact a Parisian revelry of a supposed exotic sensuous world that didn't exist in Europe. Yet in Delacroix's gifted hands, there is a subtlety of shade and colour that was rarely achieved by the generation of Orientalist painters he inspired. Many Orientalists invented scenes that revelled in the decadence and despotism that Europeans considered being oriental qualities. Concubines languishing in hidden harems, naked female slaves for sale in busy markets.

Jean-Leon Gerome - The Slave Market 1866Orientalist themes became so popular that Ingres, master of the classical nude, set one of his greatest works in an imagined women's bathhouse, even though he'd never been to the Middle East.

Jean-Auguste-Dominique Ingres - The Turkish Bath 1863These were European fantasies, and they suggest a desire to escape the turmoil of life in industrial Europe. As the Industrial Revolution gathered pace, Europe's cities began to change beyond all recognition. To begin with, few saw the emerging factory landscapes as a worthy subject for art.

J.M.W. Turner - Dudley, Worcestershire (c.1832)But the British painter Turner did. In his view of Dudley, in England's industrial heartland, he juxtaposed the old town on the hill, its ruined castle and church steeple, symbols of tradition and faith ...

... with the blazing furnaces and busy canals of the modern age.

The great thinker and art critic John Ruskin saw in the picture an indictment of how the old way of life being destroyed by the factory and the machine.

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。

1.纳巴泰人的香薰是树脂2.玛雅文明也是象形文字3.埃及门农雕像起风时会唱歌，不是每天都有，如果有机会去蹲守一个月或半年，听一下。

4.公元前600年的希腊雅典陶器上的图画就已经告诫人们控制酒量，人和动物之间的界限在哪？

喝多少酒会变成野兽。

5公元前550年古希腊大理石雕像《佛雷斯科莱》和观众是有互动的，她面带微笑的看向正前方，挑战着我们去回看她，她手里有一朵花，看不出来这是给她自己的还是要给我们的，有涂料痕迹说明雕塑曾经是有颜色的。

6.和自然界相似风景画一直是化解人世间种种动乱纷争的一剂良药，然而，与其说是对世界的客观描绘，风景画更多的是表达我们对世界的愿景。

有时它传达了自然与人类之间的一种和谐感，有时它是丹青勾勒的家国故土，有时它是经纬编织的梦中天堂，又有时它是透镜折射的刹那风光，但最重要的它是一个理解我们文明的方法，让我们感悟大千世界中最令人恐惧却又最令人振奋的真相，浩瀚宇宙中我们生存的地方。

7.元代王蒙《青卞隐居图》解读得太好了，在配乐的烘托下几个特写镜头和全貌，展现了动荡焦躁不安敏感紧张的情绪，在这样的山水间隐居的人也像要面临山崩地裂大山压顶的危险。

这是一幅心像画，他的不祥感并非无缘无故，不久之后他被政敌迫害死在狱中。

有时无边无际的风景使你心荡神驰，但有时重重山墙也会将你围困，阻绝一切光亮。

8.1565年雅科波·丁托列托《耶稣受难》尺寸巨大，画家所做的就是模糊观者和画作之间的界限，如果我们站在画前，几乎就会感觉你成了中央场景周围人群的一份子，这里再三强调的是，耶稣被钉死在十字架上，既是一件发生于过去的历史事件，也是一件宗教事件，于是时间和空间的屏障被打破。

9.伊斯兰国家也有自己的书法，文字转化为图像装饰在清真寺里。

10.印度的泰姬陵和小泰姬陵非常典雅精致，记得有空去看看。

11.非洲贝宁国的青铜雕塑在大英博物馆，BBC很客观的反思了不同文明的碰撞，葡萄牙人是贸易往来，英国却是殖民掠夺。

12.18世纪晚期，圆山应举《冰图屏风》表达了佛教中，缺憾与无常的概念，无常是因为这些线条是不受控制且不规则的，缺憾是因为冰终将融化。

13.日本艺术将莫奈引向无限多可能性的连作创作方式，将不同时间与不同光线下的同一事物绘入作品中，这不是单调乏味的重复，反而引领了艺术新潮流。

14.最强大的当代艺术品具有神奇的转化之力，它能将昨晚生命短暂的废物、宿醉的纪念品转化为某种永恒的真正保持传统的东西，最灵巧的双手，可以将破坏的对象转化为创造的基础。

15.米哈尔·罗夫纳 照片上的无数个渺小的动态个体不停前行，无法安顿下来，文明预设了一个固定的城市人口，但罗夫纳的作品呈现了人们迁移的处境，永远在各个地方之间辗转。

而其他的则像天书一样，但当你近看的时候，你发现这些字符就是人类，我们就是我们所写，我们的语言定义了我们。

16.卡萨特《包厢》画的歌剧院中一位装扮优雅的女性，用观剧镜凝视舞台，但她自己也没有逃过一位坐在远处的男性的注意，他透过观剧镜盯着她仔细观察，就像观赏画作的我们一样，这也许是在隐晦地批评这种具体化的男性审视目光，正是这目光造就了19世纪艺术品中大量的女性裸体。

17.《亚维农的少女》毕加索将西方对于艺术的观念画在了她们头上，他想要表达的不仅仅是美学上的美丽，还有可怕的关于性、暴力甚至是死亡的原始感觉，这样的手法之所以能成功，部分是因为那些第一次看到这幅画的人会在脑海中，将非洲面具和他们所认为的原始文明联系起来，正是这些东西显而易见的威胁感，使它们看上去如此令人震惊，而我们感受到的其背后文化的野蛮感，增强了人们对于欧洲文化所谓优越性的认同。