西苏论巴斯莎芭沐浴图

9. With what is she painted?
Van Gogh said that Delacroix said that Veronese painted white blonde naked women
with a color which, by itself, greatly resembles street mud.
Van Gogh wants to paint with the earth. To mould.
With what mud is Bathsheba painted? With what earth?
With the flesh’s butter. With ghee. That rosy blond butter.
Libations.
Bathsheba nude.
I see Rembrandt painting the veil (that doesn’t hide a thing) on her groin.
Rembrandt grazing Bathsheba’s groin with a veil.
The veil, a nothing that creates the nudity.
Without this transparent nothing we would forget she is nude.
Bathsheba is in person. In a dressing gown. In body.
It is the body that is the face.

9、 她被用什么来画成?
梵谷说那个,德拉科罗说那个,威楼尼斯画白金黄色的裸体女人,用一种本身酷似街上泥巴的颜色。
梵谷想要用泥土来画。来塑造。
巴斯莎芭是用什么泥巴来绘画?用怎样的泥土?
用肉身的奶油。用加热过的奶油,那种玫瑰般的棕色奶油。
塗圣油。
巴斯莎芭堤裸身。
我看见林布兰画这个薄纱(什么都没遮蔽)在她的大腿上。
林布兰用一层薄纱替巴斯莎芭的大腿上釉。
这层薄纱是创造裸体的一种空无。
假如没有这层透明的空无,我们将会忘记她是裸身的。
巴斯莎芭亲自出席。穿着衣袍。以身体为衣袍。
身体就是她的脸孔。

10. She does not look at us. She is of those who do not look at us. I mean to say: those
women, Bathsheba, Mary, Hendrickje, don’t look at us, don’t stop living, (that is to say
dreaming, that is to say leaving) in order to look at us.
Stigmata 6
They withdraw, they take their leave slowly, a thought carries them toward the
unknown, far away. We hear—barely—the call from afar—
And we, looking at them, we see thought taking its leave. We see thought. It is a
portrait of thought, according to Rembrandt. Thought is not the weighty thinker seated. It
passes, inside, distracted, traveling, it is the foreigner, the stranger.
He paints the foreigner, the stranger in me, in you.
The times when under the letter’s sway—
we suddenly become the stranger, the foreigner in ourselves. We separate ourselves
from ourselves. We lose ourselves. From sight also.

10、 她并没有观看我们。她属于没有观看我们的人之一。我意图要说的是,那些女人。巴斯莎芭,马丽亚,亨瑞杰,她们并没有观看我们,没有停止活着(换句话说,没有停止作梦,换句话说,没有停止离开)为了观看我们。
圣痕第6图
她们撤退,她们缓慢地告辞,思想带领她们朝向遥远的未知。我们听见—勉强地—从遥远而来到召唤—
我们,观看她们时,我们看见思想不辞而别。我们看见思想。这是一幅思想的图画。依照林布兰。思想并不是端坐那里的沉重的思想家。思想通过到里面,心神不宁,旅行,就是这位外来客,这位陌生人。
他绘画这位外来客,这位陌生人,在我身上,在你们身上。
有好几次是受到讯息的影响。
我们突然变成我们自己身上的这位陌生人,这位外来客。我们跟自己分开。我们迷失自己。也视而不见。

He catches, paints, the point of departure. The hour, when destiny slips from our eyes.
Everything seems domestic. And yet such a strangeness wells up in our eyes, like
tears. It’s that she is already gone, she who is called Bathsheba. But the body remains.
That much more body, that much more flesh, that much heavier here, now that she-
Bathsheba is elsewhere.
The face is traveling: a great silence reigns in the painting. ‘What are you thinking
about?’ we wonder.

他捕捉,绘画出发点。这个时刻,当命运从我们的眼睛里溜走。
每样东西似乎都是家常。可是,这样的陌生感在我们的眼睛里膨奔腾起来,就像眼泪。她已经消失,她被称为巴斯莎芭。但是身体始终在。
那种不仅是身体,不仅1是肉身,在这里不仅更加沉重。既然她,巴斯莎芭在某个别的地方。
脸孔正在旅行:巨大的沉默降临图画。「你正在想什么?」我们想要知道。

11. A nude woman thinking. ‘Thoughtful body.’
On the one hand the thoughtfulness accentuates the nudity: naked nudity. Nudity unthought.
Un-attended to, un-kept. Given.
(What does a naked woman think about—her rapport to her body, always the slight
attention, like a veil, the glance or the gaze. Whenever I’m naked, I don’t look at myself,
I cast a glance my way (—the glance of the other, of you/me at me)—But no, Bathsheba
does not look at her body. She is not before herself. She is not here. She is gone, behind
her eyelids.)
On the other hand, the person who thinks in front of us, abandons us. A very slight
betrayal rouses us: we miss her a little, she who is (only a little bit here) absent.
Distracted, she is abstracted from us.
‘He doesn’t paint great Historical subjects (said a contemporary). He paints
thoughts…’ (Roger de Piles, 1699, Paris).
(He paints thoughtfulness. This absence in the body. This leave-taking by the soul that
leaves the body deserted like a living tomb. We think: we’re parting.

11、 一位裸体的女人在思想。「会思想的身体」。
在一方面,这种思想特质强调裸体:赤裸裸的裸体。没有被思想的裸体。没有被陪伴,没有被照顾。就是被给予。
(一位赤裸裸的女人思想些什么—她对她的身体的支撑,总是轻微的专注,就像一层薄纱,瞥见,凝视。每当我赤裸时,我并没有观看我自己。我以我的方式瞥见(–它者的瞥见,你或我瞥见我)–但是,不是这样。巴斯莎芭没有观看她的身体。她并不是在她自己面前。她并不在那里。她离开了,在她的眼皮背后。)
在另一方面,在我们面前思想的这个人,放弃我们。我们被激发稍微的背叛。我们稍微失落她。在此是缺席的她(在此稍微有一点)。
她恍惚分身。她从我们这里恍惚分神。
「他并没有绘画伟大的历史的主体(一位当代人说)。他绘画思想、、、(1966年,巴黎,Roger de Piles,)
(他画思想特质。画身体的这个缺席。灵魂的这种辞别,让身体成为荒漠,像一座活生生的坟墓。我们思想:我们正在离开。

雄伯译
32hsiung@pchome.com.tw
https://springhero.wordpress.com

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