西苏论巴斯莎芭沐浴图

19. And in order to paint this, one must be dead. He paints like a dead man. Like a
poet. Like a dead man. See why Van Gogh places Rembrandt apart, elsewhere:
‘Rembrandt remains faithful to nature, even when, there too and still, he goes to the
heights, the highest heights, infinite heights, but just the same, Rembrandt could still do
otherwise when he didn’t feel the need to remain faithful, in the literal sense of the word,
like in the portrait, when he could be poet, that is to say creator.’
‘That is what he is in the Jewish Bride.’

19、为了绘画这个,我们必须死掉。他就像一位死人一样地画。像一位诗人。像一位死人。请你们看出,为什么梵谷将林布兰分开放,在别的地方。「林布兰始终忠实于自然,即使当他去到高处,他也是在那里,依旧在那里。最高的高处,永恒的高处。但是尽管如此,林布兰依旧能够做别的事情。当他不觉得有需要始终保持忠实,顾名思义的忠实。就像在肖像里,当他有时是诗人。也就是说,他有时是创造者。

‘– What an immensely profound, noble sentiment. One must die several times in order
to paint like this, now this is a remark one could apply to him.’
‘Rembrandt penetrates so far into the mystery that he says things no language can
express. It is just of us to say of Rembrandt: the Magician… This is not an easy craft.’6
The craft of death isn’t easy. What does that mean?

–「多么宏伟深奥与高贵的情感!为了像这样绘画,我们必须死掉好几次。」现在,这是我们能够运用在他身上的一句评论。

「林布兰如此深运地贯穿进入神秘,以致于他说出没有语言能够表达的东西。我们应该称呼林布兰为:魔术家。这并不是容易的技艺。死亡的技艺并不容易。那是什么意思?

For example this: it isn’t with the appetite of desire that Rembrandt paints Bathsheba.
It is with attentive love for the creature, for the miracle of existing. The profound
amazement, joyous without splendor, almost pious before this invention: the human
being. Nothing royal. Nothing extraordinary. The sober splendor of the ordinary. What is
marvelous: the ordinary metamorphosis: these people are subject to alteration, to time.
Time is at work. And not just time. Everything that endlessly paints us from the inside.
All the blows and messages that knock at the door to the heart, and paint from the inside
the troubled nervous agitation we call soul. (The soul, our capacity to suffer, said
Tsvetaeva.)

譬如这个:林布兰绘画巴斯莎芭,并不是带着欲望的品味。而是带着对于人作为生物的专注的热爱,对于生命实存的奇迹。这种深奥的惊奇,没有辉煌的欢愉,在这种发明之前的近乎虔诚:人类。没有皇家的东西,没有特别的东西。属于普通人的清醒的辉煌。令人叹为观止的东西是: 普通人的蜕变:这些人们隶属于轮换,隶属于时间。时间在运作。不仅是时间。每一样从内部无止境地绘画我们的东西。所有敲打到心扉之门,然后从内部绘画受到骚乱的神经的激动的打击与讯息。我们称它们为灵魂。(灵魂就是我们承受痛苦的能力,茨维塔耶娃说。)

That which wells up in Bathsheba, that which the letter has poured into her body, into
her organs, into her brain, and which is working on her body, her face, her brow, from the
inside.
She’s listening to this: this transformation in herself. Which is still new, mobile,
momentary. She doesn’t know who, shortly, she’ll be.
Traversed.
Traversed, St Matthew too? Transfixed. Cocked. All ears. He paints us listening to
ourselves change.
On the one hand he paints.
The heavy
Silence
of Bathsheba

在巴斯莎芭身上澎湃奔腾的东西,这个信息倾注在她身体的东西,进入她的器官,进入她的脑,在她身上运作的东西,她的脸孔,她的眉毛,从她的内部。
她正在倾听这个:在她身上的转变。依旧是新颖,活动,暂时的东西。她并不知道,不久她将会成为谁。
被经历过。
被经历过,圣马太也被经历过吗?被着魔,被竖起。专注倾听。他绘画我们倾听我们自己改变。
一方面,他绘画。
巴斯莎芭的
沉重的
沉默

On the other he paints the Voice that causes writing.
– The Voice—How to paint the Voice?
– We don’t see the voice.
Rembrandt paints the voice we do not see.
paints what we do not see.
see?
paints what speaks inside…
the word The Angel

在另一方面,他绘画「引起书写的声音」
—声音—如何绘画这个声音?
—我们没有看见这个声音。
林布兰绘画我们没有看见的声音。
绘画我们没有看见的声音。
看见?
绘画在内部言说的声音
在字的内部:天使

雄伯译

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