塞尚的疑惑 3

Cézanne’s painting denies neither science nor tradition. He went to
the Louvre every day when he was in Paris. He believed that one must
learn how to paint and that the geometric study of planes and forms is necessary.

龚卓军

塞尚的繪事未排斥科學,亦未排斥傳統。他在巴黎時每天都去羅浮宮。他認為要會畫畫必須學習,而學習過程中的必要部分,是對平面和圖形的幾何學研究。

He inquired about the geological structure of his landscapes.
These abstract relationships must be operative in the act of painting, but
ruled over by the visible world. Anatomy and design are present in each
stroke of his brush just as the rules of the game underlie each stroke of a
tennis match.

他鑽研所繪地景的地質學結構,相信這些由可見世界所表現出來的抽象關係,必會影響到繪畫行動。解剖和設計的規則呈現在他的每一筆觸之中,好比網球賽中每一次觸擊都蘊含了遊戲規則。

雄伯
他鑽研所繪地景的地質學結構。地景结构的这些抽象关系必须运作在绘画的行动过程,但是却必须受到可见世界的统辖。解剖与设计呈现在他的画笔的每一笔触当中。正如遊戏规则作为网球赛的每一触击的基础。

What motivates the painter’s movement can never be perspective
alone or geometry alone or the laws governing the breakdown
of colors, or, for that matter, any particular knowledge.

但是,讓畫家積極畫將起來的,絕不僅是視點、幾何學、色彩規則或任何特定的知識。

雄伯
激发画家绘画动作的动机,永远不会仅是视景,或仅是几何学,或统辖颜色的散佈,或有关绘画的任何特殊的知识。

Motivating all the
movements from which a picture gradually emerges there can be only one
motif: the landscape in its totality and in its absolute fullness, precisely
what Cézanne called a “motif.”

只有一件事情能夠讓畫家積極動手作畫:地景的整體性和它絕對的充實性,也就是塞尚所稱的「主題」(motif)。

雄伯
激发图画逐渐成形的所有的动作的动机,仅可能是一个母题:处于完整状态与绝对充实的地景。这确实就是塞尚所谓的「母题」。

He would start by discovering the geological
foundation of the landscape; then, according to Mme Cézanne, he
would halt and gaze, eyes dilated; he “germinated” with the countryside.

根據塞尚夫人所說,塞尚的地景畫的開始就是去弄明白地景的地質學基礎,然後他會以拓寬了的視野停留注視每一樣東西,和鄉野共同「吐芽成長」。

雄伯
他常常以发现地景的地质学的基础作为开始。依照塞尚夫人的说法,他常常停下来凝视,眼睛张得大大的,他跟乡野一块「滋长」。

What was at issue, all science forgotten, was to recapture, through these sciences,
the constitution of the landscape as an emerging organism.

他所必須要做到的事,首先是忘掉他由科學那兒所學來的一切;其次,要穿透這些科學去重新把抓地景的結構,把地景當作正在浮現的有機體。

雄伯
当浑然忘记所有的智慧时,具有争议的事情是如何凭借这些科学,重新捕捉地景的结构,作为正在浮现的有机体。

Science– Ability to produce solutions in some problem domain 智慧,解决难题的能力
Science– A particular branch of scientific knowledge 科学

All the partial views that the gaze catches sight of must be welded together; all
that the eye’s versatility disperses must be reunited; one must, as Gasquet
put it, “join the wandering hands of nature.”

要做到這種程度,所有視覺上的一偏之見都必須合而為一,所有眼睛之能事都必須重新整合,如同加斯奎(Gasquet)所言,必須「將自然所遊走出去的手結合在一起。」

雄伯
凝视瞥见的所有的部分视景必须衔接一块。眼睛的能力所驱散的一切东西,必须重新统合。如同加斯奎所言,我们必须将「自然的漫遊的手连接起来」。

“A minute of the world is
going by which must be painted in its full reality.

「世界所歷經的一瞬,繪畫必須窮盡其整全之實在。」

雄伯
某个时刻的这个世界必须保持在它的充实的现实里被绘画,它正在消逝当中。

” The meditation was suddenly complete: “I have a hold on my motif,” Cézanne would say, and
he explained that the landscape had to be tackled neither too high nor
too low, caught alive in a net which would let nothing escape.

他的冥想有時會達於極致,他會說:「我有我的主題」,而且他會解釋,地景要放在中間,不可太高或太低,要在沒有漏失掉任何東西的狀況下以網羅活捉。

雄伯说
冥想突然地成为完整:「我掌握我的母题」,塞尚经常说。他解释,地景必须被处理,不要太高,也不要太低,活生生地捕捉它,在没有任何疏漏的网络里。

Then he
attacked his picture from all sides at once, using patches of color to surround
his original charcoal sketch of the geological skeleton.

然後他就同時開始畫這幅畫的每一部分,用色彩圍繞嵌補著早先地質架構的炭筆素描。

雄伯
然后他同时从各个角度来描绘他的图画,使用块状的颜色围绕他原先的地质学轮廓的炭笔素描。

The image saturated itself, composed itself, drew itself, became balanced; it came to
maturity all at once. “The landscape thinks itself in me,” he said, “and I
am its consciousness.” Nothing could be farther from naturalism than this
intuitive science.

畫面帶著充實性和厚度,在結構和平衡中成長,最後似乎是在一瞬間趨於成熟。塞尚說:「地景透過我來思考自身,我即它的意識。」這種直觀的科學和自然主義是相去甚遠的。

雄伯译
画面饱满自身,组合自身,绘画自身,成为平衡,画面突然达到成熟。「地景在我身上思维自身,我就是地景的意识。」这种直觉的智慧绝非是自然主义。

Science– Ability to produce solutions in some problem domain 在某个困难的领域,产生解决的能力
Gay science –joyful wisdom 欢愉的智慧

Far from—by no means 绝非是,根本就不是
Nothing could be farther from my intention than to offend you.
=I have no intention at all of offending you.
我没有丝毫要冒犯你的意思。

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