Episode 1: A Divided Land

German art reveals the complexity of German character. passion and precision, exact craftmanship and the impulsive gesture, a love of nature and a love of the machine, a need for escape and desire for control. dark story, humanity and renewal. 德國性格的復(fù)雜性：激情與嚴(yán)謹(jǐn)，精細(xì)與沖動，愛自然也愛機(jī)器，對控制的逃避與渴望 (對自由的捍衛(wèi)與尋求理性的束縛)，黑歷史里的人性與復(fù)興 /想起一本書《德意志之魂》

Forestry in German Art The forest is the central image for many pieces of German art. Johann Wolfgang von Goethe believes German Gothic cathedrals encapsulate the essence of the forest. a sublimely towering tree of god, with its thousand branches and millions of twigs. 歌德認(rèn)為日耳曼的哥特教堂封裝著森林的精華

Cologne Cathedral, Cathedral of St. Peter 1248-1560, 1842-1880 Konrad von Hochstaden (1205-1261) pulls in the opposing directions, schizophrenic, contradictory. feels like it hasn't been build. it just grown. Hanseatic league, commerce, ideas from beyond its borders, many far flung influences to be absorbed and transformed. 科隆大教堂 /看完很久才想起來我去過，但是很明顯太多細(xì)節(jié)都沒看到。懊惱無知讓我對豐富多樣的表達(dá)視而不見，略感慶幸膽子足夠大讓我發(fā)現(xiàn)自己的無知，臉皮足夠厚可以忍受自己的無知，無休止的追問與好奇心引領(lǐng)我走出無知，也許是走向下一個(gè)無知。但是無知與自知無知還是不一樣。也幸好，無知的人還是有感知的，同樣是高聳，仰望科隆大教堂的感覺和仰望帝國大廈的感覺很不一樣。

Alte(old) Pinakothek(pinax-painted board tablet, theke-box chest) gallery in Munich 1836- crispy painted draperies, porcelain faces. no one does ghouls(gul,arabic) better than the Germans. legends of St. Anthony. the artist makes devils, demons, seem more real, more flesh and blood than ordinary human beings. grace and refinement of renaissance vs. superstitions of the Middle ages. black death, bubonic plague, famine. 畫妖怪德國人最在行了

Matthias Grünewald (1470-1528) Colmar, Alsatian town The Isenheim Altarpiece, 1515 cryptic, sllipery 神秘的狡黠的表情

Albrecht Dürer (1471-1528) wide, sad eyes. 憂傷的大眼睛 Graphische Sammlung in Munich expressing human emotion, cramming images full of feeling. the trees and roots, agonized form, as if nature itself is screaming out at the moment entombment. expressionistic language for art, northern europe art. 在圖像中表達(dá)充沛的情感，樹木與根扭曲痛苦的形式就好像大自然也在耶穌下葬的時(shí)候哀嚎，北部歐洲最早的表現(xiàn)性藝術(shù)語言

The Entombment c.1497 woodcut by Albrecht Dürer

Tilman Riemenschneider (1460-1531) Grosslangheim, Bavarian countryside, Antoniuskapelle style, subject, material. 風(fēng)格 主題 材料 limewood tree sculpture 椴木木雕 Rothenburg ob der Tauber (red castle above the Tauber), Franconia region of Bavaria, St. Jakobskirche houses "Holy Blood Altar" co-opted /互動體驗(yàn) Wallfahrtskirche Maria im Weingarten, Volkach Beguines (Lambert le Begue, the stammerer 結(jié)巴, 12th Belgium) "Madonna of the Rosary" 1521 work with light 木雕與光影

Lucas Cranach (1472-1553) Wittenberg, Luther's protestations, city church "Reformation Altar Piece" slightly cold, distant, calculated picture /有點(diǎn)冷淡 疏離 匠氣，這個(gè)描述和我對希特勒的畫的觀感類似，只是希特勒的畫更有一種退縮 隔絕 非人性的感覺 superstition past vs. faith and reason 妖魔鬼怪迷信的中世紀(jì)應(yīng)該被信仰和理性取代 "The Vineyard." Cranach the younger

Albrecht Altdorfer (1480-1538) "The Battle of Issus" Alexander the great defeat the Persians 借古喻今的預(yù)言 abstract, whirlpools 近似抽象形式 漩渦 prophetic artwork, thirty years' war, 1618-1648

Johann Melchior Dinglinger (1664-1731) Dresden, Baroque Zwinger, 1710-, flamboyant Augustus the strong Grünes Gew?lbe (the Green Vault), 1723 Wunderkammer (cabinets of wonder/curiosities) Mogul Arungzeb (1618-1707) /同為“蠻族” 蒙古人與日耳曼人的區(qū)別

Franz Xaver Messerschmidt (1736-1783) Vienna, Belvedere Palace the Enlightment, Sturm und Drang (storm and stress) 啟蒙運(yùn)動 風(fēng)暴與壓力 (狂飆突進(jìn)) disenchantment reflected by: anguished poetry of Friedrich Schiller (1759-1805) tempestuous writings of Goethe (1749-1832) simmering temsions of Haydn (1732-1809) spurned(scorn, reject) by the court grimacing(grimazo-caricature, grima-fright) character bronze and stone sculpture Friedrich Nocolai (1733-1811, writer and bookseller) attempt to externalise the demon, exorcise it. beneath the still surface of the public self, lurk unofficial desires and fears. dicontent and desire for change. 不滿與要求變革的時(shí)代 /physiognomy 面相學(xué)；對黑魔法的興趣；那時(shí)從工匠開始隨閱歷見識悟性增長漸入藝術(shù)創(chuàng)作

[Lithograph by Matthias Rudolph Toma depicting Messerschmidt's “Character Heads”

microcosm (mikro kosmos), austere (austeros-severe), sinuous (sinus-a bend), raucous (hoarse), fiefdom, Bartholomew, brocade(brocco-twisted thread), dermatological (derma-skin), livid (bluish) green, beset, smoulder, pillage (plunder), piety (devotion), pathos (suffer), emaciate (ex, macies-leanness), belt clasp, dupe (hoopoes), plethora (plethein-be full), teeter (titra-shake), surrogate (super, rogare-ask), Mogul (mongol), minor arts (jewelry, miniature, textiles, pottery)

Episode 2: Dream and Machine

Walhalla 瓦爾哈拉紀(jì)念堂 , 1807, Ludwig I, 1830-1842 Donaustauf, east of Regensburg, Bavaria. ancient Germanic (Gothic, Vandal, Lombardic, Anglo-Saxon), medieval Dutch, Swedish and Russian. /歐洲西北角的這幫家伙，向西與島國凱爾特人，向南與高盧凱爾特人，向東與斯拉夫人，越過阿爾卑斯山與地中海人，征戰(zhàn)與融合，我猜如果他們只自信堅(jiān)持自身特色再開幾個(gè)奧丁學(xué)院估計(jì)早就滅亡了，但卻沒有，他們既吸收了拉丁文化，包括最基礎(chǔ)的字母以及后來的天主教，也可以反對以及變革所引進(jìn)的宗教，結(jié)果是一步步解放人性，開啟自己的文明之旅。有直視戰(zhàn)爭瘟疫饑荒各種災(zāi)難的勇氣，探索，吸納，革新，保有根性的同時(shí)自由延展。想象一下，如果兩千年前的人類都守著自己的地盤，現(xiàn)在會是什么樣。也許我們需要一場文化復(fù)興，重拾春秋戰(zhàn)國時(shí)代以及民國時(shí)期的精神，百家爭鳴，兼容并包，才可能在自身走向繁榮的同時(shí)，為人類貢獻(xiàn)關(guān)鍵文明，如同兩千年前一樣。

Where could they find the sense of value to bring them together? Where could they find a source of strength to counter their weakness? Fuelled by the ideals of the Romantics generation, they looked to their land. They turned to nature. Some looked to the beauty and spirit of the natural world, which became the lifeblood of the Romantic imagination and inspired a painting tradition which took German art to new peaks. Others sought to harness the forces within nature through science and technology, to make Germany strong. /浪漫主義背景下的自然風(fēng)景(spirit of nature), 科學(xué)技術(shù)探索(laws of the material nature)

Phillipp Otto Runge (1777-1810) children-nature, William Wordsworth(1770-1850) 將孩童與自然相關(guān)聯(lián)

Caspar David Friedrich (1774-1840) Greifswald, Pommersches Landesmuseum Neubrandenburg, his parents' hometown "The Monk by the Sea" "Abbey in the Oakwood" Friedrich believed it up to every man to find the god for himself, in nature. To him, the beauty and variety of the natural world was another form of god's word. 自然界的優(yōu)美與多樣是上帝之言的另一種形式 ruins-sky 廢墟-天空 /物質(zhì)世界與精神 ship, symbol of journy of man 船 旅人的標(biāo)志 pondering, man's insignificance before the vastness of the cosmos 沉思 在浩瀚宇宙里人的微不足道

Der M?nch am Meer (The Monk by the Sea ) 1808-1810

Abtei im Eichwald (Abbey in the Oakwood) 1809-1810

/查瓦爾哈拉紀(jì)念堂時(shí)發(fā)現(xiàn)卡斯帕·弗里德里希的這幅畫，為自由而戰(zhàn)的英雄之墓或阿米尼烏斯(Arminius 17bc – 21ad)之墓，怎么看這么眼熟，難道是用了披麻皴點(diǎn)苔法

Grab des Arminius (Grave of Arminius/Graves of the Fallen Freedom Fighters) 1812

夏景山口待渡圖，董源(934-c.962)

好像是。但是同為風(fēng)景畫這差別真是太大了。弗里德里希的海邊的修士和董源的夏景山口待渡圖里人都很小，相對自然來說是極其渺小的存在，只是修士面對著的自然龐大無邊并且有壓迫感，修士在沉思，而漁夫行走其中的自然卻是寧靜深遠(yuǎn)似乎與其融為一體，漁夫可能只想著今天捉了幾條魚做個(gè)什么湯

山徑春行圖 1190，馬遠(yuǎn)(1160-1225)

怎么，我們就不沉思的嗎。當(dāng)然不會，馬遠(yuǎn)兄就總是面對一片蒼茫在思考著什么。但還是不一樣，如果說修士思考的是信仰，是人類與自然的關(guān)系，馬遠(yuǎn)在想的可能是家國天下事，再拔高一點(diǎn)，詩意，只是幾點(diǎn)花苞和飛鳥還是多少暴露了小清新的味道，而且，觸袖野花多自舞，避人幽鳥不成啼，宋寧宗的兩句題詩更是讓哲思的可能蕩然無存

世俗與信仰，無意對這些差別做價(jià)值判斷，只是覺得我們需要嘗試體驗(yàn)和理解各種不同，對，多重宇宙，而不是固執(zhí)于自身的某種框架。

St. Jerome in His Study, Albrecht Durer,1514

骷髏也是一個(gè)很大的差別，歐洲繪畫里的骷髏不要太多，有些是戰(zhàn)爭里的遺骸(戈雅，奧托迪克斯)，有些代表死神(勃魯蓋爾，死神與少女系)，有些象征時(shí)間或永恒(丟勒，荷爾拜因，memento mori系靜物畫)，還有各種不可言喻(梵高，恩索爾)，但是翻遍中國畫，可能也只有一幅南宋李嵩的骷髏幻戲圖

骷髏幻戲圖，李嵩(1166-1243)

同樣，不大會啟發(fā)關(guān)于永恒或信仰的思考，但是在世俗嬉戲之外，好像有一層對生死的思考，比永樂宮墻上王道長提著的那副骷髏圖還是嚴(yán)肅多了。我看道教就是把老子莊子的思考迷信化了，否則也不會總想著長生不死，莊子可不這么看

莊子外篇至樂里有這樣一段，莊先生的妻子死了，朋友去看他的時(shí)候，他沒在哭反而敲著盆唱歌，朋友說你這也太過分了，莊子說我當(dāng)然會感到傷心，但是，

察其始而本無生，非徒無生也，而本無形，非徒無形也，而本無氣。雜乎芒芴之間，變而有氣，氣變而有形，形變而有生，今又變而之死，是相與為春秋冬夏四時(shí)行也。

嗯，這個(gè)宇宙觀很前衛(wèi)，所以也就不難理解莊先生去楚國時(shí)看到一個(gè)骷髏就拿過來當(dāng)枕頭，呃，枕頭，又回歸了世俗

哎呀不扯了

Adolph Menzel (1815-1905) German cut off from the nature, shackled to the false gods of science and the machine. 工業(yè)革命 Wagner (believed he can not change this evil world) use his art into a apace of transcendent dream and myth. 瓦格納超脫現(xiàn)實(shí)的夢想與神話 /托爾金的指環(huán)王靈感來源

Kathe Kollwitz (1867-1945) Ernst Ludwig Kirchner (1880-1938) Otto Dix (1891-1969) Franz Marc (1880-1916) he manages to combine an abstract language with a figurative language 抽象語言與具象語言的融合 forms that suggest elemental energy and nature 暗示基本能量與自然的形式

That is a beautiful drawing. Wow, this is .. something.

Episode 3: In the Shadow of Hitler

Arno Breker (1900-1991) Otto Dix (1891-1969) George Grosz (1893-1959)

Adolph Hitler (1889-1945) remarkbly unremarkable sick version of the visionary artist /退縮，疏離，淡漠，既缺少人類性情，也缺少理性的構(gòu)建。記得有人提到過他收藏有希特勒的水彩畫，我猜如果從文物的角度來看，也許有價(jià)值，如果是藝術(shù)角度，也可能是負(fù)價(jià)值。 Isaiah Berlin (1909-1997) "The sinister artist whose materials are men." The man who was obsessed with building a thousand-year future, brought immeasurable destruction down on the cities of his own country. 一個(gè)執(zhí)念于千年大計(jì)的人為他自己國家的城市帶來無法估量的毀滅

Bauhaus School (1919-1932) one of the **sacred groves** of mordern movement,

August Sander (1876-1964) In the city of Cologne and the countryside around, he began a quest to record, describe and document a certain kind of truth. 記錄真實(shí) August Sander asked himself a question - "Wer sind die Deutschen?" Who are the Germans? 德國人是誰 Sanders subjects meet the cameta's gaze directly, often posing for up to seven seconds. Something happens in that space of time, a very particular capturing of humanity. 人性的捕捉 he was interest in types, categories, but what shines through in every portrait is individuality. 他對類型學(xué)感興趣，但是閃耀在每張肖像里的是個(gè)性 the drive under the project, a mosaic, to show that there were different forces, different energies in society. all these society parts are living side by side. 馬賽克，展示社會中不同的力量不同的能量，并且彼此共存。 "Face of Our Time" everybody had a place in his society, everyone was an individual. 每一個(gè)人在社會中都有一個(gè)位置

The Master Craftsman from People of the Twentieth Century, Pastrycook 1928

Master Potter from Frechen 1934

Master Shoemaker 1940-42

Haus der Deutschen Kunst Adolf Wissel (1894-1973) smuggled this Trojan horse of a painting right into the Nazi citadel. 特洛伊木馬 hitler bizarrely blind to its nuances. lost, melancholy. he has no sense of human empathy 希特勒因沒有人類同理心而意識不到畫中微妙的失落和憂郁 /我倒覺得在此之外他的自卑悲觀和絕望讓他選擇這幅畫

Die Ausstellung Entartete Kunst (Degenerate art) (1937) Ernst Bloch (1885-1977) Anton Bruckner (1824-1896) Symphony No. 4 in E-flat major, Romantic 安東·布魯克納的E?大調(diào)第4號交響曲 浪漫

Yves Klein (1928-1962) Gelsenkirchen, art therapy interior space 克萊因藍(lán)在室內(nèi)空間的療愈感

Georg Baselitz (1938-) hero paintings, remember what happened in Germany The Big Night in a Bucket (Die gro?e Nacht im Eimer) 1962-1963 水桶里的大夜晚 this horrible little grotesque inflicting his sick weird masturbatory fantasies on the entire world. 將自己的變態(tài)欲望與妄想施加于整個(gè)世界 you allowed this to happen. 似乎在質(zhì)問觀者，是你允許這一切發(fā)生的

Bernd Becher (1931-2007) & Hilla Becher (1934-2015) confrontation is not the only way of remembering. there are other strategies. 對抗不是銘記的唯一方式 subject matter is the industrial past of the late 19th century, presentation and approach is reminiscent of August Sander's great project. 主題 表達(dá)與方法 some national mentality in these unassuming structures. 在這些樸實(shí)的結(jié)構(gòu)里蘊(yùn)含著某種民族精神 winding tower, concrete, without scaffolding, French, wheels, England, monumentality, Germany, thought about eternity, 礦井提升絞車塔：無框架混凝土，法式；輪子，英式；紀(jì)念塔，德式，思考永恒。 these objects are very thoughtful in the visual sense. there is a lot to discover and you are surprised yourself what you see and what you find. If you look closer, it's like a kind of universe. 仔細(xì)看，這里是一種宇宙 history, it changes all the time. 隨時(shí)間變化 right after the war, nobody wanted to remember anything. 戰(zhàn)爭之后沒人愿意記憶(所發(fā)生的)一切 blast furnace, iron-steel-bombs 冶煉爐

English Mineheads, 1966 - 1973

Joseph Beuys (1921-1986) remember, recover from its trauma 記憶，從創(chuàng)傷中恢復(fù) everyone is an artist. /每一個(gè)人都面對宇宙 emblematic objects lie open to the interpretation of the viewer. Beuys always leaves room for our imagination. 博伊斯將闡釋留給觀者，為觀者留出想象空間 cold war, warm sculpture. 冷戰(zhàn)中的溫暖雕塑 Beuys mobile, battered VW camper van, smeared and smudged windows, rust-stained flanks. 殘破的大眾野營車，污濁模糊的車窗，銹跡斑斑的車身 nurturing side of ourselves. 我們?nèi)祟愃钟械酿B(yǎng)育呵護(hù)的一面 all we need is love. 愛是我們需要的一切

Memorial to the Murdered Jews of Europe (Denkmal für die ermordeten Juden Europas) 2004 consistently campaigned against forgetting. 不可遺忘 wound of Nazism, the other wound of terror regime to the East. /即使在谷歌地圖上看也挺震撼的

google maps

checkpoint alpha 東德檢查站 α banality(compulsory, banal, ban, common to all) of a regime of terror. 專政恐怖的日常性 you must meditate on this. freedom of expression, freedom of thought, freedom.

Tacheles (Yiddish, straight talking), a berlin famous squat /一處被藝術(shù)創(chuàng)作者占領(lǐng)的廢棄建筑，自由，充滿活力，但也有點(diǎn)流于表面的感覺，貌似安大叔在這里心情有點(diǎn)復(fù)雜，以康定斯基的神秘性與一位被訪談人建立起聯(lián)系

Beuys' 7,000 Oaks 七千棵橡樹 freedom vs. responsibility Goethe's comparison of a Gothic cathedral to a spreading oak tree. The oak was a symbol of mythic power to Beuys, too. he link it to the social. a vast, living organism in constant need of nurture. Kassel 市 a pillar of basalt (mafic: magnesium+ferric extrusive rock) stone 玄武巖方石塊 a city turned to art. 一座城市因此成為藝術(shù) no civilisation can thrive unless it exists in harmony with the world. 只有與世界和諧共存的文明才能繁衍生息

basket case, blistered mirror, skat player, cut their teeth, obscene prosthesis, prussian fencing fraternity, isenheim alterpiece, pandered to lowest-common-denominator outrage, blitzkreig, salutary rage, encephalitic(enkephalos-brain, itis-inflammation), bratwurst, slicked down black hair, parodic image, connoisseur, glass cases vitrine, shaman, stukas Ju87 Sturzkampfflugzeug "dive bomber", final fruition, stonehenge