古希腊雕塑 ③ 古典早期 | 德尔斐御者

Charioteer of Delphi 中文翻译：龚考拉 | 译文校对：花生扬 翻译仅供参考 | 视频不得商用

英文稿：

Dr. Zucker:One of the most exceptional objects

to have survived from antiquity in Delphi

is the Charioteer.

Dr. Harris:This figure was part of a very significant, expensive monument that included

a team of horses and a groom.

Now, chariot races were common at athletic

competitions and there were athletic competitions

that we all know about at Olympia, the Olympics.

But there were also athletic competitions here,

at the sanctuary at Delphi.

Dr. Zucker:People would commemorate

particular victories.

This particular sculpture was commissioned by

a King or a Tyrant from Sicily.

Dr. Harris:There were Greek city states,

or poleis in Sicily that competed in these games.

Dr. Zucker:So you can imagine that when you

would create an elaborate bronze sculpture like this

that it was commemorating a particular victory,

you were really showing off.

This was a kind of trophy, and a very public one.

Dr. Harris:Delphi was a place that all of the

city states came to compete, and to honor,

and make dedications to the God Apollo.

Dr. Zucker:It's showing off not only because

of what it represents, but because of what it's

made out of.

This is bronze which was a very expensive material.

It's largely copper and a little bit of tin

and this was cast, it's hollow.

In fact, where the arm is missing

and on the opposite side you can actually see

how thin the bronze is.

It still has glass paste eyes and it would have been

inlaid with silver.

There's tremendous workmanship here.

Dr. Harris:The silver went around his headband

and you can see very finely cut pieces of bronze

that were used for his eyelashes.

He seems remarkably life-like.

What's interesting about this sculpture is that,

here we are in what we call the

Early Classical Period, sometimes referred to as

the Severe Style.

We have the beginnings of naturalism

and what's interesting to me about this sculpture

is that in some ways he's very life-like

the way he turns his head, but at the same time

we're seeing Contrapposto, but his body is very

columnar.

There's not a lot of sense of movement in his torso.

Dr. Zucker:The moment that's being represented

is not the moment of winning the race,

it's not that kind of active moment.

Instead, this is the moment of

quiet victory afterwards.

Dr. Harris:Not only that, the legs would not have

been visible since they were in the chariot.

Dr. Zucker:That might explain why it's attenuated.

That is why the figures legs seem to be a bit

too long, that's accentuated because the drape is

belted very high above the waist.

Dr. Harris:And look at those folds,

they really remind us of the fluting of a

Greek column and look at the way the drapery

billows out above the belt.

He's not strictly frontal, we might think about

a Kouros figure, a male nude figure

during the archaic period.

Here, he's not frontal, he turns a little bit

to the right.

He lifts his arm out.

You see the beginnings of an interest in a more

open pose that would become much more popular

in the Classic period.

In other wards, not a figure with his arms

firmly attached to his body.

Dr. Zucker:The legs are parallel but they lack

the stiffness of the earlier archaic Korous.

Look at the delicacy, for instance,

with which the feet are represented.

These are no longer symbols that are being

incised into stone, this is clearly the product

of the careful study of the anatomy

of the human body.

This is based on direct observation.

Dr. Harris:I almost feel like I'm at the games

and this is the moment where the winners are

being celebrated and this great athlete is there

to be admired by the crowd.

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