南京这个特展，能看到荷马在《伊利亚特》里提到的头盔！

一位年轻男子，二十出头的年纪，留着卷曲短发，肩上披着一件短斗篷，身边跟随着一只狗。在他面对面的是一位胡须浓密、看起来更为成熟的男子，那人穿着一件长斗篷，袒露出胸部。

A man, probably in his early 20s, with short curly hair and a mantle draped over his left shoulder is accompanied by a dog. He is facing a bearded, much more mature-looking man donning a longer mantle baring his chest.

这是出土于雅典的一块公元前四世纪左右的大理石石碑上的图案。碑上的两人侧面相对而立，年轻人伸出右手，与年长者的右手握在一起。

Both shown in profile on a marble stele dating to around 400 BC, the two were in the middle of a handshake, with both men holding out their right hands.

雕刻有父（右）与子握手的墓碑石雕

“这并不是一次普通意义上的握手，而是一次郑重而哀伤的告别，发生在一位父亲与他英年早逝的爱子之间。”南京博物院正在举办的古希腊文明展的策展人管琳说道。

“This was no handshake in the common sense of the word, but one that had allowed a father to say a proper goodbye to his beloved son, who passed at his prime,” says Guan Lin, curator of an ongoing Nanjing Museum exhibition dedicated to the ancient Greek civilization.

“在古希腊的丧葬艺术中，“右手礼”代表着永别。这块大理石浮雕实际上是一块墓碑，是在雅典一座海边教堂附近被发现的。”

“In ancient Greek funerary art, the handshake is a gesture of final farewell, with the departed extending his or her right hand,” she says. “This marble relief was in fact a grave stele found in Athens near a seaside church.”

仔细观察的话，可以发现父亲的左手腕上挂着一个小瓶子，这种被称为aryballos的小瓶子是用来盛装橄榄油的，通常供运动员在锻炼前后使用。儿子曾经用过的这个小物件现在由父亲保管，作为对一个年轻的生命的永久记忆。

A viewer, who looked closely enough, would find a small box dangling from the father’s wrist. Known as aryballos, it was for holding olive oil typically used by athletes before and after exercises. It was now within the keeping of the father, a reminder of all the athletic activities no longer performed by his son.

如果一件强大的艺术作品能够直击人心，那么这件作品确实做到了，而且是以一种极为克制的方式做到的——死亡与分别并没有被明确地提及，却萦绕在每位观者的心头。

If it is within the capacity of a powerful work of art to move, this one certainly does it, in a highly-restrained way — there’s no explicit reference to death.

《爱琴海的荣耀》是南京博物院此次古希腊大展的标题，展览汇聚了270余件来自14家希腊文博机构的展品，从宗教、艺术、政治、经济等各个角度展示了古希腊文明带给世界的丰厚遗产。

With more than 270 pieces of exhibits coming from 14 Greek museums and cultural organizations, the show at the Nanjing Museum offers tantalizing glimpses into all the creativity and splendor spawned by an ancient civilization viewed by many as lying at the origin of the Western Civilization.

其中一件可以追溯到公元前2800年到2300年间的抱臂女性雕像，雕像的性别仅仅通过突出的乳房和刻画了倒三角形的下腹和阴部就展现出来，艺术的极简之美体现得淋漓尽致，相信即使是最挑剔的现代艺术批评家，在看到这尊雕塑时，也会为它的美叹服。

Another exhibit testifying to the power of Grecian art is a marble folded-arm female figurine dated to a period between the 2800 BC and 2300 BC. With her gender indicated as much by protruding breasts as by the inverted pubic triangle, the female figure demonstrates an artistic brevity that would have lived up to the intense scrutiny of the most critical among all critics of modern art.

颇具极简主义色彩的抱臂女雕像

然而，如果有一种艺术形式最能体现古希腊人将艺术与生活融为一体的精神，那便是古希腊陶器了。“这些陶器上的绘画涵盖了古希腊人物质和精神生活的方方面面，古希腊历史和神化传说中几乎所有的形象，也都可以从上面找到。”策展人说。在南京博物院展出的古希腊陶器中，人们会发现丧葬的队列、拳击比赛以及古希腊传说中的英雄忒修斯战胜米诺牛的场景。

Yet if there’s one form of art that has best showcased the Grecian way of merging art with living, it may well have been the ancient Greek potteries. “Wrapped-around canvasses, this pottery art depicts every aspect of the Grecian existence, and every character who had populated the Greek narrative, be it history or mythology,”said Guan, pointing to a few pottery pieces on display that have as their themes a funerary procession, a boxing-match and a struggle between Minotaur and Theseus, a divine hero who eventually subdued the human-bodied, bull-headed monster.

绘有拳击比赛的古希腊陶器

绘有古希腊传说中的英雄忒修斯战胜米诺牛的古希腊陶器

绘有丧葬队列的古希腊陶器

古希腊是一片充满故事的土地，而最善于讲故事的人，非生活在公元前9世纪到8世纪之间的盲诗人荷马莫属。他的两部史诗《伊利亚特》与《奥德赛》今天被认为是希腊乃至整个西方文学的奠基之作。

The ancient Greece was a land of stories, and the best of all its story-tellers was Homer, who lived around the eighth century BC and whose two epic poems - Iliad and Odyssey - are considered today the foundational works of not only Greek but also of Western literature.

荷马头像

在《伊利亚特》中，荷马对发生在希腊联军与特洛伊之间的战争的描述是如此震撼人心，对每个人物的刻画又是如此入木三分，以至于即使数千年后的今天，考古学家和历史学家仍难以相信这些描述很可能全部来自于想象。

Homer wrote with such bristling details about the Trojan War, fought between the Greek forces and the city of Troy, arguably located in Hisarlik in modern-day Turkey, that archaeologists and historians who came millennium later found it hard to believe that the author had written purely from imagination.

1876年，著名的德国考古学家海因里希·施里曼（Heinrich Schliemann）从一处迈锡尼墓地中发掘出一副金面具并将其命名为“阿伽门农面具”。阿伽门农是荷马《伊利亚特》中指挥希腊联军的传奇迈锡尼国王，而迈锡尼则是一个位于伯罗奔尼撒半岛的一个史前希腊城邦，因盛产黄金而被荷马称为“多金迈锡尼”。

One of them was the renowned German archaeologist Heinrich Schliemann, who was tempted to name a gold mask he unearthed from a burial ground in Mycenae in 1876 “The Mask of Agamemnon”, after the legendary Mycenaean king who in Homer’s Iliad commanded the Greek forces during the Trojan War. ( Mycenae is a prehistoric Greek city located in Peloponnese peninsular and celebrated by Homer as “rich in gold”.)

阿伽门农的面具（复制品）

这副面具被发现的时候，覆盖在一位被认为是迈锡尼王室成员的死者脸上，年代被确认为公元前16世纪。即使阿伽门农真的存在，这副面具也应当与他无关。然而，“阿伽门农面具”这个名字被保留了下来，它时刻提醒这人们，是现实世界的辉煌激发了荷马永不枯竭的想象力。

Today, the mask, found laid over the face of a dead person considered a member of the Mycenaean royalty, has been dated to the 16th century BC and is believed to have nothing to do with Agamemnon, even if the man existed. Yet it retained its glorious name nonetheless.

南京博物院展览中展出的“阿伽门农面具”是一件艺术价值极高的仿品，由曾担任希腊王室官方肖像画家的瑞士艺术家埃米尔·吉列隆（1850-1924年）制作。

At the Nanjing Museum exhibition, a copy of the mask, created by Swiss artist Emile Gillieron (1850-1924) who once acted as the Greek royal family’s official painter, is on view, a reminder of the real-world splendor that had fueled Homer’s unfailing imagination.

“墨里俄尼斯给了奥德修斯一张弓和一壶箭簇，又给了他一把利剑，并在他头上戴上了一顶用兽皮制成的头盔，头盔表面镶满了白牙野猪的闪亮獠牙。”荷马在《伊利亚特》第十卷中写道。

“Meriones gave Odysseus a bow and a quiver, and a sword, and on his head he set a helmet made of hide, with many a tight-stretched thong within; without, the gleaming tusks of a white-tusked boar were set thick on this side and that...” wrote Homer in Book 10 of Iliad.

而一顶“用兽皮制成”并覆盖着“白牙野猪的闪亮獠牙”的头盔，现在正在南博展出。这也足以证实荷马史诗所拥有的对古希腊研究的重要价值。

A helmet “made of hide” and covered with “the gleaming tusk of a white-tusked boar” - exactly as described by Homer - can now be seen at the Nanjing Museum exhibition.

野猪牙头盔

“制作这样一顶头盔需要猎杀大约50头野猪，这不仅使其成为一种奢侈品，还让它成为勇气和力量的象征。”管琳说道。

“The making of one such helmet required the hunting of approximately 50 wild boars, a fact that made the battle headgear a piece of luxury as well as a showcase of bravery and strength,” said Guan.

荷马创作的《伊利亚特》和《奥德赛》，是用于口头传唱的。尽管如此，它们仍然对公元前5世纪左右在雅典兴起的戏剧文化产生了深远的影响。古希腊戏剧分为悲剧、喜剧和羊人剧。古希腊悲剧的内容风格更接近我们今天意义上的“正剧”；喜剧则重在反讽，针砭时事；羊人剧带有部分悲剧的特征，但是属于旨在逗人发笑的通俗喜剧。

Although Homer’s Iliad and Odyssey themselves belonged to an earlier tradition of oral storytelling, they had greatly influenced Greek tragedy, a core part of the ancient Greek theater that originated in Athens in around the 5th BC.

古希腊戏剧面具

作为献给酒神狄俄尼索斯的宗教节日表演的一部分，古希腊戏剧并非轻佻戏谑之作。事实上，它旨在教育民众、批评政治现实，并提醒雅典人履行应尽的公民责任。这些责任中很重要的一部分，就是维护公平与正义。

Part of the religious festivals dedicated to Dionysus, the god of wine who was given a nod in a controversial scene featured in the opening ceremony of the Paris Olympics, the ancient Greek theater was anything but frivolous. In fact, it was meant to give moral lessons, to provide political commentary, and to make the Athenians more aware of their civic duties, which included the keeping of justice.

南京博物院里展出的还有一座可追溯到公元前5世纪的水钟，它曾被用来在雅典法院诉讼过程中计时。原告与被告双方在这个过程中都可以发表自己的陈述，而陈述时间的长短则与案件的严重和复杂程度成正比。

A water clock dated to the 5th century BC and on view at the Nanjing Museum was used to time speeches during law proceedings conducted in an Athenian court. According to Guan, the alloted duration of the speech was proportional to the seriousness of the case.

水钟

这座水钟由放置在不同高度上的两个想通的容器组成，当上方容器的水完全流入下方容器时，演讲者必须立刻结束发言。“经验丰富的陈述者可以通过聆听水流的声音来判断注入下方容器的水量，进而推断出留给自己的剩余时间。”

“An experienced speaker could tell the time remaining by observing the dwindling water pressure,” , referring to the fact that the water clock was comprised of two vessels placed at different levels, and that one must end his address the moment the water from the higher vessel had flowed completely into the lower one.

雅典法院的所有法官都是通过抽签产生的，雅典部落也以同样的方式选择他们的代表，组成公民议会（Boule），该议会在城邦治理中起着关键作用。

All the judges in Athenian law-courts were chosen by lot, the same way the Athenian tribes picked their representatives to form the Boule, or the Council of Citizens which played a crucial role in the governance of the city.

雅典五百人议事会

“国家的运行和行为中的正义，只有首先存在于公民的内心深处，才有可能实现。”柏拉图曾如此说道。

“Justice in the life and conduct of the state is possible only as first it resides in the hearts and souls of the citizens,” said Plato.

记者：赵旭

实习生：刘书瑞