纪录片《文明》 第194期 重要的火花（6）（在线收听）

In the Paris of the 1920s,Mondrian simplified and magnified.

在二十世纪二十年代的巴黎 蒙德里安的画风简化而又夸大

Panels of primary colours were hung on a grid,depth was ironed flat.

由三原色组成的面板被挂在网格上 视觉深度被抚平

Everything on the grid was so perfectly calibrated for balance that you could stare and stare and cross a threshold of sensation into Mondrian's self-contained universe.

网格上的一切 经过精准的调整以达到平衡 这样你可以一直看下去 跨过感官的门槛 进入蒙德里安自成一体的世界

For the artists, the grids were more than just decorative games.

对于艺术家来说 网格不仅仅起着装饰作用

They were meditation exercises,entryways to a place of deep harmony.

而是冥想练习 通向深层和谐入口

And they weren't meant just for galleries or living rooms but as a whole programme of visual re-education,capable of healing the world.

网格不仅仅出现在美术馆和起居室 而是一种视觉再教育的完整体系 能够治愈整个世界

Though the grids seem simple,they're actually miracles of fine-tuned optical calculation.

尽管这些网格看起来简单 但实际上是经过精密调节的 光学计算的奇迹

The colours swell and press against the black rods of the armature,or else they lie captive to their confinement.

色彩饱满和黑色支架线条形成对比 或者说它们安静地位于自己的格子中

And those colour planes,which ought to seem inert and gridded to death,are a living forcefield.

这些色彩构图 本应看似没有生气 受到禁锢 但却是活跃的力场

In 1940, to escape the rolling disaster of the war in Europe,Mondrian moved to New York,a city built entirely around a grid.

一九四零年 为了躲避 欧洲灾难性的战争 蒙德里安到了纽约 这是一座围绕着网格建立的城市

But this grid moved and shook with lights and business and music.

但这个网格随着灯光 商业和音乐移动与摇摆

So how could he not respond to a city rocking with syncopated energy?

他如何能不回应 这座随着音乐节奏摇摆的城市呢

The painting represents as revolutionary a departure for Mondrian as Pier And Ocean did all those years ago.

这幅画代表着 蒙德里安革命性的新开端 正如《码头和海洋》多年前一样

It takes the classic formulae of his grid paintings and it throws it out of the 30th-storey window.

虽然使用的仍是经典网格绘画风格 又好像是从三十层高楼的窗户扔下般不同