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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