Delos (1)
九个日夜，两位俊美的神
从你的缝隙中诞生
同时降生的还有
倾听人世喜痛的
新的宗教
与不再倾听的
超然
Delos: UNESCO world cultural heritage site description: http://whc.unesco.org/en/list/530
As his artistic career advanced and his exposure to Italian art grew, Albrecht Dürer became increasingly preoccupied with the study and representation of ideal human proportion. The Poynter Apollo, named for one of the several collectors who have owned the work over the centuries, is one of four studies by Dürer of the male nude based on classical prototypes and the canon of Vitruvius, the ancient Roman architect whose treatises were reexamined and greatly appreciated during the Renaissance. The drawing also reflects Dürer's experience of and admiration for antique sculpture—in particular, the Apollo Belvedere, which had been recently discovered and was considered the perfect example of male beauty until the beginning of the nineteenth century. It was known to Dürer through drawings and was a source of inspiration in his search for the perfect anatomy. This study, which shows Apollo holding a bow and a globe, or orb—two of the god's many attributes—was executed in the first years of the sixteenth century, during a period in between Dürer's first and second trips to Italy. It was prepared in two distinct stages, as can be seen from both the color of the inks and the nature of the lines. The light-brown ink contours may have been traced from the figure of the sun god in the artist's painting of Apollo and Diana, now in London's British Museum. The hair and modeling lines may have then been added freehand, providing the artist with an exercise in alternative ways of rendering the same subject. Apollo's pose was closely followed by Dürer in his depiction of Adam in the 1504 engraving Adam and Eve.
http://www.metmuseum.org/toah/works-of-art/63.212
This drawing, which, like Dürer's 'Pupila Augusta' ( Windsor Castle, The Royal Library, inv.no 12175) has an inverted inscription, was intended as a study for a print, perhaps of the sun-god standing on his own, which was never executed. The addition of the seated figure of Diana suggests that Dürer was influenced by the engraving of the same subject by Jacopo de' Barbari whom he met in 1500. The figure of Apollo is one of the first of Dürer's proportional studies of the male body. The proportions of this figure are more elongated than those in the slightly earlier drawing of a female figure and the engraved figure of the 'Nemesis' (see cat. nos. 70,72) and are more in keeping with classical ideals. It has been suggested that Dürer derived his figure from drawings or prints of the famous antique sculpture known as the 'Apollo Belvedere' which was discovered in Rome at the end of the fifteenth century (and would have been known through prints, such as the engraving by Nicoletto da Modena of c.1500, Bartsch, xiii, p. 282, no. 50). Dürer traced through the outlines of this drawing to transfer the figure to another sheet, the 'Apollo with bow and solar disk' in New York (Strauss 1501/8). He subsequently used the proportions and pose of both these 'Apollo' drawings, and a further study of a male nude based on a classical antique in Berlin (Kupferstichkabinett, KdZ. 5017) for his Adam in the engraving of 1504.
http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?queryAll=People%2F!!%2FOR%2F!!%2F97784%2F!%2F97784-1-7%2F!%2FRepresentation+of+Apollo%2F!%2F%2F!!%2F%2F!!!%2F&objectId=720611&partId=1&numpages=10&orig=%2Fresearch%2Fsearch_the_collection_database.aspx¤tPage=1
Archaïscher Torso Apollos
Rainer Maria Rilke
Wir kannten nicht sein unerhörtes Haupt,
darin die Augenäpfel reiften. Aber
sein Torso glüht noch wie ein Kandelaber,
in dem sein Schauen, nur zurückgeschraubt,
sich hält und glänzt. Sonst könnte nicht der Bug
der Brust dich blenden, und im leisen Drehen
der Lenden könnte nicht ein Lächeln gehen
zu jener Mitte, die die Zeugung trug.
Sonst stünde dieser Stein entstellt und kurz
unter der Schultern durchsichtigem Sturz
und flimmerte nicht so wie Raubtierfelle
und bräche nicht aus allen seinen Rändern
aus wie ein Stern: denn da ist keine Stelle,
die dich nicht sieht. Du mußt dein Leben ändern.
Translated by Stephen Mitchell
We cannot know his legendary head
with eyes like ripening fruit. And yet his torso
is still suffused with brilliance from inside,
like a lamp, in which his gaze, now turned to low,
gleams in all its power. Otherwise
the curved breast could not dazzle you so, nor could
a smile run through the placid hips and thighs
to that dark center where procreation flared.
Otherwise this stone would seem defaced
beneath the translucent cascade of the shoulders
and would not glisten like a wild beast's fur:
would not, from all the borders of itself,
burst like a star: for here there is no place
that does not see you. You must change your life.
Translated by C. F. MacIntyre
Never will we know his fabulous head
where the eyes' apples slowly ripened. Yet
his torso glows: a candelabrum set
before his gaze which is pushed back and hid,
restrained and shining. Else the curving breast
could not thus blind you, nor through the soft turn
of the loins could this smile easily have passed
into the bright groins where the genitals burned.
Else stood this stone a fragment and defaced,
with lucent body from the shoulders falling,
too short, not gleaming like a lion's fell;
nor would this star have shaken the shackles off,
bursting with light, until there is no place
that does not see you. You must change your life.
Translated by Winslow Shea
We did not know the incredible head
in which his ripened eyeballs blazed. Yet here
his torso glows, an ancient chandelier
in which his gaze, set lower but not dead,
still holds and gleams. Or else the chest curve could
not blind you, neither in the slight bend
of the loins could a smile descend
to center where regeneration stood.
This stone would then stand stunted and deformed
under shoulders of translucent grace,
not shining like some predatory pelt at night
nor breaking all its bounds with light
like some bright star: for nowhere is a place
that does not stare at you and say: Reform!
从你的缝隙中诞生
同时降生的还有
倾听人世喜痛的
新的宗教
与不再倾听的
超然
 |
Delos Temple of Isis 126 BC |
Delos: UNESCO world cultural heritage site description: http://whc.unesco.org/en/list/530
 |
丢勒：Poynter Apollo, 1501–3 |
As his artistic career advanced and his exposure to Italian art grew, Albrecht Dürer became increasingly preoccupied with the study and representation of ideal human proportion. The Poynter Apollo, named for one of the several collectors who have owned the work over the centuries, is one of four studies by Dürer of the male nude based on classical prototypes and the canon of Vitruvius, the ancient Roman architect whose treatises were reexamined and greatly appreciated during the Renaissance. The drawing also reflects Dürer's experience of and admiration for antique sculpture—in particular, the Apollo Belvedere, which had been recently discovered and was considered the perfect example of male beauty until the beginning of the nineteenth century. It was known to Dürer through drawings and was a source of inspiration in his search for the perfect anatomy. This study, which shows Apollo holding a bow and a globe, or orb—two of the god's many attributes—was executed in the first years of the sixteenth century, during a period in between Dürer's first and second trips to Italy. It was prepared in two distinct stages, as can be seen from both the color of the inks and the nature of the lines. The light-brown ink contours may have been traced from the figure of the sun god in the artist's painting of Apollo and Diana, now in London's British Museum. The hair and modeling lines may have then been added freehand, providing the artist with an exercise in alternative ways of rendering the same subject. Apollo's pose was closely followed by Dürer in his depiction of Adam in the 1504 engraving Adam and Eve.
http://www.metmuseum.org/toah/works-of-art/63.212
 |
丢勒：Apollo 1501-04 |
This drawing, which, like Dürer's 'Pupila Augusta' ( Windsor Castle, The Royal Library, inv.no 12175) has an inverted inscription, was intended as a study for a print, perhaps of the sun-god standing on his own, which was never executed. The addition of the seated figure of Diana suggests that Dürer was influenced by the engraving of the same subject by Jacopo de' Barbari whom he met in 1500. The figure of Apollo is one of the first of Dürer's proportional studies of the male body. The proportions of this figure are more elongated than those in the slightly earlier drawing of a female figure and the engraved figure of the 'Nemesis' (see cat. nos. 70,72) and are more in keeping with classical ideals. It has been suggested that Dürer derived his figure from drawings or prints of the famous antique sculpture known as the 'Apollo Belvedere' which was discovered in Rome at the end of the fifteenth century (and would have been known through prints, such as the engraving by Nicoletto da Modena of c.1500, Bartsch, xiii, p. 282, no. 50). Dürer traced through the outlines of this drawing to transfer the figure to another sheet, the 'Apollo with bow and solar disk' in New York (Strauss 1501/8). He subsequently used the proportions and pose of both these 'Apollo' drawings, and a further study of a male nude based on a classical antique in Berlin (Kupferstichkabinett, KdZ. 5017) for his Adam in the engraving of 1504.
http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?queryAll=People%2F!!%2FOR%2F!!%2F97784%2F!%2F97784-1-7%2F!%2FRepresentation+of+Apollo%2F!%2F%2F!!%2F%2F!!!%2F&objectId=720611&partId=1&numpages=10&orig=%2Fresearch%2Fsearch_the_collection_database.aspx¤tPage=1
 |
Apollo Belvedere , Vatican Museums |
 |
Male torso, marble (perhaps Parian), from the island of Miletos, 480-470 BC. The Louvre |
Archaïscher Torso Apollos
Rainer Maria Rilke
Wir kannten nicht sein unerhörtes Haupt,
darin die Augenäpfel reiften. Aber
sein Torso glüht noch wie ein Kandelaber,
in dem sein Schauen, nur zurückgeschraubt,
sich hält und glänzt. Sonst könnte nicht der Bug
der Brust dich blenden, und im leisen Drehen
der Lenden könnte nicht ein Lächeln gehen
zu jener Mitte, die die Zeugung trug.
Sonst stünde dieser Stein entstellt und kurz
unter der Schultern durchsichtigem Sturz
und flimmerte nicht so wie Raubtierfelle
und bräche nicht aus allen seinen Rändern
aus wie ein Stern: denn da ist keine Stelle,
die dich nicht sieht. Du mußt dein Leben ändern.
Translated by Stephen Mitchell
We cannot know his legendary head
with eyes like ripening fruit. And yet his torso
is still suffused with brilliance from inside,
like a lamp, in which his gaze, now turned to low,
gleams in all its power. Otherwise
the curved breast could not dazzle you so, nor could
a smile run through the placid hips and thighs
to that dark center where procreation flared.
Otherwise this stone would seem defaced
beneath the translucent cascade of the shoulders
and would not glisten like a wild beast's fur:
would not, from all the borders of itself,
burst like a star: for here there is no place
that does not see you. You must change your life.
Translated by C. F. MacIntyre
Never will we know his fabulous head
where the eyes' apples slowly ripened. Yet
his torso glows: a candelabrum set
before his gaze which is pushed back and hid,
restrained and shining. Else the curving breast
could not thus blind you, nor through the soft turn
of the loins could this smile easily have passed
into the bright groins where the genitals burned.
Else stood this stone a fragment and defaced,
with lucent body from the shoulders falling,
too short, not gleaming like a lion's fell;
nor would this star have shaken the shackles off,
bursting with light, until there is no place
that does not see you. You must change your life.
Translated by Winslow Shea
We did not know the incredible head
in which his ripened eyeballs blazed. Yet here
his torso glows, an ancient chandelier
in which his gaze, set lower but not dead,
still holds and gleams. Or else the chest curve could
not blind you, neither in the slight bend
of the loins could a smile descend
to center where regeneration stood.
This stone would then stand stunted and deformed
under shoulders of translucent grace,
not shining like some predatory pelt at night
nor breaking all its bounds with light
like some bright star: for nowhere is a place
that does not stare at you and say: Reform!
