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Olga's Gallery.
Leonardo da Vinci. The Last Supper. c.1495-1498. Oil
and
tempera on plaster. 460 x 880 cm. Santa Maria delle Grazie,
Refectory, Milan,
Italy. | |
The guide ushering tourists
into the former monks' dining hall that houses Leonardo da Vinci's faded
masterpiece "The Last Supper" tried in vain to interest her audience in
art history, technique and aesthetics.
She knew that sooner or later the questions -- about the Holy Grail's
presence or absence from the work, or the real sex of the disciple to the
right of Christ -- would come.
"Of course, you know there is now 'The Da Vinci Code'," Danish-born
interpreter Hanne Munk told the guide at the end of her 15-minute viewing
of the 30-foot-long painting, famed for its psychological realism and
innovative use of perspective.
The guide, Lidia Sanvito, nodded wearily. The 34-year-old has heard of
little else since U.S. author Dan Brown's runaway bestseller was published
in March 2003, first from American readers, then starting late last year,
from Italians and others as foreign translations hit bookstores worldwide.
"They torture me," she said of the curious visitors. "I wasn't
surprised about the Americans. But it really did shock me that Italians,
with their strong Catholic traditions, would also ask these questions."
Few who visit the 500-year-old painting have not heard of the book.
Many visitors nowadays admit the sensational tale of scheming priests, secret societies
and pagan symbols was the main reason for their visit to Santa Maria delle
Grazie church, on an otherwise quiet street in Italy's business capital.
"The Last Supper" has always been a top tourist draw in a city whose
artistic treasures pale beside those of Rome, Venice and Florence. Even in
August, when a mass holiday exodus leaves Milan virtually deserted, the
small square outside the church bustles with activity.
(Agencies) |
在导游的带领下，游客们走进大厅，这里曾经是修道士们的食堂，如今却收藏着里奥纳多·达·芬奇的名画《最后的晚餐》，因为年代久远，这副名画已有些褪色。导游想尽办法试图激起参观者们对艺术史、绘画技巧和审美学的兴趣，然而结果只是徒劳。
她知道迟早会有人提出那些问题，比如作品里的圣杯是否真的存在，或者站在耶稣右边的信徒的真实性别是什么。
丹麦籍翻译阿纳·芒克足足花了15分钟欣赏完这幅30英尺长的名画，这幅画因心理写实主义和对透视画法的创造性使用而闻名，随后她对导游说：“当然了，你知道现在很流行《达芬奇密码》。”
导游利迪娅·圣维托无奈地点了点头。自从2003年3月美国作家丹·布朗的这本畅销书出版并获得巨大成功以来，这位34岁的导游很少听到人们谈论这本书以外的内容。她最早是从美国读者口中听说的，随后，从去年年底开始，随着该书的翻译版本在全球各地的书店引起轰动后，意大利和其他国家的游客也开始讨论这本书。
当谈起那些好奇的游客时，她说：“他们简直是在折磨我。如果是美国人提出这些问题，我并不觉得奇怪。但是听到有着浓厚天主教传统的意大利人也问这样的问题，我感到非常惊讶。”
参观这幅有着500年历史的名画的游客中，很少有人没读过这本书。现在，很多参观者承认，有关那些诡计多端的牧师耸人听闻的传说、秘密团体和异教徒的象征是他们参观圣玛丽亚·德·葛拉齐亚教堂的主要原因。该教堂位于意大利商业中心的一条街道上，（如果没有游客的频频打扰），这条小街本该非常安静。
在这样一座艺术收藏和罗马、威尼斯和佛罗伦萨相比略逊一筹的城市，《最后的晚餐》始终是这里最吸引游客目光的名画。即使到了八月份，当大批游客的离去使米兰变得萧条起来时，这个教堂外面的小广场上依然熙熙攘攘。
（中国日报网站译） |
Updated: 2004-09-13 10:04