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[文化博览] 【整理】2013-02-01 黑暗的心 The Dark Heart-21

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[文化博览] 【整理】2013-02-01 黑暗的心 The Dark Heart-21

 

 

 

BBC西班牙艺术  | BBC The Art of Spain-The Dark Heart


     本集继续向西班牙的中心进发,探寻16世纪到17世纪的西班牙艺术。这是一个非凡的黄金时代,一个黑暗和野蛮的心。一起看西班牙帝国的兴衰,他们如何残暴的征服新世界。最美丽的艺术就在这里。 


    He journeys to the country’s scorched centre to explore Spanish art of the 16th and 17th centuries, a period that became known as the Golden Age. Tracing the rise and fall of the Spanish Empire, the brutal conquest of the New World, and the religious madness of the Inquisition he discovers how a history so violent produced such beautiful art.



 

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This is religious persecution painted as if it were a spectator sport. Petro Berruguete paints the moment of execution itself, flames lick around the feet of the condemned, but for the executioner, it's just another tedious day's work. Burning at the stake had become / part of everyday life.



Much of Spain was descending into a kind of madness. The nation's devotion to God was increasingly darkened by obsession, and the relentless focus on church doctrine had climaxed in a bloodbath. This was a country starting to devour itself.





And while religious conflict was consuming the nation, the empire was starting to unravel. Philip had spent millions leading a campaign against the Protestants in northern Europe, a campaign that failed disastrously. His famous Armada against England had also ended in failure.





Throughout this period, it was the Castilians who funded their king's foreign wars and they provided most of the soldiers. Even today this has the feeling of a war-scarred landscape.





The people were exhausted, a fact subtly expressed in one of the unsung art forms of the day. Still-life paintings traditionally reflect on mortality, but in Spain they become a cry of despair. In Zurbaran’s Agnus Dei, the Lamb of God is a dead sheep on a slab, its feet trussed up, ready for the butcher's block. In Antonio de Pereda's still life with walnuts, the cracked nuts spill out of their shells onto a table like brains from smashed skulls

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This is religious persecution, painted as if it were a spectator sport. Pedro B. paints the moments of execution itself, flames lick around the feet of the condemned, but for the executioner, it’s just another tedious day’s work. Burning at the stake had become part of everyday life.  

Much of Spain was descending into a kind of madness. The nation’s devotion to God was increasingly darkened by obsession. And the relentless focus on church doctrine had climaxed in a bloodbath. This was a country starting to devour itself.

And while religious conflict was consuming the nation, the empire was starting to unravel. Philip’s spent millions leading a campaign against the Protestants in Northern Europe, a campaign that failed disastrously. His famous armada against England had also ended in failure.

Throughout this period, it was the Castilians who founded their king’s foreign wars and provided most of the soldiers. Even today, this has the feeling of a war-scarred landscape.

The people were exhausted, a fact subtly expressed in one of the unsung art forms of the day. Still life paintings, traditionally reflect on mortality, but in Spain, they become a cry of despair. In Zurbaran’s * day, the Lamb of God is a dead sheep on the slab. Its feet trussed up ready for the butcher’s block. In Antonio de Pereda’s still life with walnuts, the cracked nuts spilt out of their shelves onto a table like brains from smashed skulls.
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[Homework]2013-02-01 黑暗的心 The Dark Heart-21

本帖最后由 mintzoe 于 2013-2-1 10:54 编辑

This is religious persecution painted as if it were a spectator sport. Petrial G* paints the moment of execution itself, flames lick around the feet of the condemned, but for the executors, it's just another tedious day's work. Burning at the stake has become a part of everyday life.

Much of Spain was descending into a kind of madness. The nation's devotion to God was increasingly darkened by obsession. And relentless focus on church doctrine had climaxed in a bloodbath. This was a country starting to devouring itself.


And while religious conflict was consuming the nation, the empire was starting to unravel. Philip spent millions leading a campaign against Protestants in northern Europe, a campaign that failed disastrously. His famous a* against England had also ended in failure.


Throughout this period, was the Cathodic to founded their king's far wars and provided most of the soldiers. Even today has the feeling of a war-scarred landscape.


The people were exhausted, affected subtly express in one of the unsound art forms of the day. Still-life paintings traditionally reflect on mortality, but in Spain they become a cry of despair. In Zuburan's A* Day, the lamb of God is a dead sheep on a slab. It's feet trussed up, ready for the butcher's block. In Antonio's still-life with walnuts, the crack nuts spilt out of their shells onto a table like brains from smashed skulls.



This post was generated by put listening repetition system,  Check the original dictation thread!
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This is religious persecution,painted as if it were a spectator sport.Pedro Beregrocy paints the moment that execution itself,flames like around the face of the comdamned,but for the executioner,it is just another tedious day's work.Burning of the stake had become part of everyday life.
Much of Spain was descending it a kind of madness,the nation's devertion to god was inscreasingly darkened by obsession.And the relentless focus on church doctrine had climaxed in a bloodbath.This was a country starting to devour itself.
The wild religious conflect was consuming the nation.The empire was starting to unravel.Philip has spent millions leading a campaign against the protestants in Northern Europe,a campaign that failed disastrously.This famous amanda against England had also ended in failure.
Throughout this period was the castilians who founded their kings from wars and provided most of the soldiers.Even today,this has the feeling of the war scarred landscape.
The people were exhausted,a fact subly expressed one of the unsung art forms of the day.Still life paintings,traditionally reflect on mortality,that in Spain they become crime to Spain.In Zurbaran’s *** day,the lamb of god is a dead sheep on the slame.Its feet trassed out ready for the butcher's block.In Antonio de Pereda’s still life for the walnuts,the crack nuts spilt out their shelves onto a table like brains from smushed skulls.
1

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This is religious persecution painted as if it were a spectator sport. Petro Berruguete paints the moment of execution itself, flames lick around the feet of the condemned, but for the executioner, it's just another tedious day's work. Burning at the stake had become / part of everyday life.

Much of Spain was descending into a kind of madness. The nation's devotion to God was increasingly darkened by obsession
, and the relentless focus on church doctrine had climaxed in a bloodbath. This was a country starting to devour
itself.


And while religious conflict was consuming the nation, the empire was starting to unravel. Philip
had spent millions leading a campaign against the Protestants in northern Europe, a campaign that failed disastrously. His famous Armada
against England had also ended in failure.


Throughout this period,
it was the Castilians who funded their king's foreign wars and they provided most of the soldiers. Even today this
has the feeling of a war-scarred landscape.


The people were exhausted,
a fact subtly expressed in one of the unsung art forms of the day. Still-life paintings traditionally reflect on mortality, but in Spain they become a cry of despair. In Zurbaran’s Agnus Dei, the Lamb of God is a dead sheep on a slab, its feet trussed up, ready for the butcher's block. In Antonio de Pereda's still life with walnuts, the cracked nuts spill out of their shells onto a table like brains from smashed skulls
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