Dear friends of Sanlian zhongdu, I’m going to introduce our museum to you. It is the Uffizi Galleries in Florence, and I’m Eike Shcmidt, the director.

亲爱的三联中读朋友们，接下来我要给大家介绍一下位于佛罗伦萨的乌菲兹美术馆。我是馆长埃克·施密特。

The Uffizi were founded as a collection already in the 15th century, which is the equivalent of the Ming dynasty. However, in the 18th century, in 1769, it was one of the first museums to become a publicly open museum, dedicated to education and research. And in fact it was the first large museum but was transformed from a princely collection into a modern museum. In fact it has a long tradition, next year we will celebrate the two hundred and fifty years of its existence as a museum, but it goes back almost 500 years with the first objects that were collected.

乌菲兹美术馆于15世纪作为一个藏馆被建立，当时相当于中国的明朝时期。然而，在18世纪，1769年，它成为了一座最早向公众开放的博物馆，致力于教育和研究。事实上，它是第一座从贵族藏馆转变为现代博物馆的大型博物馆。它有着悠久的历史，明年我们将会庆祝这座博物馆成立250周年。不过这座博物馆早期的第一批收藏要追溯到差不多500年前。

As the Uffizi Gallery collects the treasures of the Medici family，the imperial Habsburg-Lorraine family，a third dynasty that ringed the kingdom of Italy that Slovie family, as well as of the republic of Italy，so we have a large collection.

因为乌菲兹博物馆集合了美第奇家族、哈布斯堡-洛林家族、第三王朝，包括萨伏依家族以及意大利共和政府的收藏，所以我们的藏品量非常庞大。

The Medici were in a way revolutionaries at their time, because they were the single most wealthy family that invested their wealth in works of art, in patronage in collecting old master workers of art from ancient Greece and Roma, but also patronizing young inspiring artists，such as Leonardo da Vinci and Michelangelo. They also commission Botticelli. They collected in later ages are works by Caravaggio，as well by arte museum, Gentelesky. And they founded the oldest and largest collection of artists’ self-portraits which continues and continued to grow even to the present day.

美第奇家族某种程度上是当时的改革者，他们是当时唯一把财富投资于艺术作品的最为富有的家族，不仅收藏来自古希腊罗马艺术大师的作品，同时也赞助年轻有才华的艺术家，比如达·芬奇、米开朗基罗。他们还委托波提切利创作。他们还收藏后期卡拉瓦乔、以及阿特米谢•真蒂莱斯基的作品。他们还建立了最古老、最庞大的艺术家自画像的收藏，这些自画像的数量直到现在还在持续增长。。

The architecture of the Uffizi which was built upon plans by Giorgio Vasari who was not only an architect but also a painter. He painted the Military triumphs and Allegories in the Dix places actuals in Florence glorying the Medici family. And he was also an intellettuale in a way a Manderin one could say he wrote the lives of the artists, of the architect, painters and sculptors in 1550 which is the first extended series of artists’ biographie in the west. Giorgio Vasari as an architect was very much following of the great model of Brunelleschi as well as the classical architecture and especially for the Uffizi four stage designs which is know coincidence because inside the Medici’s Uffizi building, there was the Medici theater on the first of the upper floors which as were opera and spoken theater flourished until the 19th century.

乌菲兹美术馆的建筑是在乔治·瓦萨里的规划下建立的，乔治·瓦萨里不仅是一位建筑师，也是一名画家。他在佛罗伦萨维奇奥宫创作了《军事胜利》和《十个位置》，用来赞颂美第奇家族。此外，他也可以说是一位Manderin的知识分子，为艺术家、建筑师、画家以及雕塑家写作生平，并在1550年出版，成为了西方首部持续的艺术家传记系列作品。作为一名建筑师，乔治·瓦萨里非常喜欢布鲁内莱斯基的设计，同时也喜欢古典建筑，特别设计了4层楼的乌菲兹宫。后来被认为是一种巧合，因为在美第奇宫建筑内上部的一层，是一座美第奇剧场，在这里，歌剧和话剧持续繁荣到19世纪。

镇馆之宝-01

Doni Tondo《圣家族》/《多尼 通多》米开朗基罗

one great treasure is so called Doni Tondo《圣家族》/《多尼 通多》 by Michelangelo. It's the only panel painting by Michelangelo. It was painted around 1506 or 1507, when Michelangelo, Rafael and Leonardo all three of them were in Florence.  It was the time when Medici was not in Florence. It was the time of the republic of Pilosvinie when many different private families competed with one and another, to become the greatest patrons and to get works of art by the most important artist of the time. So it was a competition between artists, and there was a competition between collectors and patrons. And the Doni Tondo is the result of this one of the many great results.

其中一件镇馆之宝是米开朗基罗创作的《多尼 通多》，这是米开朗基罗创作的唯一一件版画。这件作品创作与于1506年和1507年前后，当时米开朗基罗、拉斐尔、达·芬奇三位大师都在佛罗伦萨。不过那时，美第奇家族并不在佛罗伦萨。那个时候是皮耶罗•索德里尼共和国统治时期，各个不同家族之间相互竞争，竞相成为艺术最伟大的赞助者，去收藏那个时代最重要艺术家的作品。所以，那时不仅艺术家之间有竞争，收藏者和赞助人之间同样存在竞争。《多尼 通多》就是在这种背景下产生的作品。

In fact, its colorism, its strong muscular figures  and the naked figures on the background, all anticipate  were then Michelangelodevelop on much much large scale, just two years later, starting at 1508 and finished in 1512, which is the Sistine ceiling. So in a way, you already have in another trial the entire Sistine ceiling in the Doni Tondo in Florence.And if you only can go to Florence or to Rome, if you go to Florence, you can see already that great the art which is the bases of the great ceiling, and you don’t have to go to the Rome anymore.

事实上，这件作品的色彩，位于背景里肌肉强壮的人物和裸体的人物，所有这些尝试在仅仅两年之后的超大规模的西斯廷礼拜堂天顶画的创作中得到了发展，天顶画的创作从1508年开工一直持续到1512年。所以某种程度上，你可以尝试在佛罗伦萨的《多尼 通多》作品中看到西斯廷的天顶画。如果你只能去佛罗伦萨或罗马，如果你来到佛罗伦萨，你可以看到伟大天顶画的创作基础，你就不需要再去罗马了。

镇馆之宝-02

《春》波提切利

The second one is the allegory of spring time by Sandro Botticelli. It’s actually nowadays most be seen as pair with the Birth of the  Venus also by Botticelli，which was however painted several years later after he returned from Rome while  the Spring time was painted before he left for Rome. In both paintings the central figure is Venus, but in Spring time she is clothed, while in the birth of the Venus she is obviously naked. Both paintings have been together since at least 16th century when they were in the Medici Villa of Castello and they have always been staying together until they arrived in the Uffizi. It’s now one of the greatest and most admired masterpieces in the Uffizi. This work never travels and it is a work that admired by about ten thousand people every day and it has particular security feature and in order to keep it safe. 

第二件作品是波提切利的《春》。这件作品现在经常与波提切利的另外一件作品《维纳斯的诞生》成对出现。不过《维纳斯的诞生》创作于几年之后，波提切利从罗马回来，而《春》则创作于他去罗马之前。这两幅作品的中心人物都是维纳斯，但是在《春》这幅作品中维纳斯穿着衣服，在《维纳斯的诞生》中她明显是裸体的。两幅作品从16世纪开始就被一起放置在卡斯特罗美第奇家族的别墅里，到了乌菲兹美术馆之后这两幅作品也一直被放在一起。现在成为了乌菲兹美术馆里杰出的、最受人瞻仰的伟大作品之一。这件作品从不外借，每天被上万名观众瞻仰，为了保证安全还为其配别了特殊的安保措施。

On the right hand side we see the Zephyrus, the north wind trying to catch the nymph Chloris, which of course he will never succeeded  to do because he was a wind，and out of her mouse are roses come. That is an allegory of poetry. These are the words so called Florence Rétrocité. These are the flora words of poetry that come out of her mouse. So out of the meeting of the wind and nymph, poetry starts. And this is a deeply poetic picture influence by poetry and also reacting as a painter to the poetry of the time. So painting was in fact an art that was in a streak dialogue with a poetry, and that makes particular fascinating and that also means we have not yet deciphered every single aspect of this painting. So there are still scholars today who try to figure out every single detail.

在画面右手边，我们看到仄费洛斯，西风神正在试图抓住仙女克罗丽丝，当然不可能成功，因为他是风。我们看到，从仙女嘴里还开出玫瑰来。那是诗歌的寓言，这些句子是所谓的佛罗伦萨复古之城。这是从她嘴里吐出的花神的诗句。所以在风神和仙女相遇的时候，诗歌就产生了。这是一个充满诗意的画面，画家又反过来反映那个时代的诗歌。所以实际上，油画与诗歌可以不断对话，这特别迷人，同时也意味着我们还没有完全破译这幅画的每一个细节。所以现在，依然有很多学者试图揭示每一处细节。

Because it is on wood. The only day we are closed is Monday. On Monday we do repairs, we move painting out that go to the exhibitions, not the most famous one of course. We clean the gallery in depth, and we have film teams there on Monday as well, the Uffizi is also a very popular filming location both for fictional movies, as well as documentaries.

因为它是画在木头上的。我们只有在周一的时候闭馆，那天我们需要做休整，有一些作品会被移出外借去展览，当然不是那些很有名的作品。我们对展馆进行深度清洁。周一也会有电影团队来，乌菲兹美术馆也是一个非常受欢迎的电影拍摄场地，不管是很虚构电影还是纪录片。

镇馆之宝-03

《美杜莎》卡拉瓦乔

And the third painting is the head of Medusa by Caravaggio.This painting was painted not on the panel but actual on the shield. The surface is in fact convex. And that is the same surface that mirrors were typically at the time. So it is believed that Caravaggio actually started it on features in a mirror, and copy that for the face of Medusa. Medusa on a shield is an ancient motif and in fact next to the shield we have ancient statue of Minerva.

第三件作品是《美杜莎》。这件作品不是画在木板上的，而画在一个盾牌上，表面是凸面的，这跟当时流行的镜子表面是一样的。所以人们相信，卡拉瓦乔实际上是从镜子中看到的特征，并将其复制到美杜莎的脸上。盾牌上的美杜莎是一个古老的主题，实际上，在这个盾牌的旁边是一件古老的密涅瓦（智慧女神）的雕塑。

The ideas that if an enemy were look at Medusa, the enemy would be so shocked as to turn into stone, and you could just simply kill the enemy. And so therefore this shield was never used in combat I mean it was to show the genius of Caravaggio. And in fact it is a painting full of beauty and full of scare, full of horror, but also full of admiration for painterly technic of inventive power of the  mind. It is a tremblé and it goes far beyond just filling the eye, it provoked the mind.

这件作品想要传达的是，假如有敌人看到了美杜莎，敌人会非常震惊，以至于变成石头，于是你就能轻而易举地杀死敌人。因此，这件盾牌从来没有被用于战斗中，而是展示出卡拉瓦乔的天才。事实上，这是一件充满了美感和惊悚的作品，充满了恐吓，但是同时也是充满了对于富有创造力的绘画技巧的敬仰。这是令人发颤并且这幅作品远远不止满足于你的视觉审美，也能激发你的思考。