1
00:00:02,000 --> 00:00:12,000
{\an8\1c&H00FFFF&}字幕来源：{\r}{\an8}网络{\r}         {\an8\1c&H00FFFF&}字幕合成&特效：{\r}{\an8}yuki十三凉{\r}
{\an8\1c&H00FFFF&}YY八零前 牛斯特洛夫斯基小分队 向本剧字幕原创翻译者表示感谢！{\r}

1
00:00:00,600 --> 00:00:03,060
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}艺术的力量究竟有多大{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Just how powerful is art?{\r}

2
00:00:03,160 --> 00:00:05,990
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它与爱情和悲伤有相似之处吗{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Can it feel like love, or grief?{\r}

3
00:00:06,600 --> 00:00:11,270
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它能改变我们的生活以及世界吗{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Can it change your life? Can it change the world?{\r}

4
00:00:21,590 --> 00:00:30,590
{\fnFZZongYi-M05S\fs36\1a&H32&\pos(190,240)\3c&H0000FF&}艺术的力量: 罗斯科{\r}

5
00:00:51,000 --> 00:00:53,910
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}1970年2月25日{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}On February 25th, 1970,{\r}

6
00:00:54,000 --> 00:00:57,780
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}美国艺术家马克.罗斯科的九幅作品{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}nine paintings by the American artist Mark Rothko{\r}

7
00:00:57,880 --> 00:01:00,670
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}抵达了伦敦的泰特美术馆{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}arrived at London's Tate Gallery.{\r}

8
00:01:06,680 --> 00:01:11,350
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}当日数小时前罗斯科的尸体被找到了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}A few hours earlier, on the same day, Rothko's body was discovered,{\r}

9
00:01:11,440 --> 00:01:15,390
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}人们发现他躺在市中心的工作室的浴室地板上{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}lying on the bathroom floor of his midtown studio.{\r}

10
00:01:16,720 --> 00:01:17,860
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这个画家{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The painter,{\r}

11
00:01:17,960 --> 00:01:22,900
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}花费了如此长的时间去探索死亡的世界{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}who'd spent so much time in his own mind in the realms of the dead,{\r}

12
00:01:23,400 --> 00:01:25,150
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}最终却自杀了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}had killed himself,{\r}

13
00:01:26,000 --> 00:01:31,350
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}如今  伦敦的某些东西就像是他的陵墓{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and now, had in London something like his own mausoleum.{\r}

14
00:01:58,720 --> 00:02:01,950
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这就是为什么在1970年的春季{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Which is why, in the spring of 1970,{\r}

15
00:02:02,040 --> 00:02:06,980
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我并不急于去观看新近安置进来的那些作品{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}I didn't feel in much of a hurry to see the newly installed paintings.{\r}

16
00:02:07,080 --> 00:02:11,590
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这是另一个故去的美国抽象派艺术家的纪念碑{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}A monument to another fallen American abstract painter,{\r}

17
00:02:11,680 --> 00:02:13,980
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它带有如此多的敬意{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}it smacked too much of reverence.{\r}

18
00:02:14,080 --> 00:02:17,750
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是在二十世纪七十年代  我们并没有对此带有更多的敬意{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}And we weren't into reverence that much, not in 1970.{\r}

19
00:02:19,040 --> 00:02:22,510
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我们对波普艺术着了迷  Andy Warhol是波普艺术的领袖{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}We were into playtime. Andy Warhol!{\r}

20
00:02:22,600 --> 00:02:27,350
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗森奎斯特  列肯斯坦  威猛乐队  Shazam{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rosenquist! Lichtenstein! Wham! Shazam!{\r}

21
00:02:28,040 --> 00:02:30,790
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}很适宜于同时欣赏摇滚乐{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Preferably while listening to rock and roll{\r}

22
00:02:30,880 --> 00:02:35,070
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}虽然这并不显得怎么高贵{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and getting, well, not high-minded at any rate.{\r}

23
00:02:51,480 --> 00:02:55,670
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}那种认为艺术应该是严肃的应该适合于宗教的想法{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The idea that art should be solemn was a turn-off,{\r}

24
00:02:55,760 --> 00:02:58,670
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}从此就这样改变了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}a bit like being made to go to church.{\r}

25
00:03:01,440 --> 00:03:08,230
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}事实上  马克.罗斯科已经加入了一个自毁的抽象派画家的行列{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The fact that Mark Rothko had joined the roll call of suicidal abstract painters by killing himself{\r}

26
00:03:08,440 --> 00:03:11,070
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他通过自杀使前途变得更具悲剧性{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}only made the prospect more funereal.{\r}

27
00:03:14,480 --> 00:03:18,990
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}另一方面  我也迫切想去研究一下弗朗西斯.培根{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}On the other hand, I was keen to take another look at Francis Bacon.{\r}

28
00:03:24,480 --> 00:03:28,150
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}所以在1970年春季的一个早晨{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}So, one morning, in the spring of 1970,{\r}

29
00:03:28,240 --> 00:03:30,510
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我来到了泰特美术馆{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}into the Tate Gallery I went,{\r}

30
00:03:30,600 --> 00:03:34,430
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}来到这里  然后向右转了个弯儿{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}walked down here and took a wrong right turn.{\r}

31
00:03:41,880 --> 00:03:45,830
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它们正好就在那里等着我{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}And there they were. Lying in wait.{\r}

32
00:04:04,800 --> 00:04:07,950
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}不  第一眼看上去它们一点也不可爱{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}No, it wasn't love at first sight.{\r}

33
00:04:08,040 --> 00:04:12,750
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科曾经坚持要让周围的灯光要暗一些{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko had insisted the lighting be kept almost pretentiously low.{\r}

34
00:04:12,840 --> 00:04:15,590
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这就像进入了电影院{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}It was like going into a cinema,{\r}

35
00:04:15,680 --> 00:04:18,140
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}大家在昏暗里期待着{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}expectation in the dimness.{\r}

36
00:04:21,560 --> 00:04:26,150
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}那里有某种东西在稳健的悸动着{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Something in there was doing a steady throb, pulsing,{\r}

37
00:04:26,240 --> 00:04:31,150
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}就像一个人的体腔  发紫的深红色{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}like the inside of a body part, all crimson and purple.{\r}

38
00:04:38,480 --> 00:04:41,040
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我感觉到仿佛被拖过那些黑色线条{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}I felt pulled through those black lines{\r}

39
00:04:41,120 --> 00:04:44,790
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}进入到了宇宙的神秘地带{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}into some mysterious place in the universe.{\r}

40
00:05:19,800 --> 00:05:22,310
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科曾经说{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko said his paintings begin{\r}

41
00:05:22,400 --> 00:05:26,350
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他的绘画是在陌生地域地带开始的不知名的冒险{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}an unknown adventure into an unknown space.{\r}

42
00:05:26,440 --> 00:05:29,030
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我不确定自己是在什么地方{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}I wasn't sure where I was being taken.{\r}

43
00:05:29,120 --> 00:05:31,990
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我甚至不能确定自己想往哪里去{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}I wasn't even sure I wanted to go.{\r}

44
00:05:32,080 --> 00:05:34,670
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我唯一确定的是自己并没有选择{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}I only knew that I had no choice.{\r}

45
00:05:34,760 --> 00:05:39,670
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但目的地肯定不会是去野餐{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}And that the destination might not exactly be a picnic.{\r}

46
00:05:58,760 --> 00:06:01,590
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}有人说艺术之后是金钱{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}They say that money follows art.{\r}

47
00:06:01,680 --> 00:06:04,670
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}是啊  艺术也是钱财的仆从{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Well, art quite likes money, too.{\r}

48
00:06:04,760 --> 00:06:09,430
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}实际上画家最期望的莫过于一个富有的赞助人了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}In fact, there's nothing a painter likes more than a wealthy patron.{\r}

49
00:06:09,520 --> 00:06:12,230
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}所以罗马教皇拥有卡拉瓦乔{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}So, Papal Rome had its Caravaggio,{\r}

50
00:06:12,320 --> 00:06:15,710
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}17世纪的阿姆斯特丹拥有伦勃朗{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}17th-century Amsterdam had its Rembrandt.{\r}

51
00:06:15,800 --> 00:06:20,310
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在1958年  当加拿大饮料公司Seagram{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}When, in 1958, the Canadian liquor company Seagram's{\r}

52
00:06:20,400 --> 00:06:24,180
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}寻找一名画家来为纽约总部作装饰工作时{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}wanted a painter to decorate their New York headquarters,{\r}

53
00:06:24,280 --> 00:06:27,790
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他们心目中的人选只有一个  那就是马克.罗斯科{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}there was only one possible choice, Mark Rothko.{\r}

54
00:06:34,600 --> 00:06:38,190
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}此时正是这位年逾55岁的画家的巅峰时刻{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The 55-year-old painter was at the peak of his fame.{\r}

55
00:06:39,990 --> 00:06:42,940
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}其作品代表美国参加了在威尼斯双年展
{\fs16}{\fs14}(全球闻名的当代艺术和先锋艺术的展览 逢奇数的年份 从6月中旬到夏末）{\r\fs16}{\r\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Representing America at the Venice Biennale,{\r}

56
00:06:43,030 --> 00:06:46,380
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他另外五幅作品正在欧洲巡回展出{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}another five of his paintings were on tour in Europe{\r}

57
00:06:46,470 --> 00:06:51,460
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这证明了美国不仅仅是虚有其表  也有一定的深度和内涵{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}to prove to the world that the United States had depth and not just dazzle.{\r}

58
00:06:56,790 --> 00:07:00,620
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科是美国在世画家中最著名的一个{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}He was the greatest living American painter.{\r}

59
00:07:05,950 --> 00:07:07,540
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}人们都认为{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Or so they said.{\r}

60
00:07:09,300 --> 00:07:11,530
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}情况也许是这样{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}In 1958, maybe,{\r}

61
00:07:11,620 --> 00:07:15,570
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是在1958年他已经经历了30年之久的财务窘境{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}but he had gone through 30 years of financial hardship{\r}

62
00:07:15,660 --> 00:07:19,770
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他的内心一直在挣扎  一个重大问题一直困扰着他{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and mental struggle, wrestling with the biggest question of all,{\r}

63
00:07:19,860 --> 00:07:22,320
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}艺术究竟能做些什么{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''What could art do?''{\r}

64
00:07:22,420 --> 00:07:26,250
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它能洞穿那些平淡的日常生活吗{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Could it cut through the white noise of daily life?{\r}

65
00:07:26,340 --> 00:07:30,730
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我们心底的那些原始情感  狂喜  痛苦  欲望  恐惧{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Connect us with the basic emotions that make us human,{\r}

66
00:07:30,820 --> 00:07:35,810
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}正是它们令我们成为所谓的人类  艺术能使我们与它们联系起来吗{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}ecstasy, anguish, desire, terror?{\r}

67
00:07:39,500 --> 00:07:41,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}西格拉姆大厦的建筑师找到罗斯科{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The architect of the Seagram Building{\r}

68
00:07:41,700 --> 00:07:45,770
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他希望罗斯科能为大厦的四季餐厅创作一些装饰作品{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}approached Rothko to do something for the Four Seasons,{\r}

69
00:07:45,860 --> 00:07:51,210
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这幢豪华饭店将会矗立于曼哈顿{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}the ritzy restaurant that would occupy the ground floor of the Manhattan skyscraper.{\r}

70
00:07:58,500 --> 00:08:03,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这幅作品的尺寸将会有500-600平方英尺{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}In exchange for some 500-600 square feet of paintings,{\r}

71
00:08:03,220 --> 00:08:07,090
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他们允诺会支付35000美元作为报酬{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}they agreed to pay Rothko $35,000.{\r}

72
00:08:09,980 --> 00:08:14,810
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这笔钱相当于现在的250万美金{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}That's about two and a half million dollars today.{\r}

73
00:08:14,900 --> 00:08:18,490
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这笔佣金可谓是史无前例的高{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}As commissions go, they didn't come any bigger.{\r}

74
00:08:32,380 --> 00:08:35,810
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}放在其他任何一个画家身上  他们肯定会惊得跳起来{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Anyone else would have jumped at such an offer.{\r}

75
00:08:36,420 --> 00:08:38,010
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是罗斯科没有{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But not Rothko.{\r}

76
00:08:38,100 --> 00:08:42,730
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他再三思量  思量再三{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}He thought long and hard about it, talked to all his friends,{\r}

77
00:08:42,820 --> 00:08:45,890
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}告诉了所有的朋友{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}turned it over and over in his mind.{\r}

78
00:08:45,980 --> 00:08:50,970
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}为什么呢  因为他心里很矛盾  这不仅仅是因为这笔佣金{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Why? Because he was ambivalent, and not just about the commission,{\r}

79
00:08:51,460 --> 00:08:54,290
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}还有美国的资本主义{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}but about American capitalism,{\r}

80
00:08:54,380 --> 00:08:57,890
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}以及自己的美国成功之路{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}about his own American success story.{\r}

81
00:09:09,540 --> 00:09:12,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}1903年他出生于俄罗斯{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Born in Russia in 1903,{\r}

82
00:09:12,220 --> 00:09:15,370
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}后来他说在他孩时的记忆里{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko would later say that as a child he could remember{\r}

83
00:09:15,460 --> 00:09:19,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}当地的哥萨克人最喜欢的事情就是{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}the local Cossacks indulging in their favourite activity...{\r}

84
00:09:24,460 --> 00:09:26,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}痛殴犹太人{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Beating up Jews.{\r}

85
00:09:29,500 --> 00:09:32,170
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}二十世纪最初的几年{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}In the first years of the 20th century,{\r}

86
00:09:32,260 --> 00:09:36,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}正如其他数百万计的其他犹太人一样通过了爱利斯岛 （曾经是美国的移民检查站）{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}America opened its arms to the Rothkowitzes from Dvinsk,{\r}

87
00:09:36,540 --> 00:09:40,010
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}美国也对德文斯克的Rothkowitzes一家张开了怀抱{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}as it did to millions of other Jews coming through Ellis Island{\r}

88
00:09:40,100 --> 00:09:44,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他们来到了一个金色的麦地纳  一座金色的城市{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}to the goldene medina, the golden city.{\r}

89
00:09:50,860 --> 00:09:53,530
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}如今在美国的犹太人分为两种{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Now, there were two kinds of Jews in America,{\r}

90
00:09:53,620 --> 00:09:57,530
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}一部分纵身商海争名逐利{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}those who plunged into the muck and mayhem of business,{\r}

91
00:09:57,620 --> 00:10:00,000
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}一部分恪守旧世界传统{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and those who brought with them from the Old World{\r}

92
00:10:00,100 --> 00:10:02,930
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}细心呵护着心中最宝贵的东西  文化{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}the most precious thing they had, culture.{\r}

93
00:10:08,980 --> 00:10:13,970
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科维兹属于第二种  他是个心怀梦想爱好读书的药剂师{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothkowitz Senior was the second kind. A dreamy, bookish pharmacist,{\r}

94
00:10:14,460 --> 00:10:17,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}与整理账目相比{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}happier talking to his children about Dostoyevsky and Dickens{\r}

95
00:10:17,540 --> 00:10:20,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他更高兴去和自己的孩子们谈论  狄更斯和陀思妥耶夫斯基(俄国小说家){\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}than doing the accounts.{\r}

96
00:10:22,140 --> 00:10:25,840
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他省吃俭用攒下了足够的钱  把小马克斯和家里其他人{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}He scraped enough together to bring little Marcus and the rest of the family{\r}

97
00:10:25,940 --> 00:10:28,570
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}都带离了那个充满苦痛的旧国家{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}out of the miseries of the old country{\r}

98
00:10:28,660 --> 00:10:31,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}六个月后他死于癌症{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and died of cancer six months later.{\r}

99
00:10:32,540 --> 00:10:37,010
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}后来Rothkowitz的孩子们是被他们的母亲安娜带大的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The Rothkowitz children were brought up by their mother, Anna.{\r}

100
00:10:38,780 --> 00:10:43,330
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我知道和他一起长大的这种孩子{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}I knew this kind of kid, grew up with him.{\r}

101
00:10:43,980 --> 00:10:46,050
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他进入希伯来人的学校学习{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}He went to Hebrew school,{\r}

102
00:10:47,700 --> 00:10:51,050
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他如饥似渴的阅读任何一本能得到的书籍{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}read every sort of book he could get his hands on,{\r}

103
00:10:51,660 --> 00:10:55,970
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}闲暇把玩之物不仅有小提琴而且还有曼陀林{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}played not just the violin but the mandolin. Wow.{\r}

104
00:10:58,540 --> 00:11:02,770
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}年长的孩子们称他为chochom  无所不知的人{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Grownups called him a chochom, a know-it-all.{\r}

105
00:11:03,500 --> 00:11:08,360
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}马克天资聪慧  是个心中有梦想的孩子{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Mark was the smart one, the one who was going to make it.{\r}

106
00:11:10,100 --> 00:11:12,560
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他也想让自己的妈妈快乐{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}And he wanted to please his mother.{\r}

107
00:11:13,700 --> 00:11:19,170
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他只是一个受教育充分  感情丰富但很木讷的犹太人{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}He was just your super-educated, ungainly, sentimental Jew,{\r}

108
00:11:20,500 --> 00:11:25,490
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他心中攫有强大的信念理想并渴望与人分享{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}in the grip of mighty ideas and desperate to tell you all about them.{\r}

109
00:11:26,300 --> 00:11:30,570
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他不安的坐在沙发上  挥舞着双臂{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Fidgeting on the sofa and waving his arms around,{\r}

110
00:11:30,600 --> 00:11:34,190
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}伟大的抱负与雄辩的口才是相伴的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}a big heart and a big mouth to match.{\r}

111
00:11:35,920 --> 00:11:37,670
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}你应该知道这种人的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}You know the type.{\r}

112
00:11:38,600 --> 00:11:42,030
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科赢得了一份去耶鲁大学深造的奖学金{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko won a scholarship to Yale University,{\r}

113
00:11:43,200 --> 00:11:48,190
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是耶鲁还不确定是否让一个犹太人入校  所以就规定了一个限额{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}but Yale wasn't even sure it wanted Jews at all and introduced a quota.{\r}

114
00:11:49,320 --> 00:11:54,310
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}于是罗斯科迅速的意识到了  虽然没有身挎长刀的哥萨克人在身旁{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko quickly realised you didn't need a sabre-wielding Cossack{\r}

115
00:11:54,440 --> 00:11:56,110
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}你也能感受到自己并未被人喜爱{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}to feel unloved.{\r}

116
00:12:01,800 --> 00:12:04,030
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}于是他放弃了这份奖学金{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}He dropped out.{\r}

117
00:12:04,120 --> 00:12:08,710
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是他从来都不是那种想成为律师或者股票经纪人的犹太人{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But he never was the kind of Jew who wanted to be a lawyer or a stockbroker.{\r}

118
00:12:09,080 --> 00:12:13,310
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他属于另一种  渴望去创造些什么{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}He was the other kind, the one with the creative itch.{\r}

119
00:12:13,400 --> 00:12:17,150
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他认为艺术会改变世界{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The one who thought art could change the world.{\r}

120
00:12:21,760 --> 00:12:26,590
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}事实正是如此  30年后他更加确信了这一点{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}It's precisely because he really believed this that, 30 years later,{\r}

121
00:12:26,680 --> 00:12:29,830
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他的身心深深的投入到了这份工作中{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}he couldn't walk away from the Seagram job,{\r}

122
00:12:30,600 --> 00:12:33,270
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这可以说是他艺术生涯中面临的最大挑战{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}the greatest challenge of his career.{\r}

123
00:12:38,560 --> 00:12:40,940
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科租下了一个大地方{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko rented a vast space{\r}

124
00:12:41,040 --> 00:12:44,070
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}地点是鲍威利区222号一个旧体育馆{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}at 222 Bowery, in an old gym.{\r}

125
00:13:07,900 --> 00:13:11,370
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}1958春天开工伊始{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}As he started work in the spring of 1958,{\r}

126
00:13:11,460 --> 00:13:17,010
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科把西格拉姆大厦的那面墙壁设想为一种无言的教导{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko envisaged the Seagram murals as a kind of wordless teaching.{\r}

127
00:13:17,100 --> 00:13:20,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}对琐碎的现代生活的一种矫正{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}An antidote to the triviality of modern life.{\r}

128
00:13:30,660 --> 00:13:32,650
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是他们会说些什么呢{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But what could they say?{\r}

129
00:13:36,540 --> 00:13:38,650
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他们又如何去说呢{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}And how could they say it?{\r}

130
00:13:39,500 --> 00:13:43,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}最主要的问题在于这幅作品的尺寸{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}One of the basic problems of the commission was its sheer size.{\r}

131
00:13:43,700 --> 00:13:48,690
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科先前的作品最大也就是成人大小  而且都是私人客户{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Everything that Rothko had done so far had been on a human scale. Personal.{\r}

132
00:13:49,100 --> 00:13:53,050
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是这幅作品是面向公众的  整个曼哈顿都在看着呢{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But this was public. And Manhattan was watching.{\r}

133
00:13:55,140 --> 00:13:58,530
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它可以借此机会实现自身的跨越{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}A picture lives by companionship,{\r}

134
00:14:00,140 --> 00:14:04,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在那些敏锐的参观者眼中悸动复生{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}expanding and quickening in the eyes of the sensitive observer.{\r}

135
00:14:06,380 --> 00:14:08,050
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}同样  它也可能会因此而遭受挫折{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}It dies by the same token.{\r}

136
00:14:10,660 --> 00:14:15,650
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}因此如果把它展示于世人面前{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}It is therefore a risky and unfeeling act{\r}

137
00:14:17,740 --> 00:14:20,010
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这可以说是个危险的举动{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}to send it out into the world.{\r}

138
00:14:22,500 --> 00:14:27,490
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}当他于二十世纪二十年代又回到这里时  当然没有人注意到{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}When he arrived here back in the 1920s, of course, no one noticed.{\r}

139
00:14:27,900 --> 00:14:32,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他只不过是又一个在爵士时代的纽约不为人知的灵魂{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}He was just another lost soul in jazz-age New York.{\r}

140
00:14:32,700 --> 00:14:36,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是当时他并没有颓废沉沦{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But then, he wasn't really into bootleg and boogie-woogie.{\r}

141
00:14:36,700 --> 00:14:39,770
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}更像马克思和莫扎特{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}More like Marx and Mozart,{\r}

142
00:14:39,860 --> 00:14:43,770
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他心中有种冲动  要做些与现代世界有关的事情{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}he was burning to do something about the modern world.{\r}

143
00:14:43,860 --> 00:14:47,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}与伯克利城市氛围相违的事情{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Something in the opposite mood to Busby Berkeley.{\r}

144
00:14:49,000 --> 00:14:52,390
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科曾于1923年来到纽约{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko had come to New York in 1923{\r}

145
00:14:52,480 --> 00:14:56,910
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}对此他后来描述道是“带着饿扁的肚子四处徘徊游荡”{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}to ''wander around, bum about, and starve a bit,'' he later said.{\r}

146
00:14:59,720 --> 00:15:03,470
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他加入了一个艺术团体来补贴生活之用{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}He enrolled in an art class and, to make ends meet,{\r}

147
00:15:03,560 --> 00:15:06,510
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在一个犹太人社区中心给孩子们上课{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}taught kids at a Jewish community centre.{\r}

148
00:15:08,240 --> 00:15:12,870
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}当他站在位于布鲁克林的教室里  一切看起来挺容易的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}When he stood in the Brooklyn classroom, it all seemed so easy.{\r}

149
00:15:12,960 --> 00:15:15,910
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他告诉孩子们不要太在意规则{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}He'd tell the children not to mind the rules.{\r}

150
00:15:16,000 --> 00:15:20,710
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他说绘画应该像歌唱一样自然  它应该与音乐是相通的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Painting, he said, was as natural as singing. It should be like music.{\r}

151
00:15:20,800 --> 00:15:23,950
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是当他开始尝试时  结果却差强人意{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But when he tried, it came out as a croak.{\r}

152
00:15:26,760 --> 00:15:30,710
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这是一份棘手且痛苦的想象力工作{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}It's the work of a painfully knotted imagination.{\r}

153
00:15:32,160 --> 00:15:36,590
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}麻烦在于他在做的事情是孩子们没有做过的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The trouble is he was doing something the children didn't do,{\r}

154
00:15:36,680 --> 00:15:39,060
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}那想象起来太困难了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}thinking too hard.{\r}

155
00:15:39,160 --> 00:15:41,720
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}所以  他涉足了表现主义{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}So, he dabbled in expressionism.{\r}

156
00:15:42,600 --> 00:15:44,350
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}浓厚的黑色颜料{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}hick dark paint.{\r}

157
00:15:44,350 --> 00:15:46,420
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}粗犷的线条{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Sketchy lines.{\r}

158
00:15:47,000 --> 00:15:49,380
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}不  这不太好{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}No, not very good.{\r}

159
00:15:53,700 --> 00:15:55,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这些树根抓的是什么?{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''What are the roots that clutch"{\r}

160
00:15:55,700 --> 00:15:59,730
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}从这些乱糟糟的东西上面伸展出来的又是什么？{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''What branches grow out of this stony rubbish?"{\r}

161
00:15:59,820 --> 00:16:03,250
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}孩子啊  你们说不上来也猜不出{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''Son of man, you cannot say or guess"{\r}

162
00:16:03,340 --> 00:16:07,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}因为看到的只是一堆支离破碎的图画{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''For you know only a heap of broken images, where the sun beats"{\r}

163
00:16:08,060 --> 00:16:12,330
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}阳光所及之处  那棵死树的枝丫光秃秃的  也没有给蟋蟀提供庇护的场所{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''And the dead tree gives no shelter, the cricket no relief"{\r}

164
00:16:12,420 --> 00:16:15,730
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}干涸的石头  没有水流的迹象{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''And the dry stone no sound of water. ''{\r}

165
00:16:17,620 --> 00:16:19,290
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科的“地下铁系列”{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The Subway series{\r}

166
00:16:19,380 --> 00:16:23,210
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}是不经意间首次引起人们注意的作品{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}were the first paintings by Rothko that catch you off-guard.{\r}

167
00:16:24,140 --> 00:16:29,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}作品里充满了TS.艾略特的“Waste Land”中冷漠的男女形象{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Full of the bleak alienation of men and women in TS Eliot's Waste Land,{\r}

168
00:16:29,460 --> 00:16:32,850
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他们都表现出了明显的陌生感{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}they have a compelling strangeness.{\r}

169
00:16:33,180 --> 00:16:35,410
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他捕捉到了都市日常生活的一瞥{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}He took an everyday urban scene{\r}

170
00:16:35,500 --> 00:16:38,970
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}然后承载以冷淡的情感{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and loaded it with a clammy sensation of doom.{\r}

171
00:16:41,020 --> 00:16:43,320
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这些来自布鲁克林的往返者{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Are these commuters from Brooklyn{\r}

172
00:16:43,420 --> 00:16:46,930
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}或者游荡的灵魂难道是陷入了炼狱之中{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}or wandering souls trapped in purgatory?{\r}

173
00:16:47,020 --> 00:16:51,570
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}俄耳甫斯(太阳神阿波罗之子){\r}
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}正在四等列车上寻找欧律狄斯(俄耳甫斯之妻){\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Orpheus looking for Eurydice on the uptown D train.{\r}

174
00:16:53,380 --> 00:16:57,530
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}地下铁的建筑构造  合着一列列悲伤的柱子{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The architecture of the subway, with its mournful rows of columns,{\r}

175
00:16:57,620 --> 00:16:59,850
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}阻碍了他的视线{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}snagged his attention.{\r}

176
00:17:01,020 --> 00:17:05,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是从色调来看  真正的行动还在继续{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But the real action is going on with the colours themselves.{\r}

177
00:17:05,580 --> 00:17:09,690
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}站台的边缘是醒目的深红色{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Look at the platform edge, that brilliant crimson smear,{\r}

178
00:17:09,780 --> 00:17:14,210
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}当罗斯科施展颜色表现方式时你会明白他的用意{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and you can see what Rothko meant when he called his colours performers.{\r}

179
00:17:19,220 --> 00:17:22,970
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这是一场生动的启程{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}It was a dramatic departure but getting there as a painter{\r}

180
00:17:23,060 --> 00:17:26,410
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是作为一名画家  到达终点却要花费20年{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}would take him another 20 years.{\r}

181
00:17:36,780 --> 00:17:40,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}1958年  在工作进行了3个月后{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}In 1958, three months into the Seagram commission,{\r}

182
00:17:40,940 --> 00:17:42,810
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科作了一场演讲{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko gave a lecture.{\r}

183
00:17:43,220 --> 00:17:46,170
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这是他最后一次阐述他对艺术的理解{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}It was the last time he'd have anything to say about art{\r}

184
00:17:46,260 --> 00:17:51,120
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}同样这也是我们对他是如何看待自己作品最真切的了解{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and it's the closest insight we have as to how he saw his painting.{\r}

185
00:17:54,420 --> 00:17:59,360
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}作品的悲剧性主题{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The tragic notion of the image{\r}

186
00:18:01,500 --> 00:18:03,730
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}经常萦绕在我的脑海里{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}is always present in my mind.{\r}

187
00:18:10,820 --> 00:18:12,770
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我不太能说的上来{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}I can't point it out.{\r}

188
00:18:14,780 --> 00:18:17,160
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}因为那里没有太过确切的东西{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}There are no skull and bones.{\r}

189
00:18:27,740 --> 00:18:30,170
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他说道  艺术最基本的问题{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''The whole problem of art,'' he said,{\r}

190
00:18:30,260 --> 00:18:35,770
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}是关于在这个特别的文明中建立人类的价值观{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''is to establish human values in this specific civilisation.''{\r}

191
00:18:36,220 --> 00:18:41,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他否认自己的作品与心理上  启示性或者内部因素有关{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Denying there was anything psychological or internal or revelatory about his work,{\r}

192
00:18:41,220 --> 00:18:45,410
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他说道  不  不  这是关于世界的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}he said, ''No, no. It's about and of the world.''{\r}

193
00:18:45,900 --> 00:18:49,490
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}然后从感性到讽刺再到死亡等方面{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Then he went on to list all the ingredients that make up a Rothko painting{\r}

194
00:18:49,580 --> 00:18:53,490
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他罗列出了罗斯科式作品的所有组成元素{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}from sensuality through irony to death.{\r}

195
00:18:53,580 --> 00:18:58,290
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他说道  当我创作的时候  一种悲剧性的感觉时常伴随着我{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''A sense of the tragic,'' he said, ''is always with me when I paint.''{\r}

196
00:19:12,500 --> 00:19:17,490
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}正是对人类悲剧的这种无法忍受的沉重感觉{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}And it was this unbearably weighty feeling for human tragedy{\r}

197
00:19:17,900 --> 00:19:22,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}令罗斯科把它表现在了作品之中{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}that Rothko wanted to bring into the Four Seasons.{\r}

198
00:19:26,500 --> 00:19:32,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我只对如何表现人类最基本的情感感兴趣{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}I'm interested only in expressing basic human emotions.{\r}

199
00:19:32,620 --> 00:19:36,050
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}悲剧  狂喜  厄运等等{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Tragedy, ecstasy, doom and so on.{\r}

200
00:19:37,100 --> 00:19:39,810
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}而且有些看了我的作品的人们{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}And the fact that people break down{\r}

201
00:19:39,900 --> 00:19:42,730
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}会感到崩溃并放声大哭{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and cry when confronted with my pictures{\r}

202
00:19:44,100 --> 00:19:48,770
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这表明我传达出了那些最基本的人类情感{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}shows that I communicate those basic emotions.{\r}

203
00:19:57,380 --> 00:20:00,850
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是对于罗斯科来说艺术之路却充满坎坷{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But it always had been uphill for Rothko.{\r}

204
00:20:00,940 --> 00:20:05,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在纽约  三十年代确实不是艺术家的黄金时期{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The '30s hadn't exactly been the best time to be an artist in New York.{\r}

205
00:20:07,820 --> 00:20:12,810
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}那里没有适合画家的一个市场氛围{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Not much of a market for painters, struggling or otherwise.{\r}

206
00:20:19,000 --> 00:20:22,350
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他去现代艺术博物馆观看每一次展览{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}With every show he went to at the Museum of Modern Art,{\r}

207
00:20:22,440 --> 00:20:27,190
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}36岁的达达  39岁的毕加索{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Dada in '36, Picasso in '39,{\r}

208
00:20:27,280 --> 00:20:32,030
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这些现代主义艺术大师令他感到气馁踌躇{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}the modern masters made him feel worse, floundering.{\r}

209
00:20:32,960 --> 00:20:35,470
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}除了马蒂斯的红色工作室{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Only Matisse's Red Studio,{\r}

210
00:20:35,560 --> 00:20:40,070
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}当时是1949年  最终他内心某处的开关被打开了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}which he saw in 1949, finally switched something on.{\r}

211
00:20:41,880 --> 00:20:44,630
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}也许这与马蒂斯所做的有关{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Maybe it had something to do with what Matisse did{\r}

212
00:20:44,720 --> 00:20:48,150
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}因为马蒂斯把色彩从某些特殊物体上解放出来了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}to liberate colour from specific objects.{\r}

213
00:20:48,240 --> 00:20:51,710
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}事物不再有颜色  绘画也是如此{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Things no longer have a colour, the painting does.{\r}

214
00:20:52,800 --> 00:20:54,830
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是回溯到三十年代{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But back in the '30s,{\r}

215
00:20:54,920 --> 00:20:58,870
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科仍然得绞尽脑汁去创作这件作品{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko was still thinking too hard to paint like this.{\r}

216
00:21:01,200 --> 00:21:05,670
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他并没有依自己的直觉行事  而是到书本中寻求解答{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Instead of following his instinct, he went back to his books.{\r}

217
00:21:05,760 --> 00:21:10,590
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}希腊悲剧  莎士比亚悲剧  尼采的“悲剧的诞生”{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Greek tragedy, Shakespearean tragedy, Nietzsche's Birth of Tragedy.{\r}

218
00:21:10,680 --> 00:21:16,310
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}烟雾缭绕中  他搜寻着伟大构思的每一个组件{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Great monolithic slabs of the big ideas he chain-smoked his way through.{\r}

219
00:21:16,400 --> 00:21:19,940
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}然后他尝试着去找到那种悲剧残忍性的感觉{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}And then he tried to get the sense of tragic brutality,{\r}

220
00:21:20,040 --> 00:21:23,230
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这也是人类一而再再而三在做的事情{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}this is what humans do over and over again,{\r}

221
00:21:23,320 --> 00:21:25,230
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这一起都表现在了画布上{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}down on canvas.{\r}

222
00:21:28,000 --> 00:21:31,750
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我们很容易就能在这些图画中找到悲剧元素{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}No problem finding the tragic in these pictures.{\r}

223
00:21:34,360 --> 00:21:38,590
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}神化与怪兽  叙利亚公牛  埃及雄鹰{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Myths and monsters, Syrian bulls, Egyptian hawks,{\r}

224
00:21:38,680 --> 00:21:43,390
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}嘶嘶作响的半人半兽边爬边啄{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}half-men, half-beasts slither, hiss and peck,{\r}

225
00:21:43,640 --> 00:21:45,630
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}就像一件古老的法兰绒{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}like an ancient frieze.{\r}

226
00:21:48,440 --> 00:21:52,950
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}屠杀  祭祀  挖心掏肺{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Slaughter, sacrifice and disembowelment by the yard.{\r}

227
00:22:00,720 --> 00:22:04,990
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是罗斯科在死亡之地的考古之旅{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But Rothko's archaeological excursions in the land of the dead{\r}

228
00:22:05,080 --> 00:22:08,150
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}被现实世界发生的事情打乱了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}were overtaken by the real world.{\r}

229
00:22:20,560 --> 00:22:22,350
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}战争爆发了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The war happened.{\r}

230
00:22:27,800 --> 00:22:31,630
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但这并没有影响到罗斯科{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Not for Rothko, classified 4F,{\r}

231
00:22:31,720 --> 00:22:35,310
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他因为高度近视而不适合服役{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}unfit for service due to acute short-sightedness.{\r}

232
00:22:37,280 --> 00:22:41,230
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是罗斯科意识到对于艺术来说  这次冲突就像一个十字路口{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But Rothko knew the conflict was a crossroads for art.{\r}

233
00:22:53,760 --> 00:22:57,460
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}现代文明面临被消灭的危险{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}With civilisation facing annihilation,{\r}

234
00:22:57,560 --> 00:23:02,230
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}美国必须要站出来把西方文明从法西斯的魔爪中拯救出来{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}it was up to America to save Western culture from fascism.{\r}

235
00:23:02,320 --> 00:23:06,590
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}美国不仅要庇护来自欧洲的艺术家{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Not just by offering safe haven to refugee painters from Europe,{\r}

236
00:23:08,320 --> 00:23:12,150
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}而且还要拿出英勇的新的行动{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}but by doing something brave, something fresh,{\r}

237
00:23:12,720 --> 00:23:15,910
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}而且这些行动要跟得上当时的时代{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}something equal to the times.{\r}

238
00:23:17,960 --> 00:23:22,190
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但这是说着容易做起来难  而且美国已经说的够多了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Easier said, and they said it a lot, than done.{\r}

239
00:23:23,600 --> 00:23:26,950
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}巴内特.纽曼是罗斯科最亲近的朋友之一{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Barnett Newman, one of Rothko's closest friends,{\r}

240
00:23:27,040 --> 00:23:32,230
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他发表了另一个宣言  总结了一条整个艺术团体认为的道路{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}issues another manifesto that sums up the way the group felt.{\r}

241
00:23:32,640 --> 00:23:36,750
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他说道  在世界废墟上发生的这场道德危机中{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''In the moral crisis of a world in shambles,'' he says,{\r}

242
00:23:36,840 --> 00:23:40,540
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}已经不再有什么可能性仍去绘画旧的事物{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''it was no longer possible to go on painting the old stuff."{\r}

243
00:23:40,640 --> 00:23:43,590
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}比如花朵裸体之类的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''Flowers, reclining nudes.''{\r}

244
00:23:43,680 --> 00:23:48,190
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}所以纽曼封笔不再创作  时间长达四年之久{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}So Newman just gives up painting, for four years.{\r}

245
00:24:35,040 --> 00:24:37,500
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}到了1959年的春天{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}By the spring of 1959,{\r}

246
00:24:37,600 --> 00:24:41,380
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科差不多已经完成了“西格拉姆”的订单{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko had almost completed work on the Seagram job.{\r}

247
00:24:48,600 --> 00:24:53,190
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}由于精力几近耗竭{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Exhausted by his endeavour, he took a three-month vacation to Europe{\r}

248
00:24:53,280 --> 00:24:55,430
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他携妻女去欧洲度了三个月假{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}with his wife and daughter.{\r}

249
00:25:06,360 --> 00:25:08,630
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我们可以从已经发表的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}We get an insight into how he was feeling{\r}

250
00:25:08,720 --> 00:25:12,550
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他在跨大西洋班机的酒吧中{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}from a reported conversation he had at the bar{\r}

251
00:25:12,640 --> 00:25:14,940
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}进行的一次谈话中了解他内心的感受{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}on the transatlantic ocean liner.{\r}

252
00:25:15,040 --> 00:25:20,030
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他再次以“狗娘养的”去称呼那些鄙视自己作品的人{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}He railed against the ''sons of bitches'' who'd be dining beneath his art,{\r}

253
00:25:20,280 --> 00:25:24,230
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}希望自己的作品令他们食欲不振{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}hoped his paintings would ruin their appetite.{\r}

254
00:25:24,320 --> 00:25:29,110
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}渐渐的  他开始把这件作品当作是一场斗剑决斗{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Increasingly, he'd come to see the commission as a gladiatorial contest,{\r}

255
00:25:29,200 --> 00:25:31,950
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}马克 VS 曼哈顿{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Mark versus Manhattan.{\r}

256
00:25:36,500 --> 00:25:42,600
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}长久以来  罗斯科一直希望能给自己的作品注入那些前辈大师们的情感力量{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko had always wanted to give his paintings the emotional force of the old masters.{\r}

257
00:25:44,340 --> 00:25:49,250
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在先前1950年的那次欧洲之旅中  他游遍了欧洲{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}On a previous trip to Europe in 1950, he'd done the grand tour.{\r}

258
00:25:49,340 --> 00:25:55,850
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在佛罗伦萨  他参观的某个地方激发了创作西格拉姆大厦壁画的主要灵感{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}And in Florence, he'd visited what was to be a major inspiration for the Seagram murals.{\r}

259
00:25:55,940 --> 00:25:59,890
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在圣洛伦佐教堂里的米开朗基罗图书馆{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Michelangelo's library in the Church of San Lorenzo.{\r}

260
00:26:11,300 --> 00:26:14,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在我工作了一段时间以后{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}After I'd been at work for some time,{\r}

261
00:26:14,220 --> 00:26:19,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我意识到在潜意识中{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}I realised that I was much influenced subconsciously{\r}

262
00:26:19,220 --> 00:26:24,010
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我深深的受到了那座中世纪图书馆{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}by Michelangelo's walls in the staircase room{\r}

263
00:26:24,620 --> 00:26:27,690
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}楼梯间中米开朗基罗创作的壁画的影响{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}of the Medicean library in Florence.{\r}

264
00:26:29,420 --> 00:26:34,090
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他所达到的正是我所苦苦追寻的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}He achieved just the kind of feeling I'm after.{\r}

265
00:26:36,540 --> 00:26:38,840
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他令那些参观者感受到了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}He makes the viewers feel{\r}

266
00:26:38,940 --> 00:26:43,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他们被困在一个房间里  那里的门窗都被砖块封住了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}they are trapped in a room where all the doors and windows are bricked up.{\r}

267
00:26:44,980 --> 00:26:48,680
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}所以他们能做的只有拿自己的头去撞墙{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}So all they can do is butt their heads against the wall{\r}

268
00:26:50,460 --> 00:26:51,730
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}永远{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}forever.{\r}

269
00:26:57,300 --> 00:27:01,410
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这种感觉正是罗斯科想要带给{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}That was the feeling Mark Rothko wanted to give to the people{\r}

270
00:27:01,500 --> 00:27:05,250
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}那些将在曼哈顿最漂亮的饭店里用餐的那些观众的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}who'd soon be eating in Manhattan's smartest restaurant.{\r}

271
00:27:08,000 --> 00:27:12,230
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科以及纽约的其他艺术家们审视着美国{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko and the other New York artists looked at America{\r}

272
00:27:12,360 --> 00:27:17,350
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他们发现了一个嵌于炸弹政策与超级市场之间的国家{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and found a country caught between the bomb and the supermarket,{\r}

273
00:27:17,350 --> 00:27:20,100
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}朝鲜战争以及冷战{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Korea and the Cold War,{\r}

274
00:27:20,910 --> 00:27:23,660
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}性格偏执  精神涣散{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}paranoia and distraction.{\r}

275
00:27:25,750 --> 00:27:29,580
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这是一个人为制造的不真实的生活方式{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}It was an unreal, manufactured way of life.{\r}

276
00:27:31,070 --> 00:27:34,590
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}所以他们的作品必须得做出反击{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}So their paintings would fight back.{\r}

277
00:27:34,950 --> 00:27:38,390
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他们要把人们与{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}They'd reconnect people with physical reality,{\r}

278
00:27:37,570 --> 00:27:41,780
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}真实的自然界以及人类何以为人类的真相重新联系起来{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}with the truth of what it was to be human.{\r}

279
00:27:41,950 --> 00:27:45,150
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}而且他们的行事方式也是全新的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}And they'd do it in a totally new way.{\r}

280
00:27:49,030 --> 00:27:52,860
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科说道  经历了大屠杀和原子弹爆炸{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''After the Holocaust and the atom bomb,'' Rothko said,{\r}

281
00:27:52,950 --> 00:27:56,990
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}你就不能去绘画那些肢体健全的人们的形象{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''you couldn't paint figures without mutilating them.''{\r}

282
00:27:57,070 --> 00:28:00,300
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}那么  能否只用颜色和形状{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}So, could just colours and shapes{\r}

283
00:28:00,390 --> 00:28:03,110
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}就能像米开朗基罗那样去感动人们呢{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}move us the way Michelangelo had?{\r}

284
00:28:04,510 --> 00:28:08,630
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}De Kooning  Pollock以及罗斯科都是这么认为的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}De Kooning, Pollock and Rothko all certainly thought so,{\r}

285
00:28:08,710 --> 00:28:14,630
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他们都舍弃了把事物作为创作的主体  而是去争取一个全新的纯粹的感情表达方式{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}abandoning painting things to strive for a new, pure expression of feeling.{\r}

286
00:28:21,830 --> 00:28:24,950
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它们极具视觉效果  且带有一定的启示性{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}At once visionary and revelatory,{\r}

287
00:28:25,030 --> 00:28:27,750
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在艺术历史中还从没有出现过类似的情况{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and like nothing in the history of art,{\r}

288
00:28:27,830 --> 00:28:31,190
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}于是一个崭新的艺术形式出现了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}a new world on the canvas.{\r}

289
00:28:33,500 --> 00:28:37,330
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}当这些作品在二十世纪五十年代于曼哈顿首次展出时{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}When they were first shown in Manhattan in the 1950s,{\r}

290
00:28:37,420 --> 00:28:40,970
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在人们眼中{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}these big, spellbinding paintings were immediately recognised{\r}

291
00:28:41,060 --> 00:28:44,410
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这些极具迷惑性的大幅作品立刻被当作了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}as a body of work that made the case for{\r}

292
00:28:44,500 --> 00:28:48,040
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}美国绘画艺术新的诠释方式{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}American painting in an utterly new way.{\r}

293
00:28:48,140 --> 00:28:52,050
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它表现的情绪激荡人心  令人欲罢不能{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Emotionally stirring, sensuously addictive.{\r}

294
00:29:01,420 --> 00:29:06,010
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}悬挂的画布上布满了对比强烈的各色条块{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Big vertical canvases of contrasting bars of colour.{\r}

295
00:29:08,980 --> 00:29:12,930
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它们依次向上层层叠加{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Panels of colour stacked up on top of each other,{\r}

296
00:29:13,020 --> 00:29:14,810
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}闪着微光  生机勃勃{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}shimmering, glowing,{\r}

297
00:29:15,780 --> 00:29:20,570
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}渐渐的把你引入某种深邃且不确定的巍巍发光的远处{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}beckoning you into some sort of deep, undefined radiant yonder.{\r}

298
00:29:22,300 --> 00:29:27,290
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}就像他心目中的两个偶像伦勃朗和特纳{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko had become the maker of paintings as powerful and complicated{\r}

299
00:29:27,460 --> 00:29:32,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科也能够使绘画构图错综复杂且拥有强大的力量{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}as anything by his two gods, Rembrandt and Turner.{\r}

300
00:29:35,340 --> 00:29:39,930
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}对于我来说  他已经可以与那些大师前辈比肩而立了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}For me, these paintings are the equivalent of those old masters.{\r}

301
00:29:40,020 --> 00:29:45,650
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}就像先辈大师的作品一样  这些作品也散发出了一个奇妙的力场{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Like them, they emanate an uncanny force field, so strongly magnetic{\r}

302
00:29:46,180 --> 00:29:49,010
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这个富有吸引力的立场是如此的强大  以至于当你要转身离去的时候{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}that when you turn your back on them or leave the room,{\r}

303
00:29:49,100 --> 00:29:52,090
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}你仍然能感到它们的存在{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}you can still sense their presence.{\r}

304
00:29:54,820 --> 00:29:59,530
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在1949年  这种抒发感情的新式语言突然安静了下来{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Quite suddenly, in 1949, the new language of feeling{\r}

305
00:29:59,620 --> 00:30:02,850
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科已经苦苦探索了20年{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko had been groping towards for two decades{\r}

306
00:30:02,940 --> 00:30:05,850
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}最终他找到了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}finally revealed itself.{\r}

307
00:30:09,900 --> 00:30:12,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}对于欧洲的旧的艺术世界{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}To the Old World of art, Europe,{\r}

308
00:30:12,220 --> 00:30:16,210
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在那里现代主义的先锋人物  如萨尔瓦多.达利  毕加索{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}where the veterans of modernism, Salvador Dali, Picasso,{\r}

309
00:30:16,300 --> 00:30:20,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他们仍旧在现代主义的道路上磨磨蹭蹭  影响日渐衰微{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}were still pottering around to ever less effect,{\r}

310
00:30:20,220 --> 00:30:23,410
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}而罗斯科的作品{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko's paintings seemed to give the lie{\r}

311
00:30:23,500 --> 00:30:27,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}则令那些谴责美国文化浅陋的人都闭上了嘴{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}to anyone accusing American culture of shallowness.{\r}

312
00:30:28,260 --> 00:30:34,250
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}因为无论这些作品代表什么东西  它们都非常深刻而富有内涵{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}For whatever else these throbbing paintings were, they were unmistakably deep.{\r}

313
00:30:38,340 --> 00:30:41,850
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这完全是罗斯科的原创{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko had accomplished something utterly original.{\r}

314
00:30:44,100 --> 00:30:48,370
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这并不是作品的颜色赋予了作品意义{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}It's not what the colours are that makes the paintings work on our senses,{\r}

315
00:30:49,900 --> 00:30:52,810
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这应该是罗斯科的功劳{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}it's what Rothko makes them do.{\r}

316
00:30:55,540 --> 00:31:00,530
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}然而初次看上去  这些作品显得如此的沉静{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}While at first sight these paintings seem so still and composed,{\r}

317
00:31:00,660 --> 00:31:04,170
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是如果认真看了一阵子  你会发现这些作品发生了变化{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}hang around for a moment and you'll see they're anything but.{\r}

318
00:31:04,300 --> 00:31:08,730
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它们仿佛在运动  看起来在呼吸起伏{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}They're in motion, they seem to swell and breathe,{\r}

319
00:31:08,820 --> 00:31:12,290
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}就像在风中胀满了的风帆{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and fill like sails catching the wind.{\r}

320
00:31:12,380 --> 00:31:16,330
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它们并不是被动的等待观众来欣赏{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}They're not paintings that just dumbly wait to be watched.{\r}

321
00:31:16,980 --> 00:31:18,890
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它们是有目的而来  而目标就是我们这些观众{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}They come and get us.{\r}

322
00:31:18,980 --> 00:31:23,290
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}而我们则处于它们的包围之中{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}And we surrender to total immersion.{\r}

323
00:31:35,780 --> 00:31:40,210
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科在谈话的时候经常像一个超越人类认识的哲人一样{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Often talked about as some kind of transcendental philosopher,{\r}

324
00:31:40,300 --> 00:31:44,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科从来都不认为自己的作品属于神秘主义{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko was at pains to deny ever being a mystic.{\r}

325
00:31:44,820 --> 00:31:48,570
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他说道  不  我给予你们的  我所爱的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''No,'' he said, ''what I'm giving you, what I love,"{\r}

326
00:31:48,660 --> 00:31:50,850
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}是我的人生体验{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''is material experience,"{\r}

327
00:31:50,940 --> 00:31:55,170
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}是对这个多彩世界的认知感觉{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''the sensuousness of the world in all its richness.''{\r}

328
00:31:58,780 --> 00:32:01,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}而且这些吸引人眼球的手段并没有起什么作用{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}And none of this tantalising of the eye{\r}

329
00:32:01,540 --> 00:32:06,530
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}因为在所有的画家中  罗斯科的作品边缘并不是最模糊粗糙的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}would work had Rothko not been the most soft-edged of all painters.{\r}

330
00:32:08,740 --> 00:32:12,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这些作品粗糙的边缘是多么的重要啊{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Look at how important those ragged borders are.{\r}

331
00:32:12,700 --> 00:32:15,410
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在作品的边缘地带{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Both at the perimeter of the whole picture,{\r}

332
00:32:15,500 --> 00:32:20,570
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}以及作品里面割裂的各个部分的边缘{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and in those torn seams he cuts between the big colour zones.{\r}

333
00:32:23,540 --> 00:32:27,570
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}内部发出的光亮  神秘而有力{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}That inner light, mysterious and potent.{\r}

334
00:32:27,660 --> 00:32:32,650
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}当人们注视着它长达数小时后  他们心中再无旁物{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}When people beheld it, for hours they could hold nothing else in their mind's eye.{\r}

335
00:32:40,900 --> 00:32:47,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}1954-1957三年间罗斯科的作品价格涨了两倍{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Between 1954 and 1957, the prices for Rothko's paintings trebled.{\r}

336
00:32:47,700 --> 00:32:50,770
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}当初作为他的工作室的那间博物馆{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The big museums down the street from his studio,{\r}

337
00:32:50,860 --> 00:32:53,240
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在20世纪30年代他曾经在那里工作{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}that he'd attacked in the 1930s,{\r}

338
00:32:53,340 --> 00:32:56,250
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}如今也想得到与他有关的一些东西{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}now all wanted a piece of him.{\r}

339
00:32:56,340 --> 00:33:00,490
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}那些喜欢收藏美国现代主义大师的作品的人们{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Buyers who were busy creating collections of modern American masters,{\r}

340
00:33:00,580 --> 00:33:03,730
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}就像拥有Pollock、de Kooning和Kline的作品一样{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}now had to have a Rothko{\r}

341
00:33:03,820 --> 00:33:07,410
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}如今也得拥有罗斯科的作品才算得上是名副其实{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}along with their Pollocks, their de Koonings and their Klines.{\r}

342
00:33:07,500 --> 00:33:12,490
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}那么  这样就意味着罗斯科最终可以休息放松一下了吗{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}So, did this mean that Mark Rothko finally could relax a little?{\r}

343
00:33:12,700 --> 00:33:16,400
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在成功的光环下晒晒太阳吗  他才不会呢{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Bask in the glow of his success? Did it hell!{\r}

344
00:33:20,780 --> 00:33:25,770
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}对于他来说他的作品并不是镇静催眠剂  这一点非常重要{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}It was vital to him that his pictures were not sedatives.{\r}

345
00:33:26,220 --> 00:33:30,210
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在20世纪50年代  人们经常相互告知要放松修养{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}In the 1950s, people were always being told to relax.{\r}

346
00:33:30,300 --> 00:33:34,080
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是罗斯科并不想让自己的作品成为一种按摩{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Well, Rothko didn't want his pictures to be like a massage.{\r}

347
00:33:34,180 --> 00:33:37,010
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他认为自己的作品起到的作用恰恰相反{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}They were, he said, the opposite of restful.{\r}

348
00:33:37,100 --> 00:33:41,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}展现悲剧  暴力  牺牲{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Tragic performances, violent, sacrificial,{\r}

349
00:33:41,220 --> 00:33:45,890
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}激发关于厄运和狂喜的最基本的情感{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}evoking the most extreme sensations of doom and ecstasy.{\r}

350
00:33:48,580 --> 00:33:53,570
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他并不为学生或者历史学家绘画{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}One does not paint for design students or historians{\r}

351
00:33:53,900 --> 00:33:55,770
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}而是为了人类{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}but for human beings.{\r}

352
00:33:56,700 --> 00:33:57,810
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}呣？{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Hmm?{\r}

353
00:34:03,460 --> 00:34:07,290
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}而且人们观看作品后的反应{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}And the reaction in human terms{\r}

354
00:34:07,860 --> 00:34:12,850
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}才是唯一能使艺术家满足的东西{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}is the only thing that is really satisfactory to the artist.{\r}

355
00:34:25,860 --> 00:34:28,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我想他最害怕的事情莫过于{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}I think what he feared most of all{\r}

356
00:34:28,220 --> 00:34:31,250
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}被告知他的作品看起来是多么的美丽{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}was to be told how very beautiful his pictures were,{\r}

357
00:34:31,340 --> 00:34:35,370
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}即使这些作品的确很美丽{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}even though they were, and are, exactly that.{\r}

358
00:34:39,140 --> 00:34:43,850
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}因为这“B”字母打头的单词就像敲响了一盏警钟{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Because the ''B'' word rang alarm bells that they might be treated as no more{\r}

359
00:34:43,940 --> 00:34:47,090
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它意味着人们会把这些作品当作富人的私人装饰品来看待{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}than interior decoration for the rich.{\r}

360
00:35:25,540 --> 00:35:28,850
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}那些看了我的作品会哭泣的人们{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The people who weep before my paintings{\r}

361
00:35:31,460 --> 00:35:36,250
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}体验到了当我创作这些作品时自身的体验{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}are having the same religious experience I had when I painted them.{\r}

362
00:35:38,000 --> 00:35:42,990
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}那么关于这份西格拉姆大厦内部装饰的合约{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}So, what was he doing, signing up for the ultimate job in interior decoration,{\r}

363
00:35:43,640 --> 00:35:46,950
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他究竟为四季餐厅创作了什么样的作品呢{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}supplying paintings to the Four Seasons restaurant?{\r}

364
00:35:47,040 --> 00:35:48,550
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}关于这个地方  他是这样描述的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The place where he said,{\r}

365
00:35:48,640 --> 00:35:53,070
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}纽约最富有的私生子将会到那里进餐炫耀{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''The richest bastards in New York would come to feed and show off.''{\r}

366
00:35:53,840 --> 00:35:58,510
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这算得上是对自己一惯坚持的原则的一次背叛吗{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Was it a shameful sellout of all his most adamantly held principles?{\r}

367
00:35:58,680 --> 00:36:02,190
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}或者实际上说是罗斯科扔下防护手套说道（前面有决斗一说）{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Or was Rothko, in effect, throwing down the gauntlet,{\r}

368
00:36:02,280 --> 00:36:05,070
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}好吧  把这个吃了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}saying, ''Right, eat this!''{\r}

369
00:36:08,880 --> 00:36:13,820
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}如今  四季餐厅并不是富人阶层胡吃海喝挥霍炫耀的地方{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Now the Four Seasons isn't just a guzzling trough for the Tiffany classes.{\r}

370
00:36:14,000 --> 00:36:16,710
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这个餐厅占据了整幢大厦的第一层{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}It occupies the ground floor of a skyscraper{\r}

371
00:36:16,800 --> 00:36:20,470
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}其设计者是大家喜爱的国际风格现代主义大师{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}designed by the darling of the modernist International Style,{\r}

372
00:36:20,560 --> 00:36:22,150
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}密斯·凡·德·罗{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Mies van der Rohe.{\r}

373
00:36:23,120 --> 00:36:25,680
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}不管你会对西格拉姆大厦说什么{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Whatever else you can say about the Seagram Building,{\r}

374
00:36:25,760 --> 00:36:30,070
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这里是加拿大饮料巨头的公司总部{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}the corporate headquarters of the Canadian liquor giant,{\r}

375
00:36:30,160 --> 00:36:31,750
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}你怎么也不会说它庸俗{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}it isn't vulgar.{\r}

376
00:36:34,560 --> 00:36:39,550
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它苗条的身材  锐利的边缘  在曼哈顿繁华区鹤立鸡群{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Slender and razor sharp, the building broods over midtown Manhattan.{\r}

377
00:36:43,000 --> 00:36:46,070
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}而在大厦内部的四季餐厅{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Inside, the Four Seasons itself,{\r}

378
00:36:46,160 --> 00:36:51,180
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}半陷落的地板  无花果树  波光粼粼的水池以及现代主义风格的家具{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}its half-sunken floor, fig trees, reflecting pools and modernist furniture{\r}

379
00:36:51,760 --> 00:36:55,990
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}隐隐的带有些许新古典主义风格{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}aspire to a kind of understated Neo-classicism.{\r}

380
00:36:57,680 --> 00:37:00,630
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}一座透着时尚的都市别墅{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}An urban villa for the Vogue set.{\r}

381
00:37:13,500 --> 00:37:16,330
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是它并不是这么简单{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But it wasn't quite that simple.{\r}

382
00:37:17,060 --> 00:37:22,050
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}关于这份合同  还有讨人喜欢的一面  而且也也有其积极意义的一面{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}There were things about the commission that were flattering, challenging in a positive way.{\r}

383
00:37:22,660 --> 00:37:27,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}事实上现在那些装饰有他的作品的房间{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The fact that there were now all those glamorous apartments with his pictures in them{\r}

384
00:37:27,220 --> 00:37:31,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}加剧了罗斯科在其它公众场所创作的需要{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}sharpened Rothko's need to work in some sort of public space.{\r}

385
00:37:31,700 --> 00:37:35,970
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}然后把这些地方变成“另一个地方”  他的地方{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Make it over into what he called ''a place', his place.{\r}

386
00:37:37,180 --> 00:37:40,170
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}那里会有更大的考验吗{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}What bigger test could there be?{\r}

387
00:37:40,260 --> 00:37:44,090
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}如果用高级美食和艺术--他的艺术相比较{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}If it was haute cuisine versus art, his art,{\r}

388
00:37:44,180 --> 00:37:47,720
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}小鸡炖蘑菇一定是毫无胜算{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}the truffled sole menuitem didn't stand a chance.{\r}

389
00:37:48,500 --> 00:37:51,490
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}艺术会击败食欲{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Art would vanquish appetite.{\r}

390
00:37:53,780 --> 00:37:58,250
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他的暗光系列作品紧紧地裹在一起{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}His series of darkly glowing paintings, tightly packed together,{\r}

391
00:37:58,340 --> 00:38:02,090
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}挂在墙上  离地4.5英尺{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}would hang four and a half feet up on those walls,{\r}

392
00:38:02,180 --> 00:38:06,650
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在就餐者上方发出微光  吞噬着这些食客{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}looming over the diners, swallowing the swallowers.{\r}

393
00:38:06,740 --> 00:38:11,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他的愿望是用作品取代周遭的墙壁{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}His whole desire was to replace those restaurant walls altogether.{\r}

394
00:38:11,540 --> 00:38:15,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在这些苍白空洞的墙壁上代之以意义深远的事物{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Something profound would happen to the vain and the shallow{\r}

395
00:38:15,220 --> 00:38:19,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}而在食客们蘸着鱼子酱大嚼龙虾之时{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}as they tucked into their caviar and their lobster thermidor,{\r}

396
00:38:19,540 --> 00:38:23,050
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他们已经向艺术--他的艺术的力量投降了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}as they surrendered to the power of art, his art.{\r}

397
00:38:42,100 --> 00:38:47,120
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}1959年初  就像一个无所不能的魔术师一样{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Early in 1959, like some omnipotent sorcerer,{\r}

398
00:38:47,220 --> 00:38:50,170
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科创作了“栗色上的红色”{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko painted Red on Maroon,{\r}

399
00:38:50,260 --> 00:38:54,570
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这是为四季餐厅创作的壁画中最生动的一幅作品{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}one of the most dramatic of the murals destined for the Four Seasons.{\r}

400
00:39:00,100 --> 00:39:05,090
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在他眼中  米开朗基罗的封闭的窗户激起了想象{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}With the vision of Michelangelo's blind windows burnt on his retina,{\r}

401
00:39:05,380 --> 00:39:07,940
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他则把自己的作品放在边上{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}he turned his paintings on their side.{\r}

402
00:39:11,820 --> 00:39:16,650
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}不是竖直向上  而是水平放置向两边扩展{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Instead of uprights, they were now expansive horizontals.{\r}

403
00:39:18,540 --> 00:39:22,210
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这些如同百叶窗般明暗交错的作品{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}What had been shutter-like bars of darkness and light{\r}

404
00:39:22,300 --> 00:39:25,770
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}成为了有附载有某些东西的条柱状事物{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}became something akin to load-bearing columns.{\r}

405
00:39:32,460 --> 00:39:36,080
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它们载负的是人类的历史{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}And the load they were bearing was human history.{\r}

406
00:39:41,500 --> 00:39:45,090
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}那年秋天  在大厦餐厅开业后过了几个月{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}That autumn, months after the glamorous opening,{\r}

407
00:39:45,180 --> 00:39:49,690
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科携夫人梅尔来此就餐{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}he and his wife, Mell, went to eat at the Four Seasons.{\r}

408
00:39:53,620 --> 00:39:58,740
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在罗斯科看来  一顿饭花费超过五块钱就是不道德的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko was someone who thought it was immoral to spend more than five bucks on a meal,{\r}

409
00:39:58,820 --> 00:40:02,250
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}经常一份中式外卖就能满足他{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and was often perfectly happy with a Chinese takeaway,{\r}

410
00:40:02,340 --> 00:40:04,370
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}越便宜越好{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}the cheaper the better.{\r}

411
00:40:04,980 --> 00:40:11,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是当他们夫妇落座于百万富翁之间  他的心情与信心一点点的沉了下去{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But as he sat among the millionaires with Mell, his heart and his confidence sank like a stone.{\r}

412
00:40:16,180 --> 00:40:20,850
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}任何一个吃得起那种饭菜的人{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Anybody who will eat that kind of food for that kind of money{\r}

413
00:40:22,420 --> 00:40:25,090
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}都不会对我的作品看上一眼的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}will never look at a painting of mine.{\r}

414
00:40:36,820 --> 00:40:40,520
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}次日早晨  他观看了大约30幅作品{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The next morning, he looked at the 30 or so paintings,{\r}

415
00:40:42,060 --> 00:40:44,290
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这些作品是多么的美丽动人啊{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}some of the most beautiful and moving things{\r}

416
00:40:44,380 --> 00:40:48,250
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它们的创作者不仅仅是罗斯科  还有其它现代主义艺术大师{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}not only Rothko but any modern artist had ever created,{\r}

417
00:40:50,460 --> 00:40:53,570
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他所看到的只有对这些作品的羞辱破坏{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and saw only the ruin of a great project.{\r}

418
00:40:59,780 --> 00:41:03,210
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他的作品将不会悬挂在这里{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}His paintings would never hang in the Four Seasons.{\r}

419
00:41:05,260 --> 00:41:08,010
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}曼哈顿挫伤了马克.罗斯科{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Manhattan had beaten Mark.{\r}

420
00:41:13,460 --> 00:41:17,160
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}抑或是艺术战胜了金钱{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Or had art triumphed over money?{\r}

421
00:41:17,940 --> 00:41:20,290
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}毕竟  我们所知道的许多艺术家中{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}After all, how many artists do you know{\r}

422
00:41:20,380 --> 00:41:24,250
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}又会有几个会对250万美金说不呢{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}who would say no to two and a half million dollars?{\r}

423
00:41:39,380 --> 00:41:43,570
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科知道合约规定如果作品不再受欢迎的话{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Rothko had made sure his contract gave him ownership of the pictures{\r}

424
00:41:43,660 --> 00:41:45,530
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这些作品的拥有权将属于他自己{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}if the job went sour.{\r}

425
00:41:50,060 --> 00:41:53,250
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}看起来他好像很是期待那一天的到来{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}It was almost as if he always hoped that one day,{\r}

426
00:41:53,340 --> 00:41:57,010
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}也许在其它某个地方{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}somewhere else perhaps, he would be able to resurrect his idea{\r}

427
00:41:56,100 --> 00:42:00,770
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他将会用自己的信念之力把那个地方变成自己的地方{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}to make a space his space.{\r}

428
00:42:17,340 --> 00:42:23,810
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}那年过后  一位艺术馆馆长邀请他在德国的卡塞尔艺术节上展出自己的作品{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Later that year, a curator came to invite him to exhibit in the Kassel art fair in Germany.{\r}

429
00:42:41,740 --> 00:42:43,930
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}当我还很年轻的时候{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}When I was a younger man,{\r}

430
00:42:45,100 --> 00:42:47,050
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}对于我来说  艺术是孤独的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}art was a lonely thing.{\r}

431
00:42:49,300 --> 00:42:52,290
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}无所谓什么画廊  什么收藏家{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}No galleries, no collectors,{\r}

432
00:42:54,820 --> 00:42:55,930
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}也没有所谓的艺术评论{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}no critics.{\r}

433
00:42:57,820 --> 00:42:59,210
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}当然也不涉及金钱{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}No money.{\r}

434
00:43:00,020 --> 00:43:02,010
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}然而那却是我的黄金时代{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Yet it was a golden age.{\r}

435
00:43:04,300 --> 00:43:08,890
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}因为我们没有什么东西可失去 也没有什么东西期望去得到{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}For we all had nothing to lose and a vision to gain.{\r}

436
00:43:14,740 --> 00:43:17,090
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}如今  事情不一样了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Today, it is not quite the same.{\r}

437
00:43:18,380 --> 00:43:21,730
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}现在吹牛的人满天飞{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}It is a time of tonnes of verbiage,{\r}

438
00:43:22,460 --> 00:43:25,210
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}人们活动频繁  消费繁荣{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}activity, consumption.{\r}

439
00:43:32,940 --> 00:43:36,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}也许这种情况更适合于这个世界{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Which condition is better for the world at large,{\r}

440
00:43:37,940 --> 00:43:40,290
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我并不想冒昧的去讨论这些{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}I will not venture to discuss.{\r}

441
00:43:41,300 --> 00:43:42,770
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是我知道{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But I do know{\r}

442
00:43:44,140 --> 00:43:47,170
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}那些对这种生活趋之若鹜的人{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}that many of those who are driven to this life{\r}

443
00:43:48,220 --> 00:43:52,090
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他们的内心深处是渴求这些静默的作品蕴含的意境的{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}are desperately searching for those pockets of silence,{\r}

444
00:43:54,300 --> 00:43:58,050
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}只有在那里扎根  我们才能成长{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}where we can root and grow.{\r}

445
00:44:05,460 --> 00:44:08,210
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我们必须都去期望着能够找到它们{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}We must all hope we find them.{\r}

446
00:44:14,820 --> 00:44:19,810
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这个认为艺术高于金钱的人给那个德国人提了个建议{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}The man who'd taken a stand for art over money made the German an offer.{\r}

447
00:44:24,180 --> 00:44:28,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他说  如果你肯为大屠杀赎罪去建一座小教堂{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''If you build a chapel of expiation for the Holocaust,'' he said,{\r}

448
00:44:28,220 --> 00:44:32,290
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这应该很容易就能做到  我将为你免费创作一幅作品{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}''it need only be a tent, I'll paint you something for free. ''{\r}

449
00:44:36,980 --> 00:44:38,810
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这个提议没有成功{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}It never happened.{\r}

450
00:44:51,580 --> 00:44:56,570
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}接下来的十年间{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Mark Rothko spent the next ten years, all that he had left of his life,{\r}

451
00:44:56,660 --> 00:44:59,850
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科一直致力于寻找那个美丽的路边小教堂{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}searching for that perfect wayside chapel{\r}

452
00:44:59,940 --> 00:45:04,930
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在那里他能够实现在四季餐厅受挫的理想{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}where he could realise the vision that had been frustrated at the Four Seasons.{\r}

453
00:45:05,020 --> 00:45:08,890
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}1961年在现代艺术博物馆的一场个人展出{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}A one-man show in 1961 at the Museum of Modern Art,{\r}

454
00:45:08,980 --> 00:45:13,250
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他每天都会去那里  他都会得到一些喝彩{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}which he went to every single day, brought him some cheer.{\r}

455
00:45:13,340 --> 00:45:16,930
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他的作品销售势头也很好{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}And his work was selling better than ever.{\r}

456
00:45:17,020 --> 00:45:21,250
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是伴着成功  他的生活却日渐拮据{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But with success, his life actually got shabbier.{\r}

457
00:45:21,340 --> 00:45:24,530
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他贪恋杯中之物  每天早上十点就开始开怀畅饮{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}His tippling, which began at 10:00 in the morning,{\r}

458
00:45:24,620 --> 00:45:27,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}最终导致了严重的酒精中毒{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}developed into serious alcoholism.{\r}

459
00:45:27,700 --> 00:45:33,690
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}而且他烟瘾很大  结果导致心肺功能受损{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}And his chain-smoking, a lifelong habit, brought him heart and lung problems,{\r}

460
00:45:33,780 --> 00:45:37,480
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他的第二次婚姻也破裂了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and his second marriage was breaking up.{\r}

461
00:45:38,500 --> 00:45:44,010
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他日渐忧郁  其作品也更加黑暗浓重了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Shadowed by melancholy, his work got darker and more intense,{\r}

462
00:45:44,100 --> 00:45:47,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}正如现代主义艺术也渐渐的变得流行一样{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}just as modern art was going pop.{\r}

463
00:45:50,140 --> 00:45:55,850
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在罗斯科看来  对于通俗文化  绘画应该是另一个选择而不是其同谋{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}For Rothko, painting had always been an alternative to pop culture, not its accomplice.{\r}

464
00:45:57,940 --> 00:46:01,290
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是现在看来这有点合乎了那些画廊的需求{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But this seemed to be what the galleries wanted now.{\r}

465
00:46:02,580 --> 00:46:06,360
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}独自创作绘画  15年来都是如此{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Stuck in the mode of painting he'd been doing for 15 years,{\r}

466
00:46:06,500 --> 00:46:09,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他变得有些自闭易怒{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}he was defensive, angry.{\r}

467
00:46:15,140 --> 00:46:18,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}所以当他摆脱了惯常的生活方式{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}So when he did break out of his old style,{\r}

468
00:46:18,700 --> 00:46:23,640
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他的作品开始变得黑暗起来  黑得就像得州的石油一样{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}it was to go raven black. As black as Texas oil.{\r}

469
00:46:55,180 --> 00:46:57,640
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}得克萨斯最终提供了这个机会{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Texas finally provided Rothko{\r}

470
00:46:57,740 --> 00:47:01,890
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在那里罗斯科终于实现了在四季餐厅受挫的事业{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}with the chance to realise the vision thwarted in the Four Seasons.{\r}

471
00:47:07,020 --> 00:47:12,650
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}艺术资助人约翰和多米尼克.德.门奈尔{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Art patrons John and Dominique de Menil commissioned him to produce a set of murals{\r}

472
00:47:12,740 --> 00:47:16,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}委托他为将于1965年建成的一座位于休斯敦的教堂创作一系列壁画{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}for a chapel to be built in Houston in 1965,{\r}

473
00:47:20,260 --> 00:47:24,250
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他们没有什么要求  罗斯科可以放开手脚去做{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}giving Rothko freedom to install exactly what he wanted.{\r}

474
00:47:30,340 --> 00:47:35,330
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}如果那些为四季餐厅创作的作品是在另一个世界做出的一种姿态的话{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}If the Four Seasons paintings were content to make a gesture at the other world,{\r}

475
00:47:35,460 --> 00:47:38,850
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}休斯敦的这座教堂则会把你埋进一个坟墓{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}the Houston chapel buries you in a tomb.{\r}

476
00:47:39,580 --> 00:47:42,690
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}喷洒的一罐罐墨水好像在说服我们{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Tanks of ink have been spilled trying to persuade us{\r}

477
00:47:42,780 --> 00:47:46,530
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这里并不像坟墓本身那么黑暗{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}that this place is not as dark and funereal as it seems.{\r}

478
00:47:46,860 --> 00:47:51,690
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在罗斯科那些最伟大的作品之中{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}A systematic dimming of the light that had always burned intensely{\r}

479
00:47:51,780 --> 00:47:54,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}都有这些系统性的微光在燃烧{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}in Rothko's greatest works.{\r}

480
00:47:54,540 --> 00:48:00,050
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}但是  说实话  坐在这里  我们会感到欢快美丽吗{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}But, quite honestly, sitting here, do we feel bright and beautiful?{\r}

481
00:48:00,660 --> 00:48:02,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我可不确定{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}I'm not sure.{\r}

482
00:48:09,940 --> 00:48:12,530
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}那些波浪般的边缘  光之火焰在燃烧跳跃{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Those rippling edges, flaring with light,{\r}

483
00:48:12,620 --> 00:48:17,370
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它们曾给予罗斯科的作品如此多的动感  都不见了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}which gave Rothko's pictures so much of their movement, have gone.{\r}

484
00:48:18,860 --> 00:48:21,730
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}代替它们的是一片漆黑{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}In their place, an inky night{\r}

485
00:48:30,140 --> 00:48:35,130
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他好像是在创作的道路上在探索自己究竟能把光亮表现的多么黑暗{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}It's almost as though he's painting to see how dark he can make the light.{\r}

486
00:48:38,660 --> 00:48:40,090
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}祝你好运{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Good luck{\r}

487
00:48:41,860 --> 00:48:43,570
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}还是晚安{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and good night?{\r}

488
00:48:47,000 --> 00:48:51,070
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}堕入无尽的黑暗里  他不停的画啊画啊{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Then, into the blackness, in painting after painting,{\r}

489
00:48:51,160 --> 00:48:53,750
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}出现了一条乳白带有灰色的闪光带{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}came a luminous zone of milky grey.{\r}

490
00:48:58,800 --> 00:49:02,030
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}就像被月亮照亮的星球的轮缘{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Like the rim of a planet lit by the moon.{\r}

491
00:49:03,320 --> 00:49:06,100
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科好像已经离开了{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}As if Rothko was already gone, off into deep space,{\r}

492
00:49:06,140 --> 00:49:10,510
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他驾奴着转瞬即逝的创造力进到了遥远的宇宙之中{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}presiding over the moment of creation.{\r}

493
00:49:13,120 --> 00:49:17,980
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}他把光明从黑暗中  把地球从天堂中分离了出来{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Dividing the light from the darkness, the earth from the heavens,{\r}

494
00:49:18,080 --> 00:49:21,110
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}然后施以英雄般的烈火中的涅磐{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}bent on heroic self-cremation.{\r}

495
00:49:28,000 --> 00:49:31,950
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}你看到了  我完全弄错了  在1970年的那个早上{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}So you see, I got it all wrong, that morning in 1970.{\r}

496
00:49:35,200 --> 00:49:40,750
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我曾经认为看了西格拉姆大厦的作品  就像是一次抽象的墓地之旅{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}I'd thought seeing the Seagram paintings would be like a trip to the cemetery of abstraction.{\r}

497
00:49:40,840 --> 00:49:44,030
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}所有恭敬的尊重  只不过是一个死亡的结局{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}All dutiful reverence. A dead end.{\r}

498
00:49:55,080 --> 00:49:58,030
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}再看看这个  你看到了什么{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Look at this one. What do you see?{\r}

499
00:50:01,000 --> 00:50:04,430
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}在两根柱子之间悬挂的一片幕帐{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}A hanging veil suspended between two columns?{\r}

500
00:50:09,960 --> 00:50:13,390
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}抑或一个召唤或拒绝进入的入口{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}An opening that beckons or denies entrance?{\r}

501
00:50:16,840 --> 00:50:18,390
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}再或一个封闭的窗户{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}A blind window?{\r}

502
00:50:20,920 --> 00:50:23,350
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}对于我来说  这是一条通道{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}For me, it's a gateway.{\r}

503
00:50:33,000 --> 00:50:35,950
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}如果那些入口锁上了的话{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}If some of those portals are blocked,{\r}

504
00:50:36,040 --> 00:50:40,350
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科谈论的其它那些通往未知空间的通道就会打开{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}others open into the unknown space that Rothko talked about,{\r}

505
00:50:40,440 --> 00:50:44,140
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}艺术会引领我们通过{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}the place that only art can take us.{\r}

506
00:50:44,240 --> 00:50:48,020
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}远离尘世的喧嚣{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Far away from the buzzing static of the moment{\r}

507
00:50:48,120 --> 00:50:51,660
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}去聆听动人的天体乐章{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and towards the music of the spheres.{\r}

508
00:50:56,760 --> 00:51:00,590
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}罗斯科为这些作品所做的每一件事情{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Everything Rothko did to these paintings,{\r}

509
00:51:00,720 --> 00:51:04,340
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这些柱子似的形式在暗示而非吸引{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}the column-like forms suggested rather than drawn,{\r}

510
00:51:04,440 --> 00:51:08,990
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}散在的墨斑都使作品显得是那么的暧昧{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}the loose stainings, were all meant to make the surface ambiguous.{\r}

511
00:51:10,560 --> 00:51:11,910
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}如此的松散{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Porous.{\r}

512
00:51:12,760 --> 00:51:15,110
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}或许可以慢慢的渗透过去{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Perhaps softly penetrable.{\r}

513
00:51:17,600 --> 00:51:21,140
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}也许我们就是来自那个地方{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}A space that might be where we came from,{\r}

514
00:51:21,240 --> 00:51:23,390
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}抑或我们将会在那里终结{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}or where we will end up.{\r}

515
00:51:33,280 --> 00:51:36,870
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}它们不是在拒绝而是在召唤我们{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}They're meant not to keep us out, but to embrace.{\r}

516
00:51:41,240 --> 00:51:46,230
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}那是来自一个高度称颂艺术的艺术家的称呼你为人类的呼唤{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}From an artist whose highest compliment was to call you a human being.{\r}

517
00:51:48,700 --> 00:51:51,810
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}处在泰特现代博物馆的中心{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Can anything be less cool than this room{\r}

518
00:51:51,900 --> 00:51:53,970
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}世界上还有其它比此地更凉爽的地方吗{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}in the heart of Tate Modern?{\r}

519
00:51:54,060 --> 00:51:57,890
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}远离同时代那些眼花缭乱的艺术风格{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Further away from the razzle dazzle of contemporary art,{\r}

520
00:51:57,980 --> 00:52:00,770
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}以及现世疯狂的拥挤喧嚷{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}the frantic hustle of now.{\r}

521
00:52:00,860 --> 00:52:04,610
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这不是关于现在  而是关于永恒{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}This isn't about now, this is about forever.{\r}

522
00:52:05,140 --> 00:52:08,410
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}这里是这样一个地方{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}This is a place where you come to sit in the low light{\r}

523
00:52:08,500 --> 00:52:11,210
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}你坐下来  伴着微弱的灯光  感受着周围起伏摇摆的永恒气息{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}and feel the aeons rolling by,{\r}

524
00:52:11,300 --> 00:52:17,480
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}悄悄的被带到通往永恒不朽开端的入口{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}to be taken towards the gates that open onto the thresholds of eternity,{\r}

525
00:52:17,820 --> 00:52:22,450
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}感受着来来往往的人们的辛酸往事{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}to feel the poignancy of our comings and our goings,{\r}

526
00:52:22,620 --> 00:52:27,090
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我们来了又去  去了又来  生生死死  死死生生{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}our entrances and our exits, our births and our deaths.{\r}

527
00:52:27,180 --> 00:52:31,090
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}子宫 坟墓  以及二者之间的每一件事情{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Womb, tomb and everything between.{\r}

528
00:52:31,180 --> 00:52:35,210
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}艺术能否更加的完善有力{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}Can art ever be more complete, more powerful?{\r}

529
00:52:35,300 --> 00:52:36,970
{\fnSTKaiti\fs20\3c&H400000&\4c&H400000&}我并不这么认为{\r}
{\fnMicrosoft JhengHei\fs14\3c&H400000&\4c&H400000&}I don't think so.{\r}