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Now we know two Leonardo portraits of Milanese women,
现在我们见过达芬奇的两幅米兰女人肖像
the ones we know best,the so called Cecilia,
我们最熟悉的一幅叫Cecilia
well definitely Cecilia Gallerani
很明显是Cecilia Gallerani
but the Lady with the Ermine in Krakow.
也就是"抱貂的女人"
The lady holding the Ermine and smiling
一个女人抱着貂,一边微笑着
looking out of the picture but in three quarter face.
望向画外的方向,但她是画四分之三脸的
And there's the so called La Belle Ferronniere in The Louvre
还有一幅是卢浮宫的La Belle Ferronniere
which is almost certainly Lucrezia Crivelli.
几乎可以肯定画中人就是Lucrezia Crivelli
These are both the dukes mistresses.
她们两个都是伯爵的情妇
And they're not portrayed in profile.
她们画的都不是侧面像
So there's an issue of what in the renaissance
所以在文艺复兴时有一个
you'd call decorum,i.e. good manners.
所谓礼仪问题
If you were a princess you were in profile.
如果你是公主,你就要画侧面
If it was a more intimate portrait
如果是更私密的肖像画
not a public portrait as it were you could be more relaxed.
不公开的肖像画,你可以不用那么拘紧
So what would be bad manners
所以如果贵族
in a portrait of one of the aristocrats,you could relax.
画肖像画时这样的姿势就不符合礼仪
And obviously the Mona Lisa is like that,
很明显蒙娜丽莎就是这样
it's a very intimate work.
它是非常私密的作品
It's for Mona Lisa's husband basically.
基本上是画给蒙娜丽莎的丈夫看的
He never got it but.....no there's an issue of decorum.
但画从来没到过他手上,这当中有一个礼仪问题
Interviewer: I think it's interesting
我觉得很有趣的是
thinking about Leonardo's other female portraits of the period.
比较一下达芬奇同时期买的其他女性肖像画
How in quite a few of them seem to be
少数几个表明
indicators of the sitter's identity,
画中人的身份的线索
in quite fundamental terms her name,
基本上都是她的名字
like Ginevra de' Benci in the tree.
例如画在树前面的Ginevra de' Benci
Or her moral characteristics,this sort of thing.
或者她的道德特征之类的
And this one doesn't seem to have that.
但这一幅似乎没有
It hasn't got the obvious symbolism of the Ermine
它没有貂那么明显的象征意义
the Ermine is a symbol of purity and moderation
貂象征纯洁和温和
which you may which you may slightly get off the duke's mistress
这你大概可以从伯爵的情妇身上看得出来
but these are bits of symbolic rhetoric and no more than that.
但它们都只是一些象征摆设,没什么别的意义
But there are clear signs that
但这里有一个很明显的标志
she is a inner member of the Sforza circle,
她是Sforza家族的重要成员
a Sforza princess if you like.
甚至有可能是Sforza公主
And that is the costume and above all the hairstyle
还有她的服装和发式
and the portrait you all know down the road in Christchurch here.
你们都很熟悉我们这里的基督教堂里面那幅肖像
There is a portrait almost certainly by Leonardo's colleague
有一幅肖像画几乎可以肯定是达芬奇的同僚
Ambrogio De Predis of Beatrice d'Este who was the duke's wife.
Ambrogio De Predis给伯爵的妻子贝阿特丽丝·德埃斯特画的
They married young as they are all married young these brides
他们很年轻就结婚了,女人都很年轻就嫁人的
and expected to produce children.
要给丈夫生儿育女
Beatrice died young like most of them.
像她们大部分人一样,贝阿特丽丝很早就去世了
But regular childbirth is a dangerous business
对于文艺复兴时期那些年轻的女人来说
for young people and young women in the renaissance.
经常生孩子是一件很危险的事
Anyway there she is in the Christchurch portrait in profile.
总之,她的基督教会肖像是画侧面的
And she's got what became a standard
她的发式成为上层贵族妇女的
inner aristocratic women's hairstyle.
标准发式
It's a great bound pigtail,ferociously uncomfortable probably,
那是一个被绑得很紧的马尾,非常不舒服
and requires what we call a hair extension.
需要我们所称的续发
It's bound very tightly at the top and
顶部这里会绑得很紧
you can see the bound ribbon constricting this coatzoni as it's called.
你可以看到发带绑着我们所说的"发垂"
