文明

第一集：远古的城市们1、米诺斯文明——迈锡尼文明当看见那个战斗玛瑙印石以后，突然觉得之前文明和社会发展远胜过我们今天的21世纪是很有可能！！

2、中国三星堆：面具 与华夏文明的断裂3、佩特拉：由纳巴泰人建造。

地理位置隐蔽，在山壁的岩石表面雕凿出来。

游牧民族公园前4世纪建造。

依靠熏香贸易。

我想住在佩特拉！！

感觉是充满着芬芳的花园城市。

4、墨西哥——玛雅文明：阶梯金字塔“所有的文明都有种无法实现的渴求——对时间的征服。

它们用越来越高大庄严的建筑来逃避死亡，这从无作用，总会有终点。

有些市场、庙宇、宫殿和坟墓的城市，就这样被人遗弃，于是大自然接管并荡平一切，或用植被将其扼杀，或用沙漠将其覆盖。

这样看来，一切都似乎徒劳无功，其实绝非如此。

这些遗迹都是丰碑，纪念着人类的创造力、人类的野心、人类的希望。

这些是人类双手的丰碑、思维的丰碑，人类本身的丰碑。

”第二集：雕塑们1、古埃及——曼农石像2、古希腊——对于肉体的关注。

展现了雅典人理解自己文明的方式和视角。

3、中国兵马俑：看自己国家的东西的时候，会发现bbc独特的拍摄手法。

在一个场景中遮蔽3分之二，展示3分之一的画面。

喜欢运用虚焦转实。

慢放4、埃及——底比斯神庙 拉美西斯二世5、希腊——纳克索斯岛这里的海美的像油画。

镜头语言方面：喜欢用横向移动的镜头作为镜头与镜头的连接，快慢之间的速度切换。

6、英国——塞恩宅邸垂死的高卢人——象征着古人战败时的高贵美德贝尔维德罗的阿波罗7、墨西哥——奥尔梅克奥尔梅克摔跤手雕像“在某一方面来说，摔跤手尖锐地提醒着我们，人体艺术方面一个根本性的真理，那就是这不仅关乎过去的人们选择如何表现自己或他们的容貌，这也关乎我们审视的方式”第三集：画卷1、中国传统山水画宋代，用墨和毛笔绘就山水画。

第一批真正意义上的山水画画家——李成画作乔仲常——《后赤壁赋图》王蒙——《青卞隐居图》表现了王蒙深切的焦虑心境。

2、伊斯兰花园地毯瓦格纳地毯

第一集创世纪的第二个瞬间。

认知革命，人类开始创造艺术，乐器，雕塑，绘画，城市。

整个就是全世界到处切换啊，中间又见到了帕特拉古城，崛起是因为位置重要，垄断香料贸易。

衰落是因为归入罗马，别的城市成为线路必经之地，这就是帕尔米拉，就是开头文物被破坏，馆长被处死的那个地方。

最后给玛雅文化更多的篇幅，四十多个城堡相互征战，为了竞争，互相之间修建更高更好的金字塔，牺牲更多的人，最后天灾水土流失加上社会动乱，玛雅灭亡。

非常羡慕主持人真全球各地现场参观啊，这个只有大型制作组才有这财力，继续看。

第二集如何自视。

各种人像。

墨西哥奥尔梅克文明的各种小人像，这个后面还会讲到被视为最高成就高价购得的摔跤手可能是假冒的。

古希腊纯真的少女，手握花蕾面带神秘微笑。

中国兵马俑，作为活人的替代品殉葬，埋入地下没有多久就遭到起义军的破坏。

大工厂流水线的产物，最后一步雕琢让每个人都有不同。

这段用的是美丽中国的配乐，好亲切。

埃及拉美西斯二世，这人超级自恋，自己给自己搞个人崇拜，把前面法老的雕像也换成自己的名字。

希腊那种红黑的酒杯，专用于仅有男性的宴会，嗯，促进男性之间的友谊。

对女性的描绘就是多生孩子多纺羊毛。

罗马的阿波罗雕像，这个看着很像大卫。

休息的拳击手，美丽和野蛮可以在同一人身上完美体现，这个在当年是失败品。

第三集风景画。

中国李成的山水画，还有乔仲常画的关于苏轼的，画面中苏轼一手提鱼一手提酒，收藏者说这人多才多艺，还是个厨师，发明了好多菜，感觉收藏家可能是饿了。

巴基斯坦的流水花园，天堂就是有水的地方，斑斓地毯，画面里面出现的编织工都是男性。

意大利Barbano别墅，委托人建造者绘画家都是当时的名人，充满玩乐气氛，太会玩了。

又见到了勃鲁盖尔德画，话说还是这么电视上看画好，局部非常清晰，现场看也没这待遇。

荷兰的风车，上帝创造了地球，荷兰人创造了荷兰，想去看看。

地球的一张蓝色弹珠的照片拍摄于1972年，后来还有一张叫pale blue dot. 第四集神的艺术。

Art is the way to wake up the soul，即使语言不通，艺术也可以表达我们的感受。

lionman的那个作品，竟然需要几百个小时的工作量。

吴哥窟每年两次竟然有这么多人来到现场看完美的瞬间，这里是印度教的神殿。

印度ajanta的神庙，如今应该是已经废弃了，拿着蜡烛走向内部画像像活过来一样，没有顺序，每个人都需要自己探索自己找答案。

那个特别的现代清真寺，真是太强了，用的是默罕默德获得启示的山洞的意向。

蓝色清真寺，规模宏大，富丽堂皇，完全想不到修建于帝国即将崩塌的前夕，其实很可能就是依然要向人民和对手显示，你看我还很牛还可以继续，结果花钱太多说完倒闭。

花体是真好看啊，好费工夫。

西班牙征服了墨西哥，把当地的宗教形象用基督教去替代，巧了两边都认为流血会维护世界平衡，最受欢迎的是圣母。

说到圣母，西班牙本国macarena圣母一年一度的复活真是壮观啊，在现场好多泪流满面的。

说到人像崇拜，没有比印度更广泛的，但奇特的是，完全没有造成困扰，各路神仙和平共处，各司其职，日本也是。

伊斯兰向印度扩张的时候，拆了印度教的很多神庙，毁坏砖上面的画像或者倒过来使用，建立了高达72米的清真寺。

清教徒也同样毁坏过基督教的圣像，到底崇拜的是神性还是形象和物体，究竟从什么时候开始走偏，到什么程度又需要纠正呢。

第五集艺术的胜利。

东方西方走了不同的路，西方更注重个体的表达，东方不需要复兴，因为从来没有断过。

真没想到当年索菲亚清真寺和圣彼得大教堂竟然施竞争关系，基本同时，又都是两大宗教的重点建筑。

米开朗基罗举办感谢工人的宴会，在那个时代非常特殊了。

切利尼的黄金盐盒，书上读到过还被偷过。

美第奇家族还挺记仇，卷土重来以后定做了美杜莎被砍头的雕像，制作过程惊心动魄，效果动人心魄，还让美杜莎盯着大卫的方向，非常想超越偶像。

莫卧尔帝国的阿克巴皇帝，养了一百多位画家，不管什么画自己都是最伟大的那个，嗯，一般都有这个想法。

卡拉瓦乔把圣母拉进了平常人的生活。

那位经历坎坷的女画家，在英国大胆表达了女人也要表达，不要堵住我的嘴。

宫女这个画，前面看书竟然没看懂啊，我记得这画好像委托人不太满意，以及伦勃朗的夜巡，委托人们也不满意，都给了钱，为啥把我画的这么靠后。

现在看来，当年都是极为大胆的形式。

泰姬陵出场，不过要介绍的是比它早十年的另外一座陵墓，是当时的皇后为自己的父亲设计，内部装饰色彩明艳，花朵遍布，确实漂亮。

还是一如既往的喜欢慢动作特写，话说为啥有些画面边缘是糊的，难道是打码，也不像，都是风景不需要打码，可能还是他们觉得好看吧。

第六集初次邂逅。

说的是东方和西方，日本和印度在与西方的交流中产生的艺术。

奇怪，上一集和这一集都没有中国，难道是咱们同一时期没有交流吧。

贝宁的青铜器制造，早期就很发达，如今依然存在，统治者已经是第39代了。

葡萄牙的里斯本是当时的大都市。

日本和葡萄牙的交流，各种其它地区的物产，动物，丝绸，世界各地的人，包括传教士，这引起了日本的恐慌，幕府开始闭关，用宗教茶道教育武士阶层，只留下和荷兰的沟通，因为这家比较听话。

南蛮屏风，荷兰玻璃，都是那个时代的交流印证。

混沌武士里面女主的父亲就是被驱逐的传教士，这片音乐故事都相当赞。

荷兰阿姆斯特坦是当时的国际大都市，自由没有审查还钱多，笛卡尔很喜欢，还有一位女插画家在这里出版了插画，而且还在52岁没有男性监护人陪伴的情况下跑到苏里南继续观察昆虫，回到荷兰又出版了一本畅销书。

用水彩不用油画，是因为当时被禁止，现在看来恰恰是油彩才适合。

Vermeer，差点以为戴珍珠耳环德少女又要出镜了还好没有。

看起来封闭的空间，实际上已经受到了外界的影响和改变，东方的地毯，瓷器，衣物服饰。

英国和印度当地贵族的争斗，推行新古典主义建筑，体现自己的优越感。

荷叶作为时间之轮那个挺特别。

左手放大镜右手画笔，画起来也很累。

第七集光辉颜色。

亚眠大教堂门口那一排排的圣徒和天使，打上彩光衣服上色，如此光彩夺目。

沙特尔大教堂里炫目的宝石，靓丽多彩德彩色花窗，犹如置身天堂的体验。

金青色在可以现代合成之前，价格贵过黄金只能用在圣母身上，可是贝利尼打破了这一惯例，世俗画普通人照用，确实美。

油画最大的作用是颜料干的更慢，可以有更充足的时间调出满意的颜色。

维尔茨堡宫四大洲画的那个，前不久那本书上也有，果然壮观，这富炫的有水平。

戈雅相隔三十年同一地点的两幅画，一个明亮充满希望一个彻底绝望，艺术家对传统古典画的彻底灰心，最绝望的就是一条狗的那个，Dog without master. Spain without God. 日本的浮世汇，葛饰北斋是佼佼者，其画作影响了西方画家。

莫奈就有收藏，还做出了模仿，莫奈对着同一个景象重复画，没有确切的对象，一切都是感受，他画的是时间的颜色。

梵高开始的晚结束的早，他说自己是在给下一个弥赛亚铺路，这就是马蒂斯，开创了抽象画。

咦，这集竟然没有毕加索，可能时长不够了。

中国就出现了一点，红色的漆盒。

第八集进步崇拜。

工业文明提高了生活品质也激发了内心野兽。

上一集说没出现的毕加索在这里，上一集因为时间没到。

1798年拿破仑入侵埃及还带了很多专家去学习，还出版了大号书。

对东方主义的想象，出现了众多东方宫廷生活的绘画，DK的那本艺术有这段的介绍。

德拉克洛瓦的是真好看啊。

欧洲人觉得欧洲已经失去了田园味道到美国去体验，卡兹基尔山的瀑布，并非完全真实而是画家认为它应该的样子。

西进运动破坏了原住民的生活，天命论给白人理由夺走土著的生存空间，凯特林的那些单人肖像看着很有冲击力，但人家原住民艺术家说了，你这就是个商人，我们从来都是群体活动。

毛利人的纹身是为了表达信仰，当年发了财的部落酋长也要花大价钱赶个时髦留下自己的肖像，还真是有用，至今着肖像还在。

1830年左右照相机发明，第一张照片上巴黎大街空空荡荡，只有一个擦鞋的人，书上看到过，曝光时间太久，这擦鞋的是摄影师雇佣的，保持静止。

既然有了相机，那绘画就要做相机做不到的事情，那就是捕捉人类瞬间的情感。

毕加索的亚威农少女竟然画了一年啊，划时代振聋发聩的作品，当年得相当轰动。

高更这人虽然缺点不少，但才华确实惊人。

一战爆发，相机记录了战争的残酷，人性中的野蛮展露无遗，Otto Dix把他残酷的体验画出来，大国的谎言被揭穿，文明工具已经失效，士兵不再是勇士，他们只是受害者，人类的前方难道只剩下绝望和恐惧。

第九集重要的火花。

当人类面对恐惧，什么才是我们的护盾？

Terezin这个地方对犹太人的迫害，受害者留下的4500幅画，张张都是对自由和阳光的向往。

日本直岛那个地底博物馆，第一反应是着嘚多少钱啊。

蒙德里安的那些格子作品，主持人看来异常喜欢，抱歉我还欣赏不来，相比来说还是蔡国强的烟花爆炸来的直白震撼直达人心。

杜尚一切皆可商品。

德国艺术家对历史的反思，不能回避，要全力体会。

美国艺术家walker√种族主义的警惕，两位都对川普很有意见，反暴力。

这一集竟然有两位中国的，另外就是这一集基本都是活的艺术家，太难得了。

文明是人类的共通之光，是每个人留给素不相识的后来人的信息。

《文明》是一部深度而又富有洞见的纪录片，由历史学家西蒙·沙玛、玛丽·比尔德和戴维·奥卢索加主持。

该片全面展示了人类文明的进程，以及各种艺术和文化对社会的深远影响。

透过这部纪录片，我们可以看到人类历史的宏大叙事，理解各种文化的价值和影响。

这部作品充满洞见，富有启发性，是一部难得的历史纪录片。

01消失文明（克里特迈锡尼）西班牙埃及米诺斯迈锡尼佩特拉三星堆玛雅02雕塑（古希腊罗马）奥尔梅克门农闺秀雕像阿泰米多乌斯木乃伊画像兵马俑拉美西斯二世北方天使视界线帕加马祭坛希腊坛男女画像帕特农神庙健陀罗温克尔曼阿波罗奥尔梅克美第奇维纳斯像帝国化全球化03风景画（文艺复兴宗教改革）巨石半圆山的容姿李成《晴峦萧寺图》乔仲常17世纪波斯地毯达尔埃莱·巴尔巴罗别墅文艺复兴欢乐宫Andrea Palladio威尼斯画派委罗内塞德国《风景与伐木工》Pieter Bruegel荷兰Ruisdael英国John ConstableJ.M.W.Turner美国Thomas Cole哈德逊河画派04基督教狮身人雕像乌尔王军旗英国西尔布利山巨石阵埃及金字塔雅典卫城吴哥窟印度教佛教阿旃陀石窟《本生经》意大利加文那San Vitale church土耳其Sancaklar Mosque伊斯兰书法蓝色清真寺英国博得利图书馆肯尼科特《圣经》《格拉纳达的投降》天主教：埃尔·格列柯卡拉瓦乔委拉斯开兹墨西哥鬼节《新西班牙诸物志》圣母玛利亚崇拜《玛卡雷纳的希望圣母像》最后的晚餐印度威力清真寺英国伊利大教堂圣保罗大教堂05文艺复兴米开朗琪罗米玛·希兰苏莱曼清真寺圣彼得大教堂Donato BramanteBenvenuto Cellini《盐具》佛罗伦萨多纳泰罗《朱迪斯与赫洛夫尼斯》《珀修斯与美杜莎》阿克巴大帝拉合尔城市卡拉瓦乔简特内斯基Velazquez伦勃朗泰姬陵Itimid Ud Daula帝国主义殖民主义16世纪东方装饰艺术06大航海后的全球化17世纪贝宁青铜器伊费蒙特祖玛送给科尔特斯羽蛇神像《佛罗伦丁法典》埃尔·格列柯日本南蛮屏风圆山应举扬·维梅尔约翰·佐法尼威廉·Fraser07颜色全球化18世纪亚眠大教堂沙特尔大教堂圣扎卡利亚教堂乔治亚·贝里尼提香提埃坡罗戈雅浮世绘葛饰北斋德加莫奈马蒂斯马克·罗斯科伊芙·克莱因08工业化文明思索19世纪约瑟夫·莱特德拉克洛瓦托马斯·科尔穿越平民的移民者乔治·凯瑟琳戈特夫里德·林道相机印象派《包厢》莫奈高更0920世纪蒙特里安安塞尔姆·基弗卡拉·沃克艾尔·安纳祖米歇·Rovner

文物述说着历史，文化歌颂着文明。

人类的欲望可以简单分成存续和发展两大类，这两大类之间还有社会性的欲望，性欲和食欲这两个基本的欲望关乎人的存续，而关乎发展的是求知欲和创造欲。

其中创造欲便是人在基本生命（物质）需求满足后的创造新奇事物或欣赏美好事物的欲望，任何形式的艺术（包括科技产品）都是在闲暇中通过符号消费而满足创造欲这种精神的需求。

艺术是记录历史的瞬间，当艺术品转变为文物时，瞬间便成为了永恒，文物使历史成为了可能，或者说证实了历史诉说的真实。

娱乐品或是艺术品的泛滥，使人们更多采取欣赏而非创造来满足自我的创造欲，从而减少了创造的实践。

伟大的创造者能从纷繁复杂的造物中汲取创新的灵感，所有伟人都是“站在巨人的肩膀上”，他们的伟大创新离不开无数人的伟大实践，他们的成就凝聚着人类的文化，无数璀璨文化共同形成人类光辉闪耀的文明。

解说写的实在太漂亮，决定挑一些喜欢的誊下来。

时隔一年半，我终于把剩下的三集看完了。

一集一集写。

E06 Radiance26’20’’ GoyaThe Black Paintings seem to me to be an endgame for Goya, not just in his own life and career in his 70s, but also his feeling about an endgame for art, the art that aspired through beauty to ennoble the spirit of civilization.

Shock at his own monstrousness, Francisco de Goya,1820-1823 https://www.museodelprado.es/en/the-collection/art-work/saturn/18110a75-b0e7-430c-bc73-2a4d55893bd6One of the most terrifying of all these paintings, perhaps the most famous one, shows Saturn devouring one of his children. That’s what it’s come to. The huge tradition of classical mythology reduced to a mad, antic, capering monster, chewing on the stump of a small body, but look at that body. Not a child at all. It’s the body miniaturized of a female nude. Two millennia of looking at the nude, of seeing it as a symbol of art’s perfection is reduced to this horrifying image of sadistic cruelty.

Fight with Cudgels, or Fight to Death with Clubs, Francisco de Goya, 1820-1823https://www.museodelprado.es/en/the-collection/art-work/duel-with-cudgels-or-fight-to-the-death-with-clubs/2f2f2e12-ed09-45dd-805d-f38162c5beafIn one of the paintings, he puts the lights back on. We’re able to see something, but what is it we’re seeing? The light is given to us to reveal another kind of horror. These two huge peasant-like figures beating the living daylights out of each other. Blood is streaming down the head of one of them, even as they sink deeper and deeper into a kind of sandy quagmire. This is what Spain has become. Endless, relentless, mutual slaughter. Now, all these monsters and horrors and demons and dragons of course had appeared all over European art before, but where had they appeared? They’d appeared in images of the Last Judgment and the Apocalypse, and they were always balanced by a sense of the optimism of salvation. But Goya has come to the conclusion that God is absent without leave and there is one painting, which in a sense is least likely to have the horrifying pessimistic eloquence, but it does.

The Drowning Dog, Francisco de Goya, 1820-1823https://www.museodelprado.es/en/the-collection/art-work/the-drowning-dog/4ea6a3d1-00ee-49ee-b423-ab1c6969bca6There are no figures, there’s just a dog, a mutt. But for this dog, the master is gone, dead, slaughtered, missing. He’s no longer going to be fed. He’s simply faced with drowning inside this formless brown vacuum. It’s all come down to this, then. A dog without a master. Spain without its god. Humanity absolutely without civilization.E01 Second Moment of Creation4’53’’We can spend a lot of time debating what civilization is or isn’t, but when it’s opposite shows up, in all its brutality and cruelty and intolerance and lust for destruction, we know what civilization is; we know it from the shock of its imminent loss as a mutilation on the body of our humanity.16’58’’With this exquisite, intensively carved female head, we have for the first time, something immensely and movingly momentous. We have the revelation of the human face. It’s a tiny thing, it can just go in the palm of your hand and it could have only been made by an extraordinary array of dexterous skills. 39’36’’Ultimately, all civilizations want exactly what they can’t have: the conquest of time. So they build bigger, higher and grander as if they could build their way out of mortality, and it never works. There always comes a moment where the most populous of cities with their markets and temples and palaces and funeral tombs are simply abandoned. And that most indefatigable leveller of all, mother nature, closes in, covering the place with desert sand, or strangling it with vegetation. And then, civilization dies the death of deaths, invisibility. E02 How do we look?25'41"The one thing you really get here is that size matters. These vast monumental figures, perhaps four or five times life size and with that nice hint that they’d been even bigger if they bothered to stand up for you, simply dominate. They take over your field of vision. It’s an assertion of the power of the pharaoh through his huge, superhuman, enthroned body.33’31”If early Athenian pottery reflects how man and women were expected to live within the social context of the city, its statues attempt to embody the interior life within. The beginning of the fifth century BCE saw an amazing transformation in Greek sculpture. Rigid figures with the fixed gaze of phrasikleia give way to daring new experiments in the human form. One of the first of these is known as the Kritios boy, and he would transform how we see the sculpted human body.The Kritios boy show us that you can signal anteriority through the person’s movement, through their stance. But particularly, if you lose the archaic smile, and you have an expression which isn’t necessarily blank, that immediately invites you, the spectator, to psychologise it. So with that one step, the statue acquires not just a body that is an organism rather than a mechanism, but also what we would probably call, a soul.41’57’’“This was quite simply the most sublime statue of antiquity to have escaped destruction. An eternal springtide, clothes the alluring virility of his mature years with a pleasing youth and plays with soft tenderness upon the lofty structure of his limbs."49’46’’We still have a lot of really unexamined assumptions about what constitutes a beautiful or desirable body. We have a lot of unexamined assumptions about what constitutes an attractive, or aesthetically appealing way to look. And you have only to open up the pages of a women’s magazine, as people are commonly pointing out, to see how incredibly narrow the space is in a certain kind of western aesthetic consciousness, for what a woman can look like. Similar kinds of things can be applied to men as well.Reinforced by commercial interests, the cult of youth and beauty begun by the ancient Greeks, is perhaps more powerful than ever today. E03 Picturing Paradise6’34’’

李成《晴峦萧寺图》http://collection.sina.com.cn/zgsh/20121116/152092655.shtmlWhat makes Li Cheng’s painting a masterpiece, is that it literally rises above royal propaganda. As our eye ascends through the painting, so our whole approach to it also ascends to a higher order of question. And Li Cheng has changed the wash of the ink. It’s lighter, finer, more ethereal. It suggests deep distance. But depths of our own response as well as physical depths. What is nature? What lies beyond surface appearance? What truly moves the universe? And how above all, does the dialogue between flowing water and the adamant face of that eroded rock, bring us harmony?18’56’’But renaissance humanism took a different attitude to the serpent of temptation. This is Villa Barbaro. … A place where renaissance ideals of culture and sophistication could meet the earthy pleasures of the country. A building of harmony, grace and pleasure, where it would be forever summer. Leonardo Da Vinci wrote something fascinating. He says, “one of the values of painting is it can show you the beauty of nature and perhaps your lover in nature, in the middle of winter.” When you’re stuck inside, you’re stuck indoors, but you can remember what the meadows and what lovely picnics were like last summer by looking at a painting of it.If you extend that into a kind of a theory of landscape art, you might say that the first way that people express the desire to escape into landscape is by actually creating escapist worlds.30’41”

Hunters in the Snow, Pieter Bruegel 1565https://www.wikiart.org/en/pieter-bruegel-the-elder/hunters-in-the-snow-1565Bruegel painted these compendious, visually inexhaustible masterpieces after the longest, bleakest, coldest Flemish winter anyone could remember. Let’s just think for a minute the way in which Bruegel makes us look at these pictures. On the one hand, they are an invitation into a wealth of detail, wherever our eye travels, it picks out these lovely minutiae of work and play. The skaters gliding across the ice. Our eye travels from one kind of landscape, a village huddled on the hill, to a completely different one. A frozen mountain or a storm tossed estuary out to the broad open sea. But there are moments as well when the pure compositional muscle that Bruegel can command makes everything come together in one great universal vision. It makes us stop. It makes us have a moment of contemplation. And then If we’re very, very lucky, like these wonderful paintings, it all seems to add up. A whole of the human condition and our special little place within it. 40’30”There were a few kind of particular characteristics that marked out the American approach to the landscape. One of those was a sense of inferiority and competition with Europe that Americans in the 18thcentury and the early 19thcentury, were the poor country cousins. And they were on the outermost fringe of an European world in which they had been taught that Rome is the centre of all art, that the best landscapes, the tallest mountains are to be found in Switzerland. And here are Americans, on the threshold really of their own great continent, which they are beginning increasingly to move west across, trying to say, “wait, you know what, we have really high mountains also. And we have really big animals that we can celebrate in the same terms you guys are using but with our characters instead.” And I think that was out of inferiority in a funny sense, that a kind of American pride in the American landscape was born. 43’21”More and more (Ansel) Adam’s photographs became preachy. But those vision sermons were radiant, mystical, ecstatic. They were passionate statements about how humanity could be redeemed through the encounter with nature. But throughout, he remains steadfast that his job in life is to give visual form to that silken cord, tying together the fate of man with the fate of the earth.E04 The Eye of Faith43’49’’What all of these movements within religions have in common is that they come along saying we have a purer form of faith than the one that is currently being practiced, and if your fundamental goal is purity, then one of the central things you might try to do would be to eliminate opulent aesthetic or potentially sinful representations of things to act as intermediaries, because then maybe you’re just worshipping the object, you’re not actually worshipping the divine. So it makes sense that protestants in the Reformation went into the monasteries and stripped everything out saying “it’s time to get rid of these images.” 51’35’’We passionately want to rediscover the spiritual in art, we passionately want to discover that kind of power and purpose that religious art has. Whether it’s reinventing Christian art in cathedrals or whether it’s reinventing Islamic art, it’s about wanting to resacralise art, wanting to rediscover that wonderful, almost magical, charismatic purpose that religious art has. For much of history, art has been religious art. For some, the creative impulse has been the very expression of divinity. For others, a challenge to God’s authority. For those that believe, religious art has always been transformative; yet for everyone, art retains a primal, spiritual feeling, a way to express the mysterious and it speaks to our earliest human drive to touch and define a world beyond our own. E05 The Triumph of Art50’49’’Out there the western hurly burly is getting ready to make terrible mischief to smash its way into the domed heavenly vault, to stick its bloody great brutal boots right into the paradise garden. It’ll make an empire based on machines, money and muskets. Then slowly but surely, the Moghul Empire will disappear entirely inside its courtly refinement, becoming inextricably just a cultural ornament. After centuries of extraordinary flowering, the eastern Renaissance was transformed by the twin forces of empire and colonialism. The delicate blooms and glowing jewels survived in what Europeans wore on their bodies and how they decorate their homes. While painters were mislabeled as miniaturists, as they were forced at least for a time, to rely on the patronage of their new British rulers. Western art critics increasingly called the artistic beauty of the east decorative, to distinguish it from pictures they put in frames where Europeans consider real art. But it was in the east, that the ancient meaning of ars, craft was preserved in all its splendor and still is. Because here, unlike in the west, the Renaissance wasn’t about the rebirth of classical knowledge. Unlike Europe, the east had never lost touch with its ancient heritage. A rich heritage which it continues to celebrate and share with the world to this day. E06 First Contact 28’07’’

《冰山屏风》圆山应举Cracked Ice, Maruyama Okyohttps://theartsdesk.com/tv/civilisations-first-contact-bbc-two-review-david-olusoga-goes-goldWhat’s regarded as his greatest work, cracked ice, combined everything Okyo knew from both eastern and western traditions. It’s so subtle, so minimal, a work of art that almost feels like it isn’t there. And everything about it feels ephemeral and frail. It’s painted on paper not canvas as in the west, and great expanses of it are just white blank areas that seem almost untouched by the artist. And yet all of that belies the fact that this is one of the most sophisticated works of cultural synthesis that I know. It shows a sheet of ice, presumably on a lake, and these broken jagged cracks in the ice disappeared into the mist. The effect is three-dimensional space. Now, that is European vanishing point perspective. And yet, this is one of Okyo’s masterworks, just could not be more Japanese, because it’s a philosophical contemplation of two concepts, fundamental to Buddism, imperfection and impermanence. Imperfection because these lines are uncontrolled and irregular; Impermanence because of course the ice will melt. And those two are just as fundamental to Japanese art, as the classical Greek roman ideas of beauty and perfection are to European art. So this is Okyo incorporating European ideas into his art, but in ways that are in keeping with Japanese philosophy and Japanese tastes. 32’11’’In this frenzy of trade and wealth, Dutch art also became the object of conspicuous consumption. A modern commercial art market was born, supplying landscapes, still lifes, portraits and scenes from Dutch life to the aspirational new merchant class. What they wanted in their art was not the pomp of monarchy, or the flamboyance of the catholic church, but a new type of realism, one that reflect their protestant desire to portray the world as it truly was, often with warts and all moral lessons. With art from renaissance, it’s about beauty. Dutch art, it’s not about that, it’s about reality. So you do paint rotten fruits, and you do paint fat ladies that just woke up in their bed. And you do look at dirty dogs in the street. Because it’s about nature in every sense, and not just in the sense that you want it to be, but in the sense it is. 33’22’’One of the star artists of this golden age of Dutch painting was Vermeer. Jan Vermeer is not an artist known for his epic landscapes. Most of his paintings are famously intimate, set within a neat, ordered, almost claustrophobic world of the Dutch home.What Jan Vermeer specialized in was the art of everyday life and his world was an interior world. What he captured on canvas were simple fleeting moments. A woman reading a letter is bathed in a delicate light that pours from a side window. But that only serves to emphasize the fact that we are in an enclosed room and the rest of the world is hidden from sight, that it’s somewhere out there. But if you look a little more closely at the details, what you realise is that Vermeer’s seemingly interior domestic space is infused with the globalism of the Dutch golden age. From the innovative pottery of his hometown of Delft, which mimicked Chinese porcelain, to prized rugs from the orient, and a geographer wearing a fashionable Japanese robe, Vermeer captures a world built on encounters with distant civilizations and peoples.50’05’’Hundreds of public buildings built in the British neoclassical tradition would follow. They represented not only a separation of cultures that had before freely intermingled, they also marked the passing of the age of discovery. The world had entered an age of high empire, in which to justify their exploitations and conquests, European powers would willfully overlook the achievements of other civilisations. It was a story that would be repeated around the globe and we are only just emerging from its cultural legacy today. In a wonderful twist, Richard Wellesley’s government house is used by the government of Bengal. It has been taken back by Indians for their own government. And so we have to unthink some of the inevitability that we tend to ascribe to encounters that ultimately led to European dominance. If you look at the history of European encounters with the non-European world, you find a huge range of ways that they took shape.And although there is a history that has to be told, a story that is one of imperialism, but a story that is also one of globalization, one of increasing interconnection across different parts of the world that has yielded the world in which we live today. Our modern world of digital communication has massively broaden the scope of our encounters, both with foreign cultures and civilisations and within the different cultural groupings of our own. And by connecting new audience with traditional artistic practices, the global art market continues to transform new encounters into new kinds of art. From the reemergence of the long overlooked sacred art, like that of North American first nations, the indigenous people of Australia and the carvings of the African Makonde people, to new artists such as Ghanaian born sculptor El Anatsui, who sews together bottle tops into large scale assemblages that comment on consumption, waste and the environment. Today, in our increasingly globalized civilization, the sheer variety of our encounters both foreign and at home continues to be a major source of inspiration, shaping both our art and our world.

① 创世的第二个瞬间（Second Moment Creation）非洲的创造力、旧石器时代、西班牙洞穴艺术/毕加索公牛、克里特岛： 米诺斯文明（城市规划）克里特文明、佩特拉古城（约旦国际大都会）并入罗马、四川三星堆（青铜器巨目大耳）：与黄河平行发展文明、中美洲玛雅（ 剧场、文字）

毕加索/公牛②自视如何（How do we look?）中美洲墨西哥奥尔梅克制作人偶（摔跤手）、埃及门农巨像、埃及古罗马统治时期棺画、兵马俑1.8米不同性格代替活人陪葬、古希腊完美人体之美（雕像、绘画）民主社会、男同性行为、古罗马（复制/政治宣传）影响欧洲文艺复兴、丝绸之路影响佛陀、西方审美影响全球③画卷天堂（Picturing Paradise）木心、宋李成—水墨山水画，手卷电影式体验（时间空间）、元王蒙《青卞隐居图》—作品动荡焦虑感、伊斯兰地毯（花卉、植物、天空）图案、自我表达方式、巴尔巴罗别墅（人与神，现实与梦幻）柏林墙（公共空间活画布）④信仰之眼（The eye of faith）柬埔寨吴哥窟、印度宗教画、圣母雕像、伊斯兰教清真寺用文字书法替代活物图、雅典铂特农神庙（ 供奉过典娜，改为基督教堂，在奥斯曼帝国时期又变为清真寺 ）⑤ 艺术的胜利（The Triumph if art）穹顶（基督教与伊斯兰教“竞赛” )、米开朗基罗大卫、切利尼青铜美杜莎、印度莫卧儿帝国莫卧儿艺术、十七世纪卡拉瓦乔、错觉主义绘画，君主失去画面主导、伦勃朗《出巡》活力与秩序、

拉合尔堡壁画

宫娥⑥初次邂逅（First contact）全球化交流、非洲贝宁艺术、十六世纪葡萄牙里斯本（世界中心）、传教士、墨西哥阿兹特克文化节日（万灵节）形式保留、活人血祭、不敢征服日本，南蛮屏风、闭关锁国期间佛教禅宗、圆山应举《冰图屏风》缺憾与无常、荷兰艺术市场、玛利亚昆虫图、欧洲主导的全球化时代

阿兹特克

《冰图屏风》圆山应举

《冰图屏风》圆山应举⑦光辉（Radiance）中世纪天主教教堂、哥特风、提香、提埃波罗——天顶画《行星和大陆的预言》专注自己的事情、古印度侯丽节（春天色彩颜料云雾）、《绝对的三种形式》拿破仑入侵西班牙、日本浮世绘影响莫奈、梵高

提埃波罗/行星和大陆的预言

印度侯丽节

布拉奇/绝对的三个方面⑧多样的文明 进步的执念（The cult of progress）19世纪、科学成了新宗教、美国驱逐印第安、毛利艺术——文身、摄像、印象派、画作对异化的反映、高更逃离现代、毕加索《亚维农的少女》、维拉斯奎兹《宫女》

印第安人像

毛利人像

爱德华·马奈/女神游乐园的吧台⑨文明之火 生生不息（The Vital Spark）纳粹集中营儿童绘画、 抽象主义 （ 点、线、面 ）表现主义。

蔡国强爆炸艺术《天堂组合》

纳粹集中营儿童绘画

抽象主义

表现主义

艾未未/法道

如文字样的小人投影

正如西蒙·沙玛在最后一集《人性的火花》所说，文明是一个很宏大的词汇，但文明真正的力量却来自那些简单的小东西——壶，印刷品，挂毯以及雕刻品，或者源自那些恢宏的建筑和精美的画作。

它不是出自国家意志，或者某个富裕阶层的要求，它更多的来自于那些天赋异禀的艺术家们为全人类创造艺术的内心渴求。

这些经由自由心灵，敏锐洞察力，无与伦比的创造力所创作出来的最美好的东西，注定将被永久地保存下去。

对抗这个同样被我们创造出来的充满暴力，战争，迁徙，破坏，死亡的满目疮痍的世界。

“伟大的艺术自其诞生的那一刻起就把分割我们的时空堡垒给打破了。

它给我们带来了暂停，它让我们以无数种意想不到的方式来重新构想这个世界。

这就是为什么即使处在这个充斥着电子图片和闪烁屏幕的狂躁的现代，我们仍能在艺术中发现其他地方发现不了的，即以某种方式将我们与永恒而深刻的东西连接起来的喜悦之情。

这也是为什么会有数百万人涌入画廊或博物馆去参观艺术品的原因所在。

”

人体是我们认知世界的基本工具，也是表达我们对这个世界的感受和想法的最佳载体。

我认为我们一直试图客观地描述我们是谁。

人是什么？

艺术是什么？

但这两个认知过程是相互平行的，也是相互补充的。

通过制造生命以外的事物，但反映的又是生命本身，我们表现出了生命中某种隐藏的或是隐晦的东西。

雕像艺术只有两个主题，那就是人体与空间

BBC civilizationsEp1I’ve always felt at home in the past. For after all, what is the present except an endless chain of memories? Some of them are translated into stone. We are all the inheritors of those memories, and we look after them as best we can. All this ,so we can pass on their revelation to the future.A lot of us spend our days talking about are. I doubt very many of us are prepared to lay down our lives for it. We can spend a lot of time debating what civilization is or isn’t, but when it’s opposite shows up in all its brutality and cruelty and intolerance and lust for destruction, we know what civilizations is, we know it from the shock of its imminent loss as a mutilation on the body of our humanity.The record of human history brims over with the rage to destroy. But it’s also imprinted with the opposite instinct, to make things that go beyond the demands of food and shelter, things that make us see the world and our place in it in a different light. We are the art-making animal and this is what we have made.THE SECOND MOMENT OF CREATION by Simon SchamaSouth Africa’s Cape CoastAfrica, where Homo sapiens first evolved about 200,000 years ago.evidence of human habitation strentching back around 100,000 years.A piece of red ochre, a mineral naturally rich in iron, etched in a diamond pattern一块刻有钻石形花纹的赭石was discovered,77000 years old.---发现最早的装饰性图案the oldest deliberately decorative marks ever discovered.Design announces the beginning of culture.

EI Castillo Cave, Spain Hand Stencils (c.37,000 BCE) signalling from a very long way off, but this long-distance greeting somehow makes us bond with the makers of this because they establish a presence that is palpably alive. (遥远的哭声？

)Hand stencils like these have been found in caves as far apart as Indonesia and Patagonia.Undeniably, these hand stencils do what nearly all art that would follow would aspire to.First, they want to be seen by others, and then they want to endure beyond the life of the maker.In northern Spain, extraordinary paintings of bison野牛壁画（毕加索喜欢画牛，可能源自这些壁画，但没有证据证明他看过,coincidence?）有壁画的地方可能是教堂或者寺庙。

在冰河世纪壁画有仪式的功能，人们到这里来祈祷祭拜并把场景记录在壁画中。

It ought not to be seen as art. Though, of course, religion has been a primary purpose of art.冰河时期壁画不应被看做艺术，但宗教是艺术的最初目的。

German cave最早的雕塑非洲Drakensberg Mountains, South Africa壁画里出现了人,但欧洲出现了三维的人像The fragments of this lion-man, carved from mammoth ivory, were found in a German cave made between 35,000 and 40,000 years ago. They remained an unsolved puzzle for 30 years before archaeologists realized that they formed a single figure.

Picasso bought a copy of Venus of Lespugue,《莱斯皮盖的维纳斯》and kept it in his studio all his life.

La Dame de Brassempouy《布拉桑普伊女士》Found in a cave in south-west France in 1892,between 22,000 and 25,000 years old.We have the revelation of the human face. Now we are not supposed to say, us amateurs in this field, we’re not supposed to talk about art, we’re not supposed to talk about things like the birth of a refined sensibility. With this tiny piece from Brassempouy, it seems to me that we have, right in front of us, the dawn of the idea of beauty. (美学概念诞生前的黎明amazing！！！

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The standard of Ur, Mesopotamia(c. 2500 BCE) (乌尔军旗)

The Ram in the Thicket Ur,Mesopotamia(c,2600 BCE) (灌木丛中的公羊)

Bull and Acrobat Minoan Crete(c.1600-1450 BCE) (米诺斯文明克里特岛 公牛和跳牛者)现存大英博物馆

Combat Agate Sealstone Pylos,Greece(c.1500 BCE) 战斗玛瑙印章 希腊 皮洛斯时代We see the long hair flowing free that would have been combed before battle. We see a sword lying on the ground exactly like the swords discovered in the grave. This is the first sight scene in all of European art, in all of world art. There are occasional moments of combat and battle. In other cultures but they’re very stylised, but they are flat, they don’t feel like the smash of bone and bronze and metal and the spout of blood, this does.

三星堆 中国Abundance of masks It’s been suggested that some of the masks might have been used in rituals(降灵仪式) by impersonators of the dead.

Petra ,JordanCivilization is always a balancing act. There may be enemies at the gates, there may be enemies within the walls, and sometimes the very landscape and climate in which a culture grows must be conquered.

Calakmul, Mexico

All civilizations want what they can’t have—the conquest of time. They build higher and grander to escape mortality. It never works. There’s always an ending. Cities with their markets, temples, palaces and tombs are simply abandoned and that great leveler, Mother Nature, closes in, strangling the place with vegetation, covering it with desert sand. It might seem, that it’s all for nothing, but that’s entirely wrong. All these ruins, all these remains are monuments to human creativity, human ambitions, human hopes. Monuments to shaping hands and shaping minds. Monuments to humanity itself. --END---