纪录片《文明》 第207期 重要的火花（19）（在线收听）

But the two properties of gunpowder -exhilaration and damage -hang in space,along with a lingering smoke.

但火药的两种特性 抖擞与摧残 在空间里挥之不去的雾霭中弥漫

This is beauty,but of the terrible kind.

这的确是美 却令人悲叹

Chinese history, distant and present, is full of grieving as well as rejoicing.

一直以来 在中国古老亦或近代的历史上悲痛与欢乐共存

And there are some artists for whom the woes not just of China,but of the whole world, weigh on their creative conscience.

一些艺术家不仅对中国 还对全世界的伤痛 感同身受 这些因素也影响他们的创作意识

Slowly, slowly, slowly!

慢点 慢点 慢点

There are some contemporary artists for whom art for art's sake is not only not enough,it actually amounts to a kind of betrayal of their vocation.

对一些当代艺术家而言 仅专注于纯粹艺术 不仅不够 它实际上等于对他们职业的一种背叛

For as our own world slips ever more into destruction and distress,they want art to mount a resistance to complacency,to catastrophe fatigue.

因为随着我们自己的世界 越来越多地陷入破坏和危难 他们希望艺术能够抵抗自满情绪 抵抗灾难疲劳

They want to shock us out of our expectations that, every day on the nightly news and every day in newsprint,we're going to see dead body after dead body.

他们想通过出乎意料的方式 来让我们警醒 在每天的晚间新闻中每天的报纸上 我们都能看到一个又一个生命离开我们

Now, for Ai Weiwei,the calamity of our time right now is the disaster of the multitudes of displaced,

现在 对于艾未未来说 我们现在这个时代的不幸 就是群众流离失所

those who are uprooted through no fault of their own,cast adrift on an infinite ocean of terror and despair.

无辜的人们被迫离开自己的家 在恐怖和绝望的无边海洋上漂泊

Ai Weiwei's Law Of The Journey packs 258 inflatable figures, large and small,into an inflatable raft.

艾未未的《法道》将258个大大小小的充气人物 装在充气筏上

They are the shipwrecked of civilisation.

他们代表着文明的毁灭

But doesn't Ai Weiwei, always so sharply attuned to history,have something else in mind as well?

但是艾未未这个对历史如此敏锐的人 是不是还有其他的想法呢

The very beginnings of human representation in the Chinese tradition, another mass of figures,

中国传统中 人形塑像的起源 是两千多年前

made more than 2,000 years ago -a whole army created to accompany the Qin emperor into the afterlife.

另一组大规模的人物塑像 古人塑造了一整个军队 来为秦始皇陪葬