旅行的藝術(shù):藝術(shù) Ⅶ 令人眼界大開(kāi)的藝術(shù)-7

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普羅旺斯并不是惟一因?yàn)樗囆g(shù)作品而讓我開(kāi)始欣賞繼而想去游歷的地方。因?yàn)榭戳宋?middot;溫德斯 [15] 的《城里的愛(ài)麗絲》，我造訪了德國(guó)的工業(yè)區(qū)。安德烈亞斯·古爾斯基拍攝的照片教我欣賞高速公路橋下方的區(qū)域。由于帕特里克·謝勒的記錄片《現(xiàn)代魯濱孫漂流記》，我圍著英格蘭南部的工廠、購(gòu)物中心和商業(yè)園區(qū)度過(guò)了一個(gè)假期。

Provence was not the only place which I began to appreciate and wanted to explore because of its portrayal in works of art. I once visited Germany's industrial zones because of Wim Wenders's Alice in the Cities . The photographs of Andreas Gursky gave me a taste for the undersides of motorway bridges. Patrick Keiller's documentary Robinson in Space made me take a holiday around the factories, shopping malls and business parks of southern England.

一個(gè)地方經(jīng)過(guò)偉大畫家的描繪，往往會(huì)變得更為動(dòng)人。阿爾勒的旅游服務(wù)處不過(guò)是普加利用藝術(shù)與旅行欲望的關(guān)系，翻開(kāi)旅行史來(lái)看，這樣的例子曾在不同國(guó)家出現(xiàn)（透過(guò)不同的藝術(shù)媒介），最顯著最早的例子就是18世紀(jì)下半葉的英國(guó)。

In recognizing that a landscape can become more attractive to us once we have seen it through the eyes of a great artist, the tourist office in Arles was only exploiting a long-standing relationship between art and the desire to travel evident in different countries (and in different artistic media) throughout the history of tourism. Perhaps the most notable and earliest example occurred in Britain in the second half of the eighteenth century.

歷史學(xué)家們認(rèn)為在18世紀(jì)之前，英格蘭、蘇格蘭和威爾士鄉(xiāng)村的大部分地區(qū)并沒(méi)有吸引人們的目光。那些后來(lái)被認(rèn)為是自然地、無(wú)可爭(zhēng)辯地美麗的地方——瓦伊河谷，蘇格蘭高地，湖區(qū)——幾個(gè)世紀(jì)以來(lái)一直無(wú)人聞問(wèn)，甚至遭人蔑視。丹尼爾·笛福 [16] 于18世紀(jì)20年代游覽了湖區(qū)，他對(duì)此地的描繪是“貧瘠、可怕”。在《蘇格蘭西部小島之旅》中，約翰遜博士 [17] 寫道，高地是“崎嶇的”，令人遺憾地缺乏“植物的裝飾”，一眼望去盡是絕望的貧瘠。在吉勒史爾時(shí)，鮑斯維爾為了激起約翰遜的興致，指著一座山，說(shuō)那山看起來(lái)很高，哪知約翰遜不耐煩地說(shuō)：哪門子的高，不過(guò)是一個(gè)大土丘罷了。

Historians contend that large parts of the countryside of England, Scotland and Wales went unappreciated before the eighteenth century. Places that were later taken to be naturally and unarguably beautiful-the Wye valley, the Highlands of Scotland, the Lake District-were for centuries treated with indifference, even disdain. Daniel Defoe, travelling in the Lake District in the 1720s, described it as 'barren and frightful'. In his Journey to the Western Isles of Scotland, Dr Johnson wrote that the Highlands were 'rough', pitifully devoid of 'vegetable decoration' and 'a wide extent of hopeless sterility'. When, at Glenshiel, Boswell attempted to cheer him up by pointing out that a mountain seemed impressively high, Johnson snapped irritably, 'No; it is no more than a considerable protuberance.'

那時(shí)有錢人都喜歡到國(guó)外旅行。意大利是最受歡迎的目的地，尤其是羅馬、那不勒斯及周邊的鄉(xiāng)村。這些地點(diǎn)常常出現(xiàn)在英國(guó)貴族欣賞的藝術(shù)作品中，如維吉爾 [18] 和賀拉斯 [19] 的詩(shī)集，普桑和克勞德的繪畫作品。（其中的）繪畫作品描繪了羅馬的鄉(xiāng)間風(fēng)景和具有那不勒斯特色的海岸線。畫作通常表現(xiàn)的是黎明或是薄暮，天空中是一些輕柔的云朵，云邊是粉色和金色的。有人想象那天將會(huì)，或者已經(jīng)是，非常炎熱的一天。天空中似乎很安靜，只有潺潺的溪水和劃槳聲劃破寂靜。幾個(gè)牧羊女在原野上嬉戲，看管羊兒或照顧金發(fā)的小孩。在雨中的英國(guó)鄉(xiāng)間房屋里看到這樣的畫面，許多人會(huì)期盼自己能盡可能早地找到機(jī)會(huì)，渡過(guò)英吉利海峽，到意大利一游。如同約瑟夫·愛(ài)迪生在1912年所言：“我們發(fā)現(xiàn)自然的作品越相似于藝術(shù)作品，就越令人愉悅。”

Those who could afford to travel went abroad. Italy was the most popular destination, especially Rome, Naples and the surrounding countryside. It was perhaps no coincidence that these locales featured heavily in the very works of art most favoured by the British aristocracy: the poetry of Virgil and Horace and the paintings of Poussin and Claude. The paintings depicted the Roman exurbs and the Neapolitan coastline. It was often dawn or dusk, there were a few fleecy clouds overhead, their borders were pink and golden. One imagined that it was going to be, or had been, a very hot day. The air seemed quiet, the silence interrupted only by the flow of a refreshing brook or the sound of oars cutting through a lake. A few shepherdesses might be gambolling through a field, or tending some sheep or a goldenhaired child. Looking at such scenes in English country houses in the rain, many would have dreamt of crossing the Channel at the earliest available opportunity. As Joseph Addison observed in 1712: 'We find the Works of Nature still more pleasant, the more they resemble those of Art.'

不幸的是，那時(shí)英國(guó)的風(fēng)景很少可以從藝術(shù)作品中看到。然而，在18世紀(jì)，這種作品慢慢多了起來(lái)，相應(yīng)地，英國(guó)人不愿游歷他們自己本島的情形也開(kāi)始改觀。1727年，詩(shī)人詹姆斯·湯姆生 [20] 出版了《季節(jié)》，頌贊了英格蘭南部的農(nóng)村生活和風(fēng)景。他的成功給其他的“農(nóng)夫詩(shī)人”的作品帶來(lái)了顯赫的名聲，這些人中包括史蒂芬·達(dá)克、羅伯特·彭斯和約翰·克拉爾 [21] 。畫家們也開(kāi)始注意他們自己的國(guó)家。肖本爵士委托托馬斯·庚斯博羅 [22] 和喬治·巴雷特為他在威爾特郡的房子畫一系列的風(fēng)景畫，并宣稱他的目的是“為英國(guó)風(fēng)景畫派奠定基礎(chǔ)”。理查德·威爾森 [23] 畫了亭肯漢附近的泰晤士河，托馬斯·赫恩 [24] 畫了古德里克城堡，菲利普·詹姆斯·德·羅德保描繪了廷特恩修道院，托馬斯·史密斯 [25] 畫筆下則是德文特湖和溫得米爾的風(fēng)光。

Unfortunately for the works of British Nature, for a long time few works of art resembled them at all. Yet during the eighteenth century, this dearth was gradually overcome and so too, with uncanny synchronicity, was the reluctance of the British to travel around their own islands. In 1727, the poet James Thomson published The Seasons , which celebrated the agricultural life and the landscape of southern England. Its success helped to bring to prominence the work of other 'ploughmen poets': Stephen Duck, Robert Burns and John Clare. Painters began to consider their country too. Lord Shelburne commissioned Thomas Gainsborough and George Barrett to paint a series of landscapes for his Wiltshire house, Bowood, declaring his intention 'to lay the foundation of a school of British landscape'. Richard Wilson went to paint the Thames near Twickenham, Thomas Hearne painted Goodrich Castle, Philip James de Loutherbourg Tintern Abbey and Thomas Smith Derwentwater and Windermere.

凡·高：《阿爾勒附近的麥田》，1888年

結(jié)果，沒(méi)多久英倫諸島便成為了熱門的旅游地。瓦伊河谷第一次人滿為患，北威爾士的群山、湖區(qū)及蘇格蘭高地也是如此。這是一個(gè)近乎完美的注腳，證明了這樣一個(gè)論點(diǎn)：只有那些世界的角落已經(jīng)被藝術(shù)家們描畫或描寫之后，我們才會(huì)有興趣去探索它們。

No sooner had the process begun than there was an explosion in the number of people travelling around the isles.For the first time, the Wye valley was filled with tourists, as were the mountains of North Wales, the Lake District and the Scottish Highlands-a story that seems perfectly to confirm the contention that we tend to seek out corners of the world only once they have been painted and written about by artists.

這個(gè)理論當(dāng)然有點(diǎn)夸張，就像認(rèn)為在惠斯勒之前沒(méi)有人注意到倫敦的霧或者在凡·高之前沒(méi)有人注意到普羅旺斯的柏樹(shù)一樣。藝術(shù)不可能完全憑借自身力量創(chuàng)造熱情，也不可能是從凡人所缺乏的情感中產(chǎn)生，它只是推波助瀾，誘發(fā)出更深刻的感受，使我們不至于因勿忙和隨意而變得麻木。

The theory must of course be a sharp exaggeration, as sharp as the suggestion that no one paid any attention to fog in London before Whistler or to cypresses in Provence before Van Gogh. Art cannot single-handedly create enthusiasm, nor does it arise from sentiments of which non-artists are devoid; it merely contributes to enthusiasm and guides us to be more conscious of feelings that we might previously have experienced only tentatively or hurriedly.

明年去哪里旅行才好？藝術(shù)可能對(duì)挑選地點(diǎn)頗有影響力，阿爾勒旅游服務(wù)處似乎已經(jīng)體會(huì)到了這一點(diǎn)。

But that may-as the tourist office in Arles seemed to understand-be enough to influence where we choose to go next year.