Juan de Pareja, The Calling of St. Matthew From smart history

中英雙語 | 帕雷哈 | 圣馬太的召喚 | Juan de Pareja

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1. We ' re at a special exhibition at the Metropolitan Museum of Art of the work of Juan de Pareja , a 17th century painter , finally being given the attention that he deserves.

l?Metropolitan： 一詞可以用作名詞或形容詞。作為名詞，它可以指一個(gè)大都市的居民，或者一個(gè)省級主教，特別是在大主教之上，宗主教之下的主教。作為形容詞，它可以指與大都市相關(guān)的，通常包括其周邊地區(qū)，或與殖民地或附屬國的母國相關(guān)的。

l?Juan de Pareja：Juan de Pareja (約1608年-1670年) 是一位17世紀(jì)的西班牙畫家，他出生于安特克拉（Antequera），西班牙。他主要以作為迭戈·韋拉斯奎茲（Diego Velázquez）的畫像而聞名，這幅畫像現(xiàn)在收藏在大都會藝術(shù)博物館。Pareja曾在韋拉斯奎茲的工作室里被奴役了20多年，后來成為一名畫家。

2. Ironically , this artist is known mostly through a portrait of him by the great Spanish painter , Diego Velazquez.

l?Diego Rodríguez de Silva y Velázquez (1599年6月6日洗禮 - 1660年8月6日) 是一位西班牙畫家，是西班牙國王腓力四世的宮廷畫家，也是西班牙黃金時(shí)代的領(lǐng)軍人物。他是巴洛克時(shí)期（約1600-1750年）的個(gè)人主義藝術(shù)家。他最初以精確的夜光畫風(fēng)開始繪畫，后來發(fā)展出一種自由的風(fēng)格，以大膽的筆觸為特征。除了許多歷史和文化意義重大的場景外，他還繪制了大量西班牙皇室和平民的肖像，最終創(chuàng)作出他的杰作《宮女》（1656年）

3. And we ' ve always known that in that famous painting by Velazquez that ' s been so long admired.

4. The man featured in the painting , Juan de Pareja , was enslaved and his enslaver was Diego Velazquez.

5. But Pareja was also an artist and we ' re standing in front of a very large canvas , what we think was a significant commission.

6. This painting is 10 feet across.

7. And the subject is the calling of Saint Matthew and it ' s the story of a moment of conversion , the moment of a life - changing event when Matthew is approached by Christ and called to become one of his apostles and who at first questions that calling.

l?Saint Matthew 圣馬太（Saint Matthew）在新約圣經(jīng)中被稱為耶穌的十二使徒之一。根據(jù)基督教傳統(tǒng)，他也是四位福音書作者之一，撰寫了《馬太福音》（Gospel of Matthew），因此也被稱為馬太福音書作者（Matthew the Evangelist）。

8. All of that takes place in the right half of the canvas.

9. Christ is standing in blue and red.

10. He looks slightly down and looking up to him is a man dressed in the most extravagant costume.

11. This is Matthew before riches.

12. We see pearls , we see gold and silver coins.

13. On top of this gloriously painted West Asian carpet.

14. And those coins spilling out of the bag signal the life that Matthew is turning away from , this life of worldly power and influence and on the cusp of accepting this spiritual calling.

15. And so we can think about the figures and the space on the right side of that column behind Matthew as this spiritual space which is spare , where we see a view to nature , where we don ' t see any of those expensive household goods that are so over the top in the left - hand side of the painting.

16. Matthew is at this moment of indecision.

17. Is he going to give up this wealth ?

18. Is he going to follow Christ and take a spiritual journey ?

19. He seems to be gesturing almost as if he ' s saying , you mean me ?

20. Questioning how could he possibly be asked to follow Christ ?

21. Matthew is certainly the most extravagantly dressed of the figures that we see on the left - hand side of the painting.

22. Some of the figures are looking up at Christ.

23. Some of them don ' t seem to notice him.

24. But as our eye scans the figures from right to left , from Christ through this room of figures , the golden urns glimmering in the light below the window , the painting on the back wall , the books , all of these signs of wealth and prosperity.

25. At the far left , we see a self - portrait of the artist himself.

26. We see Juan de Pareja.

27. And in his hand , he holds a piece of paper which contains his signature.

28. Juan de Pareja made this and the date of the painting.

29. This is the only figure that looks out directly at us.

30. He stands nobly.

31. We can see almost his entire body.

32. In fact , that ' s the only case beyond Christ in this painting where that happens.

33. And importantly , he is dressed as a member of the aristocracy , as a nobleman.

34. Specifically , the sword that he carries is a clear indicator of status.

35. And I think it ' s important for us to remember how clear a sense of social hierarchy there was at this time , particularly in Spain.

36. Jews , Muslims , people of color , people of African descent like Pareja , had significant restrictions placed on their lives.

37. The artist was born in Spain , but he is of African descent and one of two figures in this painting that are black.

38. We see the other black figure behind the column , although mostly obscured by that point of light above Matthew ' s head.

39. It ' s not unusual to see a black figure in a painting , but it is unusual to see a black figure portrayed in such an ennobled way.

40. We know that in Spain at this time , there was a significant enslaved population.

41. Pareja does get manumitted by Velazquez before this painting is painted.

42. And I think it ' s important for us to keep in mind not only Velazquez ' s portrait of Pareja himself , but also Velazquez ' s self - portrait where he portrays himself within the court of King Philip IV of Spain as a way of showing , of proving his noble status , his status above the level of a normal artist by his presence within the court.

King Philip IV of Spain 菲利普四世（Philip IV，1605年4月8日 - 1665年9月17日），也被稱為行星國王（Rey Planeta），是西班牙國王（1621年至逝世）和葡萄牙國王（1621年至1640年）。他在西班牙作為一個(gè)偉大的世界強(qiáng)國衰落期間統(tǒng)治。

43. So we know that Velazquez had this concern for his own status.

44. And clearly , Pareja is concerned with his status in this painting.

45. And Velazquez ' s own striving for social status was augmented by being a slave owner.

46. Interestingly , we see this moment where Matthew gives that up in favor of a spiritual life.?