散文網 » 科技 »人文歷史 » 【簡譯】貝葉掛毯（巴約掛毯、瑪蒂爾德女王掛毯）

【簡譯】貝葉掛毯（巴約掛毯、瑪蒂爾德女王掛毯）

2022-12-29 13:29 作者:神尾智代 0人讀過 | 我要投稿

The Bayeux Tapestry shows in pictures the events leading up to the Norman conquest of England by William the Conqueror, Duke of Normandy, and his 1066 defeat of King Harold Godwinson at the Battle of Hastings. It was produced between 1067 and 1079, most likely by embroiderers working in Canterbury, England, and probably for Odo, the Bishop of Bayeux.

? ? ? ? ? 貝葉掛毯以圖畫的形式展示了諾曼底公爵“征服者”威廉對英格蘭的征服，以及他在1066年黑斯廷斯戰(zhàn)役中擊敗哈羅德·戈德溫森國王的事件。這件掛毯是在1067年至1079年間由在英格蘭坎特伯雷工作的刺繡師完成的，而且很可能是為天主教巴約教區(qū)的主教奧多制作。

The tapestry is really an embroidery as the scenes are stitched not woven into the linen. It is the largest and best-preserved such work from the Middle Ages and is invaluable not only for its contribution to the story of the Norman invasion but also for its depiction of many aspects of medieval warfare and daily life. The tapestry is now on permanent public display in the William the Conqueror Centre of Bayeux in Normandy, France.

? ? ? ? ? 這幅掛毯實際上是一種刺繡，因為場景是縫制的，而不是織在亞麻布上。它是中世紀同類作品中規(guī)模最大、保存最完好的作品，其價值不僅在于它對諾曼人入侵故事的貢獻，還在于它對中世紀戰(zhàn)爭和日常生活許多方面的描述。這幅掛毯現在在法國諾曼底的征服者威廉中心永久公開展出。

材料和尺寸

The Bayeux Tapestry is an embroidered piece of multiple-banded linen fastened onto a backing cloth. It measures 68.38 metres (224 ft) in length and is 50 cm (20 inches) wide. The thread used to stitch the designs is mostly two-ply wool yarn with some use of linen thread. Using at least ten different colours, the threads were dyed using plant material. As the scenes on the cloth are stitched and not woven, the cloth is not technically a tapestry but the name has stuck from medieval times when such decorative hanging cloths or covers, however they were made, were known as a tapis or tapisserie.

? ? ? ? ? 貝葉掛毯繡有多塊亞麻布，并固定在織物襯里上。它的長度為68.38米（224英尺），寬度為50厘米（20英寸）。用來縫制圖案的線大多是兩層毛線，也有一些使用了亞麻線。這些線至少使用了十種不同的顏色，是用植物材料染色的。由于布上的場景是縫制的，而不是編織的，所以從技術上講，這種布不是掛毯，但這個名字自中世紀以來一直沿用至今，當時這種裝飾性的掛布或覆蓋物，不管它們是如何制作的，都被稱為Tapis或Tapisserie。

The tapestry has 58 scenes of the Norman conquest of Anglo-Saxon England and the events which led up to it explaining (one might say justifying) William's claim to the throne of England. The scenes involve 626 characters as well as horses, dogs, ships, trees and buildings. They were probably stitched following an outline first drawn on the cloth by a single artist. The main scenes are bordered at the top and bottom by a strip showing fantastic animals like dragons and griffins, strange human figures, corpses and body parts. Some of these border scenes may represent fables or allude to certain moral behaviours and so offer a commentary on the main scene which appears directly above them. Stitched Latin words and phrases explain who or what is in the scene below. Very well-preserved and its colours still bright, only the last section of the tapestry is missing.

? ? ? ? ? 這幅掛毯有58個場景，描述了諾曼人對盎格魯-撒克遜英格蘭的征服，并解釋了導致（或試圖證明）威廉繼承英格蘭王位的事件。這些場景涉及626個人物以及馬、狗、船只、樹木和建筑物。它們可能是按照一位藝術家在布上首次繪制的輪廓線縫制的。主要場景的頂部和底部都有一條邊框，顯示龍和獅鷲等神奇的動物、奇怪的人形、尸體和身體部位。這些邊框場景中的一些可能代表了寓言故事或暗示了某些道德行為，因此為直接出現在它們上面的主要場景提供了評論?？p制的拉丁語單詞和短語解釋了下面場景中的人或事物。這幅掛毯保存得非常好，顏色依然鮮艷，只有最后一段掛毯丟失。

貝葉掛毯的第39板塊描繪了諾曼艦隊的馬匹和士兵在公元1066年離開船只前往黑斯廷斯與撒克遜人作戰(zhàn)

歷史概述

The most likely place of the tapestry's production is Canterbury, England, but other possibilities include Normandy or the Loire Valley. The English connection is suggested by the style of the stitched scenes which resemble those seen in Anglo-Saxon manuscripts and by the fact that Canterbury did have a celebrated school of embroidery at the time. In addition, the Latin text often contains words spelt in the English manner. It was most likely made for Odo, the Earl of Kent (another Canterbury connection), Bishop of Bayeux and the half-brother of William the Conqueror. It is perhaps significant that Odo appears prominently in the tapestry itself. However, the tapestry was traditionally known as 'Queen Matilda's Tapestry' after William the Conqueror's wife, Matilda of Flanders, although there is no specific evidence of a connection.

? ? ? ? ? 掛毯最可能的制作地點是英格蘭的坎特伯雷，但也有可能是在諾曼底或盧瓦爾河谷。縫制場景的風格與盎格魯-撒克遜手稿中的場景相似，而且坎特伯雷當時確實有一所著名的刺繡學校。此外，拉丁文本中經常包含以英語方式拼寫的單詞。它很可能是為肯特伯爵（另一個與坎特伯雷有關的人）、巴約主教和征服者威廉的同父異母的兄弟奧多制作。奧多出現在掛毯本身的顯著位置，這也許很重要。然而，該掛毯在傳統上被稱為 “瑪蒂爾達女王掛毯”，是以征服者威廉的妻子、佛蘭德斯的瑪蒂爾達的名字命名的，盡管沒有具體的證據證明兩者之間的聯系。

Around 1077 the rebuilding of the cathedral of Bayeux was completed and consecrated by Bishop Odo. It is possible that the tapestry was then displayed to the public inside the cathedral, although the first reference to the tapestry in any text does not appear until 1476 when it is listed on the cathedral's inventory. Another possibility is that the tapestry was first hung in the great hall of Odo's private residence. For most of its existence, the tapestry was probably locked up in a chest, out of view in the cathedral's vaults. The French state took ownership of the tapestry following the French Revolution of 1792 and Napoleon Bonaparte briefly displayed it in Paris as a timely anti-British propaganda tool. In 1842 the public of Bayeux could once again see their tapestry when it was put on display in the town's public library. Kept safe in Sourches and then the Louvre in Paris during the Second World War, the tapestry was returned to Bayeux after the war. There have been several minor repairs to the tapestry over the years and, since 1983, a dedicated space has been given to the tapestry in Bayeux's William the Conqueror Centre (Centre Guillaume le Conquérant).

? ? ? ? ? 大約在1077年，巴約圣母主教座堂的重建工作已經完成，并由奧多主教主持。掛毯有可能是在大教堂內向公眾展示的，盡管在任何文本中第一次提到掛毯是在1476年，當時掛毯被列入大教堂的清單。另一種可能性是，掛毯最初被掛在奧多私人住宅的大殿里。在它存在的大部分時間里，掛毯可能被鎖在一個箱子里，在大教堂的地下室里存放。1792年法國大革命后，法國政府取得了掛毯的所有權，拿破侖·波拿巴在巴黎短暫地展示了這幅掛毯，作為一種及時的反英宣傳工具。1842年，當掛毯在該鎮(zhèn)的公共圖書館展出時，巴約的公眾可以再次看到他們的掛毯。在第二次世界大戰(zhàn)期間，掛毯被安全地保存在圣桑福里安城堡（Chateaude Sourches），然后又被保存在巴黎的盧浮宮，戰(zhàn)后被送回巴約。多年來，人們對掛毯進行了幾次小規(guī)模的修補，自1983年以來，在巴約的征服者威廉中心（Centre Guillaume le Conquérant）為掛毯提供了專門的展覽空間。

諾曼征服的故事

The majority of the scenes which together tell the story of the Norman Conquest match in many instances with medieval written accounts even if there are, as one might expect with a purely visual narrative, some omissions such as the Anglo-Saxons' battle with Norway's Harald Hardrada at Stamford Bridge three weeks prior to Hastings. Again because it is a visual account, with only a few Latin words as pointers, many scenes are open to several interpretations. The tapestry starts with a scene set in 1064 where the English king Edward the Confessor (r. 1042-1066) says farewell to Harold Godwinson, his brother-in-law and the Earl of Wessex, who is to travel to Normandy on an unknown mission. Norman writers would record the mission's purpose as a pledge of Saxon loyalty to William, Duke of Normandy, while an English chronicle suggests it was merely a visit to secure the release of Saxon prisoners.

? ? ? ? ? 大多數場景共同講述了諾曼征服的故事，在許多情況下都與中世紀的文字記載相吻合，即使如人們所預期的那樣，在純粹的視覺敘述中存在一些遺漏，例如在黑斯廷斯之前三周，盎格魯-撒克遜人在斯坦福橋與挪威的哈拉爾·哈德拉達的戰(zhàn)斗。同樣，由于它是一種視覺敘述，只有幾個拉丁語單詞作為指示，許多場景都可以有多種解釋。掛毯從1064年的一個場景開始，英國國王懺悔者愛德華（1042-1066年）向他的妹夫、威塞克斯伯爵哈羅德·戈德溫森告別，后者將前往諾曼底執(zhí)行一項未知的任務。諾曼底作家將這次任務的目的記錄為撒克遜人對諾曼底公爵威廉的忠誠保證，而一部英國編年史則認為這只是一次確保釋放撒克遜人囚犯的訪問。

Next, Harold's ship is blown off course and on reaching landfall he is captured by Count Guy of Ponthieu. William orders Harold's release and enrolls him in a battle with Duke Conan of Brittany. Harold fights well and is depicted favourably as a brave warrior who even manages to save two of the enemy from quicksand. Afterwards, Harold is knighted by William, although the fact he holds a banner and the Latin rubric mentions 'arms' may show that Harold has been given back his banners and is now a vassal of the Norman duke. Harold swears an unknown oath to William with his hands on holy relics, and then returns to England. Some commentators have suggested that because William has a sword in his hand in this scene, the oath was taken under duress and, therefore, whatever the oath actually was could later be honourably broken by Harold.

? ? ? ? ? 接下來，哈羅德的船被吹偏了方向，在到達登陸點時，他被蓬蒂厄的居伊伯爵抓住了。威廉下令釋放哈羅德，并讓他參加與布列塔尼公爵康南的戰(zhàn)斗。哈羅德戰(zhàn)斗嫻熟，被描述為一個勇敢的戰(zhàn)士，他甚至設法從流沙中救出了兩個敵人。之后，哈羅德被威廉封為騎士，盡管哈羅德手握他的旗幟，掛毯上的拉丁文標題包含“武器”一詞，這可能意味著他的旗幟歸還給他，并成為諾曼公爵的附庸。哈羅德雙手捧著圣物向威廉宣誓，然后回到了英格蘭。一些評論家認為，由于威廉在這一場景中手里拿著一把劍，所以這個誓言是在脅迫的情況下作出的，因此，無論這個誓言實際上是什么，后來都可以由哈羅德光榮地違背。

On his death bed, King Edward (his beard a little longer since we last saw him), who was without an heir, nominates Harold as his successor (January 1066). We have the funeral of King Edward at Saint Peter's in Westminster and then the coronation of Harold. The new king is given his crown by the Archbishop of Canterbury, Archbishop Stigand who had been excommunicated by the Pope. Again, some commentators suggest this scene indicates the illegitimacy of Harold's claim and support of William's to the English throne, especially considering other sources do not have Stigand perform that role. It is interesting to note the ghostly uncoloured ships in the lower border of this scene – a hint at the invasion to come perhaps?

? ? ? ? ?在臨終前，沒有繼承人的愛德華國王（自從我們上次見到他后，他的胡子又長了一點）指定哈羅德為他的繼承人（1066年1月）。它展示了威斯敏斯特的圣彼得教堂舉行的愛德華國王的葬禮，然后是哈羅德的加冕儀式。新國王由坎特伯雷大主教、曾被教皇逐出教會的斯蒂甘德大主教授予王冠。同樣，一些評論家認為這一幕表明哈羅德的主張是不合法的，并支持威廉登上英國王位，特別是考慮到其他資料來源沒有讓斯蒂甘德扮演這一角色。有趣的是，在這一場景的下邊框中出現了幽靈般的非彩色船只——這也許是對即將到來的入侵的暗示？

The next scenes (now taking place in September) show the Normans preparing to invade Britain by building ships and gathering horses, men and supplies, including one huge wine keg important enough to get its own caption. On landing in southern England, William has his men build fortifications and they are shown looting the countryside and burning homes. Normans are seen cooking meat and Bishop Odo sits at a table which is remarkably like an illustration from a Canterbury manuscript of Christ's Last Supper.

? ? ? ? ? 接下來的場景（現在發(fā)生在9月）顯示，諾曼人正在準備入侵英國，他們建造船只，收集馬匹、人員和物資，包括一個巨大的酒桶，其重要性足以得到自己的標題。在英格蘭南部登陸后，威廉讓他的手下建造防御工事，并展示了他們對農村的掠奪和焚燒房屋。人們看到諾曼人在煮肉，奧多主教坐在一張桌子前，這很像坎特伯雷手稿中關于基督最后的晚餐的插圖。

The major subject of the tapestry is now dealt with: the Battle of Hastings in October 1066 which covers one-third of the tapestry. The Norman cavalry, wearing chain mail or padded armour and armed with spears, lances and long swords, takes centre stage. The Anglo-Saxons, many only wearing ordinary tunics, carry spears, axes and single-edged swords. Only Harold amongst the Saxons is shown riding a horse. The Saxon strategy is to create close formations of foot soldiers protecting each other with their shields while the Normans favour cavalry. There are violent details, arrows and spears fly over the battle scenes, and there are the dramatic deaths of Harold and his two brothers Gurth and Leofwine. Victorious, the Norman cavalry chase the remaining Saxons from the battlefield.

? ? ? ? ? 掛毯的主要主題現在已經處理完畢：1066年10月的黑斯廷斯之戰(zhàn)，占了掛毯的三分之一。諾曼人的騎兵，穿著鏈式盔甲或軟墊盔甲，裝備著長矛、長槍和長劍，占據了舞臺的中心。盎格魯-撒克遜人，許多人只穿著普通的外衣，手持長矛、斧頭和單刃劍。撒克遜人中只有哈羅德騎著馬。撒克遜人的策略是建立緊密的步兵隊形，用他們的盾牌互相保護，而諾曼人則喜歡使用騎兵。畫面上有一些暴力的細節(jié)，箭和長矛在戰(zhàn)斗場面上飛來飛去，還有哈羅德和他的兩個兄弟Gurth和Leofwine的戲劇性死亡。諾曼騎兵取得了勝利，將剩余的撒克遜人從戰(zhàn)場上趕走。

貝葉掛毯上的一個場景，展示了公元1066年黑斯廷斯戰(zhàn)役中英格蘭國王哈羅德的死亡。

了解中世紀歷史的窗口

The tapestry reveals many details, even if they may contain artistic license, of life in the Middle Ages. There are motte and bailey castles, great halls, churches, houses, ships, medieval banquets, hunts with falcons and hounds, a coronation, all manner of clothing, armour and weapons galore, and even an appearance by Halley's Comet. Medieval warfare is one obvious subject which is illuminated by the tapestry. For example, the shields depicted in the tapestry indicate that coats of arms or individualised devices were not yet commonly used, although both William and Harold may have had them. The tapestry shows two types of Norman archers distinguishable by one group wearing armour and the other seemingly in rags which would suggest both professional and conscripted archers were used.

? ? ? ? ? 掛毯揭示了中世紀生活的許多細節(jié)，即使它們可能包含藝術加工。這里有城寨城堡（motte-and-bailey castle）、大殿、教堂、房屋、船只、中世紀的宴會、獵鷹和獵犬的狩獵、加冕儀式、各種服裝、盔甲和武器，甚至還有哈雷彗星的出現。中世紀戰(zhàn)爭是掛毯上明顯的插圖主題。例如，掛毯中描繪的盾牌表明，當時還沒有普遍使用紋章或個性化的裝置，盡管威廉和哈羅德可能都有自己的紋章。掛毯顯示了兩種類型的諾曼底弓箭手，其中一種身穿盔甲，另一種似乎衣衫襤褸，這表明職業(yè)和應征的弓箭手都參與了戰(zhàn)斗。

Aspects of daily life depicted include the common wardrobe of tunics and hose for men of all status, with long dresses for the few women depicted. National fashions are shown such as the Normans' preference for very short hair with high-shaved necks and the Saxons' for long hair and moustaches. Agricultural scenes show ploughing, the sowing of seeds and scaring off of birds. There is even one of the earliest depictions of a working horse with a collar-harness and plough.

? ? ? ? ? 日常生活方面的描述包括各種級別男性的束腰外衣和緊身褲的常見衣櫥，少數婦女則穿長裙。當地時尚表現為諾曼人偏愛剃光頸部的短發(fā)，而撒克遜人偏愛長發(fā)和胡須。農業(yè)場景展示了犁地、播種和驅趕鳥類的場景。甚至還有最早的一匹帶有馬具項圈和犁的馬的描述。

Despite all these fascinating images, there are some details and omissions which may be inaccurate such as archers with spurs (leading some commentators, without any corroborative evidence, to suggest the Normans used mounted archers). There are no depictions of crossbowmen in the tapestry despite the fact they are known to have been employed in France at the time – perhaps the artists simply did not know how to represent them. There are oddities too, such as Edward the Confessor's funeral being shown before the king's death, as if a mistake has been made in the sequencing between outlining and stitching. One major point of discussion is Harold's death. The king is shown with an arrow in his head or eye but there is evidence this was put in the scene during the 19th century restorations. On the other hand, small holes in the linen suggest there was something there in the original – perhaps a lance. Then, of course, even if there was an arrow there originally, we still cannot be sure that was what actually happened. Is it a case of the tapestry recording history or recording the later legends which had grown around the history?

? ? ? ? ? 盡管有這些迷人的圖像，但有一些細節(jié)和遺漏可能是不準確的，如帶馬刺的弓箭手（導致一些編年史家在沒有任何確鑿證據的情況下，認為諾曼人使用了騎射手）。掛毯中沒有關于弩手的描述，盡管已知他們當時在法國被雇用，也許藝術家們只是不知道如何表現他們。也有一些奇怪的地方，例如，懺悔者愛德華的葬禮被顯示在國王去世之前，似乎是在勾勒和縫制的順序上出現了錯誤。一個主要的討論點是哈羅德之死。國王的頭部或眼睛里有一支箭，但有證據表明這是在19世紀的修復過程中放進場景的。另一方面，亞麻布上的小孔表明在原作中那里有一些東西，也許是一把長矛。當然，即使那里最初有一支箭，我們也不能確定那就是實際發(fā)生的情況。這到底是掛毯記錄了歷史，還是記錄了后來圍繞歷史產生的傳說？

Finally, there are several scenes which have defied centuries of interpretation and remain a mystery such as a tonsured priest seemingly caressing a woman called Aelfgva, a bearded dwarf figure possibly named Turold, or the small naked human figures in a portion of the border, one of whom wields an axe. The biggest mystery is, of course, what the final missing scene was. Theories include a possible coronation scene of William, made King of England in Westminster Abbey on Christmas Day 1066, which would nicely balance the depiction of King Edward on his throne at the beginning and Harold seated on his throne in the centre of the tapestry.

? ? ? ? ? 最后，有幾個場景已經無法解釋并且仍然是一個謎，如一個戴著長袍的牧師似乎在愛撫一個叫Aelfgva的女人，一個可能叫Turold的大胡子矮人形象，或者邊界的一部分中的小型裸體人類形象，其中一個揮舞著一把斧頭。當然，最大的謎團是最后失蹤的場景是什么。理論上包括可能是威廉的加冕場景，他于1066年圣誕節(jié)在威斯敏斯特教堂被封為英格蘭國王，這將很好地平衡掛毯開頭對愛德華國王在其寶座上的描述和掛毯中央哈羅德坐在其寶座上的描述。