Stained Glass Window《彩绘玻璃》

译/爱艺

Coinciding with the Millennium Jubilee of the Czech patron saint St. Wenceslas (Duke of Bohemia), the Gothic reconstruction work for St. Vitas Cathedral in Prague was completed in 1929. The new stained glass window,designed by Mucha, was installed in the north nave in 1931.

1929年，恰逢捷克守护神圣温塞斯拉斯（波希米亚公爵）千禧纪念，位于布拉格的哥特式圣维特大教堂的重建于当年完工。穆夏设计的新的彩绘玻璃于1931年安装在了教堂北中殿。

[2] This stunning stained glass window casts brilliant light into the cathedral. It creates incredible bursting light,color, and activity—with the central fl aming gold and red colors fading into the cool blues and greens on the outer scenes. At the center is the boy Saint Wenceslas with his grandmother, Saint Ludmila. They are in prayer, the red hues around them perhaps foreshadowing the martyrdom to come. 36 episodes from the lives of the ninth Century Saints Cyril and Methodius, famous for baptizing the Slavs into Christianity,surround the central scene.

[2]这面彩绘玻璃炫目绝伦，光线透过玻璃投射入教堂，创造出不可思议的效果，光、色和画面都呈爆裂状分布——中心部位耀眼夺目的金色和红色逐渐变成周边外缘场景中冷色基调的各种蓝色和绿色。玻璃中央画面描绘的是少年圣温塞斯拉斯及其祖母圣卢德米拉。他俩正在祈祷，周围的红色或许预示殉难即将到来。四周环绕的36帧画面描绘了9世纪圣西里尔和圣美多德的生平故事，这兄弟俩因在斯拉夫人中传播基督教而闻名于世。

[3] Wenceslas personifies the free Czechoslovakian nation. Christ looks down from above, while the “Mucha women”1穆夏笔下的女性形象具有多个典型特征：年轻貌美，体态丰腴，柔媚动人，端庄圣洁。此彩绘玻璃作品中也绘有若干这样的女子。represent the young people of the new nation. The secular world intrudes into this religious scene, as the window bears the logo of the new Slavia Bank who had funded the project.

[4] Not only is Mucha’s window an achievement for its colorful exuberance and dynamic design, but it is also emotionally and psychologically deep.The profound humanity and emotion of the fi gures comes through in their facial expressions and body language. ■

[3] 温塞斯拉斯是自由的捷克斯洛伐克的化身。顶端的基督向下俯视，画面中几位“穆夏女性”则代表这个新国家的年轻人。这个宗教场景中还有俗世信息强行插入——窗户上带有资助该项目的新斯拉夫银行的标识。

[4]穆夏之窗因其丰富色彩和活力设计而成为佳作，不仅如此，它在情感和心理层面也具有一定深度。人物的面部表情和身体语言都传递出他们深刻的人性和情感。 □

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