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1937年4月26日，德國法西斯空軍恣意轟炸了西班牙歷史名城——風光旖旎的小鎮格爾尼卡，當時恰逢集市，無數無辜平民喪生，格爾尼卡被夷為平地。這一事件震撼了全世界，也震撼了畢加索。憤怒的天才畫家畢加索，揮筆創作了大型油畫《格爾尼卡》。七十多年過去了，這幅杰作已經成為警示戰爭災難的文化符號之一，也使格爾尼卡的悲劇永遠留在了人類傷痕累累的記憶中。??
By Mary-Helen Mach 祝平 譯
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There is little argument that Pablo Picasso (1881-1973) is the Twentieth Century’s greatest and most influential artist. Picasso was a genius. His paintings, drawings, prints, and sculptures reveal endless creativity and passion for life. His works range from realistic to abstract: the Blue, Rose, and African periods, Analytical and Synthetic Cubism, Neo-Classicism, Surrealism. Picasso was not true to a style. He was true to the power of personal expression. Picasso was born and educated in Spain. Although Picasso spent much of his career in the avant-garde capital city of Paris, he had a strong emotional and cultural connection to his Spanish roots. Picasso was not a political artist. However, he was so enraged by the 1936-1939 Spanish Civil War (a conflict created by the Fascist coup, of General Francisco Franco and the Nationalists, of the elected Republican government), that he became political. In support of Spanish Republican forces, Picasso painted a mural for the 1937 World’s Fair, in Paris. The inspiration for the subject of the mural occurred on April 26, 1937. With General Franco’s approval, Nazi and Italian Fascist forces brutally attacked the small town of Guernica, in the north of Spain. Ancient Guernica was an important political and cultural center of the Basque region, the area most resistant to Franco’s Fascism. The men of Guernica were off fighting in the Spanish Civil War. The remaining citizens were unarmed civilians. The attack of Guernica came on a Monday afternoon. It was market day. Many people gathered in the center of town to shop for the week. From about 4:30 in the afternoon until 7:30 in the evening, German and Italian planes dropped twenty-two tons of bombs on a village measuring only 3 square miles. Military forces then swooped down to machine gun the fleeing population. Fires burned for three days. Roads and bridges to escape the inferno had been destroyed. Contemporary records estimate 1,650 people were killed. Most of them were women, children, the sick, and the elderly. The purpose of the bombing of Guernica was to terrorize and intimidate the Basque population. For Nazi forces, it also served as a practice exercise in the technique of saturation bombing. The result was international outcry—and an artistic attack by the greatest living artist. Eyewitness accounts and photographs of the violence appeared in newspapers within days of the attack. Picasso was enraged by the slaughter of innocents and he immediately began work on his composition. Fueled with conviction and urgency, Picasso’s abstract masterpiece with a message took little more than a month to complete. At the time, Picasso wrote, “…painting is not done to decorate apartments. It is an instrument of war.” Picasso’s mural, Guernica, is enormous. It measures approximately 11’ X 25’ feet (349 cm × 776 cm) and has a stunning physical presence. Just as tragic news reports and photos appeared in newsprint, the mural is limited to monochromatic tones of black, white, and gray. The viewer is overwhelmed by the drama; there is no escape from facing the horror. Picasso fills the wide rectangular canvas with abstracted human and animal forms. The chaos and panic of the bomb scene is shown in flat, Cubist planes. Animals and humans are reduced to simple, angular shapes that increase the tension and frantic movement. Body parts are disjointed from violent destruction. Facial features are distorted in pain. Figures are shown from multiple perspectives. The viewer is aware of all aspects of their suffering. No matter their pose, the dead and living communicate their situation with a pair of eyes. The viewer is overwhelmed by the carnage; there is no escape from seeing the horror. Guernica is filled with a variety of characters. Picasso carefully organizes the suffering and chaos around a central triangle. A fallen warrior forms the base of the triangle, his severed arm holds a broken sword. A horse, with a spear in her side, shrieks in agony and forms the top of the triangle. Above the horse is an electric light bulb, a reference to bombs, and perhaps a negative reference to technology. From the far right, a woman rushes into scene with hands open to help, but is weary from the struggle. Above her, a frightened woman leans out a window with a candle to light the scene with a flicker of hope. The central triangle in the mural is balanced by the strong vertical emphasis of the right and left sides. On the far right, a woman screams as she falls through the floor of a burning building. On the far left, a woman holds her dead child and howls in pain. The intact figure of the bull looks upon the violence without emotion. According to the artist, the bull represents the power of “brutality and darkness.” The viewer is overwhelmed by the pain; there is no escape from hearing the horror. Picasso said: “We all know that Art is not truth. Art is a lie that makes us realize truth.” The attack on Guernica inspired the passion and genius of Pablo Picasso to reveal his truth about war: war is not about power and glory, war is about pain, suffering, and death. Although Guernica was created in 1937, the universal truth of the work transcends decades and borders. It is as powerful an iconic image in the Twenty-First Century, as in the Twentieth. Picasso’s Guernica insists that viewers remain overwhelmed by the horrors of war.
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巴勃羅?畢加索（1881-1973）是二十世紀最偉大、最有影響力的藝術家，這是不爭的事實。畢加索是一位天才。他的油畫、素描、雕刻以及雕塑作品向世人展現了無盡的創造力和對生命的熱愛。其作品涵蓋了現實主義和抽象色彩：從藍色時期、玫瑰時期、非洲時期，解析立體主義和合成立體主義時期，到新古典主義時期，乃至超現實主義。他真實地捍衛著自我表現的力量。 畢加索出生于西班牙，并在此接受教育。盡管他在前衛之都巴黎度過了他藝術生涯的大多數時期，但他仍然深愛著故土西班牙，并對其文化情有獨鐘。 畢加索并非一位天生的政治藝術家。然而，1936年到1939年爆發的西班牙內戰（一場由法西斯叛亂引發的沖突，在弗朗西斯科?佛朗哥將軍領導的國民軍和當選的共和政府之間展開）讓他義憤填膺，他自此接觸政治。為了表示對西班牙共和政府的支持，畢加索為1937年的世界博覽會創作了一幅壁畫。這幅壁畫主題的靈感來自1937年4月26日。 這天，在佛朗哥將軍的首肯下，納粹和意大利的法西斯武裝野蠻襲擊了西班牙北部小鎮格爾尼卡。古老的格爾尼卡是巴斯克地區一個重要的政治、文化中心，也是反對佛朗哥法西斯主義的呼聲最高的地區。格爾尼卡的男人都投身于西班牙內戰中，留守的都是手無寸鐵的平民。 對格爾尼卡的襲擊發生在一個星期一的下午，恰逢集市。許多人聚集在鎮中心采購一周的物品。從當天下午四點半到傍晚七點半，德國和意大利的飛機向這個僅有3平方英里的小鎮扔下了22噸炸彈。武裝力量隨后進行了掃蕩，用機槍掃射四處逃散的人群。大火燃燒了三天，而可以逃生的道路和橋梁早已被摧毀。當代的記錄表明，約有1650人遇難，其中大多數為老幼婦孺。 轟炸格爾尼卡的目的是恐嚇和震懾巴斯克地區的人民。對于納粹武裝來說，還是飽和轟炸技術的一次實戰演習。其結果是引起了國際公憤——以及一位當時最偉大的藝術家的藝術反擊。襲擊之后的幾天，目擊者的描述以及暴行的圖片便見諸各大報端。對無辜群眾的屠殺，讓畢加索義憤填膺，他立即開始為他的作品構圖。滿懷信念和急迫之情，畢加索僅僅花了一個月時間便完成了這幅傳遞重要信息的抽象巨作。當時，畢加索寫道：“……這幅油畫不是為了裝飾公寓而作，而是一件作戰的武器。” 畢加索的壁畫《格爾尼卡》堪稱巨作。它面積約有11×25英尺（349 厘米 × 776厘米），觀之者無不為之動容。就像悲劇新聞和照片出現在報端一樣，壁畫只使用了黑、白、灰三種單色色調。觀眾被畫中的情節所震撼，面對慘狀，無處可逃。 畢加索在這條寬闊的長條形帆布上填滿了抽象的人體和動物肢體。炸彈轟炸時的混亂和恐慌場景通過立體主義的手法展現出來。動物和人被處理成了簡單的、有棱有角的形狀，使他們的舉止更顯得緊張瘋狂。由于粗暴的破壞，很多肢體都是斷裂的。面部扭曲，痛苦不堪。人物形象從多重角度凸顯出來，觀眾對他們的諸般痛苦感同身受。無論他們的姿態如何，無論是已死去或仍尚存一口呼吸，都用雙眼傳達出他們絕望處境。觀眾被畫中的殘殺所震撼，仿佛耳聞眾生的尖叫，無處可逃。 畫中充滿了各種人物。畢加索圍繞畫面中心的三角形來精心構思、安排這場混亂。三角形底部是一位倒地的戰士，斷臂中舉著一柄斷劍。三角形的頂部是一匹側面中箭受傷的馬，瀕死長嘶，痛苦萬分。馬的上方是一個電燈泡，隱射造成這場災難的炸彈，也可能暗示科技帶來的負面作用。從畫面的最右側闖進一位婦女，她張開雙手求救，神情卻已在掙扎中顯得疲憊不堪。在她上方，另一個驚恐的婦女探出窗外，手舉燭火，一絲希望之光照亮了整個畫面。 畫面左右兩端的垂直圖像使中心的這個三角形構成了平衡。在最右端，一位婦女從一棟著火的大樓掉下，驚聲尖叫。在最左端，一位婦女懷抱夭折的孩子，失聲痛哭。一個完整的公牛形象面無表情地仰望這場暴力。根據畢加索自述，這頭公牛象征著“野蠻和黑暗”的勢力。觀眾被畫面所傳達的痛苦所震撼，耳中充斥著恐懼之聲。 畢加索說：“我們都知道，藝術并非真實。它是讓我們認識真相的一個謊言。”……對格爾尼卡的襲擊激發了巴勃羅?畢加索的創作熱情和天賦，讓他揮筆揭露戰爭的真相：戰爭無關權力和榮譽，它帶來的是痛苦和死亡。盡管《格爾尼卡》創作于1937年，但作品反映的普遍真理早已超越了時間，超越了國界。在二十一世紀，它同樣具有在二十世紀強有力的標志性意義。畢加索的《格爾尼卡》強調，人們應該繼續被戰爭的恐怖所震撼。 （來源：英語學習雜志） |
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