好英语网《呐喊》：世界最早的表情符号何以经久不衰
Most of art’s iconic masterpieces are renowned for their beauty. Think Leonardo’s smiling Mona Lisa, Vermeer’s luminous Girl with a Pearl Earring and Botticelli’s nude goddess, Venus.
大多数艺术巨作都因美丽而闻名于世——达芬奇（Leonardo da Vinci）笔下挂着微笑的《蒙娜丽莎》（Mona Lisa），维米尔（Johannes Vermeer）创作的《戴珍珠耳环的少女》（Girl with a Pearl Earring），还有波提切利（Sandro Botticelli）那赤裸着身体的女神维纳斯。
But there’s one glaring exception in the list of all-time greats: Edvard Munch's The Scream. With its pale, hairless figure holding its head in its hands, mouth agape in a tortured howl, it was perhaps an unlikely candidate to become one of the most recognisable and reproduced images of all time.
但纵观历史名作，挪威艺术家爱德华·蒙克（Edvard Munch）的《呐喊》（The Scream）是一个惹人注目的例外——苍白、秃顶的人形双手抱头，嘴巴大张，痛苦地嚎叫着，看起来不可能成为世界上辨识度最高和被复制最多的形象之一。
2019年3月，反对英国脱欧的抗议活动出现一张画有《呐喊》的标语牌
Yet this visceral, doom-laden work – a reflection of the Norwegian artist’s troubled state of mind at the end of the 19th Century – has grown to permeate every aspect of popular culture, from film and TV to memes and tattoos.
这幅作品发自蒙克内心，充斥着厄运和毁灭之感，反映了这位挪威艺术家在19世纪末的不安心态。画作现已渗透到了流行文化的方方面面，包括电影、电视、表情符号和纹身。
You’ll find adaptations and parodies of it on student bedroom walls, on protesters’ placards and in political cartoons. It’s the first painting to have spawned its own emoji – the ‘face screaming in fear’. It has become the ultimate image of existential crisis, the original Nordic Noir.
学生卧室的墙上、抗议者的标语牌上，以及政治漫画中都有对它的再创作和模仿，还在全世界第一个拥有了专属的表情符号——那张“恐惧尖叫的脸”。它是最能代表生存危机的形象，是北欧黑暗剧的原型。
“One evening I was walking along a path; the city was on one side and the fjord below,” Munch wrote, describing his inspiration for the painting.
关于这幅画的创作灵感，蒙克如是写道：“一天黄昏，我在小路上散步。一边是城市，另一边的脚下是峡湾。”
“I felt tired and ill. I stopped and looked out over the fjord — the sun was setting, and the clouds turning blood red.
“我觉得又累又难受，就停下来眺望峡湾，太阳正在落山，将云朵染成了血红色。”
“I sensed a scream passing through nature; it seemed to me that I heard the scream. I painted this picture, painted the clouds as actual blood. The colour shrieked. This became The Scream.”
“我感觉到一声尖叫穿过大自然，似乎传到了我的耳朵里。之后我就画了这幅画，把云彩画成鲜血一般，色彩仿佛也在尖叫。《呐喊》就这样诞生了。”
An 1895 lithograph print of the work, one of several versions Munch created, is the main draw of a new exhibition, Edvard Munch: Love and Angst, at the British Museum in April. It’s the largest show of Munch’s prints in the UK for 45 years, and will offer a revealing look into his turbulent psyche.
这幅1895年的石版画也是蒙克创作的一个版本，是去年4月大英博物馆新展览“爱德华·蒙克：爱与焦虑”（Edvard Munch: Love and Angst）的主要展品。这是英国45年来最大型的蒙克画展，向人们展示了艺术家动荡不安的内心世界。
Born in the village of Ådalsbruk in 1863 and brought up in Kristiania (renamed Oslo in 1924), Munch’s life was shaped by a strict upbringing in an oppressively religious household, marked by tragedy and emotional stress.
1863年，蒙克出生于挪威的Adalsbruk村，并在克里斯蒂安尼亚（Kristiania, 1924年更名为奥斯陆）长大。沉重的宗教家庭环境以及严苛的抚养方式使蒙克的一生充满悲剧和精神压力。
His mother and older sister both died before Munch turned 14, his father died 12 years later and another sister was committed to an asylum, suffering from bipolar disorder. Munch himself also struggled with his mental health throughout his life.
蒙克的母亲和姐姐在他14岁以前就去世了，父亲在也12年后去世，一个妹妹因为躁郁症而被送进了精神病院。蒙克自己也与精神疾病斗争了一生。
“For as long as I can remember I have suffered from a deep feeling of anxiety which I have tried to express in my art,” Munch wrote. “Without this anxiety and illness I would have been like a ship without a rudder.”
蒙克写道：“自记事起，我就一直被焦虑折磨，我用艺术来表达这种感受。如果没有这种焦虑和疾病，我就像一艘失去方向舵的船。”
He studied at the Royal School of Art and Design in Kristiania before travelling to Paris and Berlin, embracing a bohemian lifestyle, cultivating a network of fellow artists and thinkers, and developing a style that broke with artistic tradition.
蒙克在克里斯蒂安尼亚的皇家艺术与设计学院（Royal School of Art and Design）学习，后来前往巴黎和柏林，过着波西米亚式的生活，结交了一批艺术家和思想家，形成了突破传统的艺术风格。
Munch became increasingly preoccupied with the tensions caused by urbanisation, advances in science and the moral dilemmas of a world on the brink of great change.
当时，城市化和科学技术不断发展，世界即将迎来巨大变革，道德困境浮现。这些因素都使得蒙克愈发沉浸在紧张的情绪中。
《呐喊》专属的表情符号"恐惧尖叫的脸"
In 1893 he painted what would be the first of four versions of The Scream, which is today housed at the National Gallery of Norway in Oslo. The painting was stolen in 1994 but recovered undamaged shortly afterwards in a sting operation.
《呐喊》共有四个版本，第一个彩绘版创作于1893年，现保存在奥斯陆的挪威国家美术馆（National Gallery of Norway）。这幅画于1994年被盗，但不久就在诱捕行动中失而复得，且完好无损。
The city’s Munch Museum houses a pastel version from the same year, along with a second painted version from 1910 – which was also stolen, in 2004, and also later recovered.
奥斯陆的蒙克博物馆（Munch Museum）收藏了同创作于1893年的粉彩版《呐喊》，以及1910年绘制的另一个彩绘版。后者在2004年也被盗，但后来也同样被找回。
A second pastel version, dating from 1895, is the only one of the four in private hands, and sold for $120 million at auction in 2012 – a record at the time. Finally, a lithograph stone was produced in 1895 – and it is a rare black-and-white print from this that the British Museum will display.
第二个粉彩版的《呐喊》创作于1895年，是四版中唯一为私人所有的，在2012年的拍卖会上以1.2亿美元售出，创下了当时的纪录。最后，还有一个石版画的版本于1895年制作完成，是《呐喊》一件罕见的黑白作品，去年在大英博物馆（British Museum）展出。
Theories abound as to the influences behind key elements of the work. The red sky has been linked to the effects of the Krakatoa volcano in 1883 which led to spectacular colouring in the skies above Europe for many months; as well as to the phenomenon of Mother of Pearl clouds.
关于画中关键元素的来源说法不一。红色的天空被认为与1883年喀拉喀托火山（ Krakatoa）爆发有关，那次爆发导致欧洲上空连续好几个月颜色壮观，还出现了珠母云。
The central figure has been linked to a Peruvian mummy Munch may have seen at the 1889 Exposition Universelle in Paris, and also to a giant Edison light bulb displayed at the same event.
画中的主要形象则被认为与蒙克在1889年巴黎世界博览会上看到的秘鲁木乃伊有关，以及同场展出由爱迪生发明的巨型灯泡。
Author Kelly Grovier suggests: “Given Munch’s anxieties about modern culture, it is easy to see how the newly patented symbol of science, the light bulb, may have merged in the artist’s mind with the mien of the evocative mummy, an unsettling relic of a civilization long since extinguished.”
作家格罗维耶（Kelly Grovier）表示：“蒙克对现代文化感到焦虑，我们很容易就能理解，刚获得专利的电灯泡作为当时科学的象征是如何与蒙克脑海中木乃伊的形态融合在了一起——木乃伊是一个令人不安的历史遗存，象征着某个毁灭已久的文明。”
But it is the ambiguous, unknowable nature of this strange figure which is the key to The Scream’s universal appeal, argues art critic Jonathan Jones. He writes in The Guardian: “By removing all individuality from this being, Munch allows anyone to inhabit it. He draws a glove puppet for the soul.”
艺术评论家琼斯（Jonathan Jones）则认为，《呐喊》的吸引力来自这个奇怪人形模糊不定、不得而知的特点。他在《卫报》（The Guaidian）上写道：“蒙克抹去了其所有个性，任何人都可以自我代入，他为灵魂画了一个布偶。”
And if Munch’s work is indeed an expression of his anxiety at a turning point in history, in a world increasingly cut loose from old traditions, there are clear parallels in the world of today. This is surely why The Scream retains its power despite its ubiquity: it’s a mirror of our own contemporary fears. Inside, aren’t we all screaming too?
当时的世界正在渐渐脱离旧传统，如果蒙克的作品确实是在历史转折点上对自我焦虑的表达，那与当今世界明显有着相似之处。所以尽管《呐喊》无处不在，却依然力量不减：它是一面映照出当代恐惧的镜子。在我们内心深处，人人不都在尖叫呐喊吗？