Light of the Harem《閨房的光》

王小昌/譯

Light of the Harem allowed artist Frederic Leighton to display his ingenious artistic skills with regard to architectural features， drapery and female portraiture.

畫(huà)家弗雷德里克·萊頓通過(guò)《閨房的光》一畫(huà)展示了他在描繪建筑特色、布料織物和女性肖像方面獨(dú)到的藝術(shù)技巧。

The artist envelops this scene in an extravagant amount of detail which helps to make this painting one of Leightons most memorable. Light floods in from the left hand side， suggesting that these two figures are near to a window or entrance. The figure on the left is deliberately shorter， allowing the light to continue on to the face of her friend. The taller woman immediately becomes the main focal point， and is faced towards the viewer.

萊頓以極其豐富的細(xì)節(jié)來(lái)呈現(xiàn)畫(huà)中場(chǎng)景——該畫(huà)能成為萊頓最令人難忘的畫(huà)作之一，細(xì)節(jié)刻畫(huà)功不可沒(méi)。光從畫(huà)面左邊傾瀉進(jìn)來(lái)，表明畫(huà)中的兩個(gè)人物靠近窗戶或門(mén)口。左邊的女子被刻意畫(huà)得矮小了些，使光線得以直接照在她朋友的臉上。高個(gè)女子由此成為畫(huà)的主焦點(diǎn)，且面向觀畫(huà)者。

The depiction of architecture within art has always been a respected craft. Famously， Van Eyck1 would paint his frames to give a sculptured look， whilst other painters have spent considerable amounts of time perfecting background pillars， buildings and more.

藝術(shù)作品中對(duì)建筑的描繪向來(lái)很受重視。比較出名的有，凡·艾克會(huì)讓自己的畫(huà)呈現(xiàn)出一種雕塑感，有些畫(huà)家則花了大量時(shí)間完善背景中的支柱、建筑物等。