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  Home>Plan Your Visit>Tours, Guides, and Maps>Self-Guided Tours>Audio Stop 202
      

      
      Search Audio Stop 202 Select LanguageEnglishChineseKoreanSpanishJapanese
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 A naked man with ghostly white skin sits upright in a canopied bed set in a narrow room in this tall, vertical painting. Wearing a black cap, he looks to our left in profile toward a skeleton who comes through a door along the left edge of the composition. The man gestures at the skeleton with one hand and, with the other, toward a bag of money held up by a small demon next to the bed to our left. The skeleton wears a white shroud and holds an arrow. A winged angel kneels next to the man in the bed, one hand on the man’s shoulder and the other lifted to gesture at a crucifix hanging in the window over the door. A small devil on the canopy above looks down onto the bed. At the foot of the bed, a man wearing a green robe and headdress drops coins into a sack held by another demon. Three more demons crawl about and hide under the chest. Pieces of armor and weapons lie on the ground to the right in front of a stone ledge in the foreground. Two pieces of clothing drape over the ledge to our left.
 Hieronymus Bosch *Death and the Miser*, c. 1485/1490 电影制片人Jem Cohen和美国国家美术馆馆长Kaywin Feldman讨论Bosch极具感染力的画作的诱人之处和永恒性。
 Read full audio transcript讲解员:
耶罗尼米斯·博斯 描绘的这幅令人不安的场景来自一个经典的警世传说。凯温·费尔德曼,美国国家美术馆馆长。
凯温·费尔德曼:
这里我们看到死神在靠近守财奴,实际上我觉得这个在门口张望的死神就像是在提供某种恐怖的客房服务。死神在提醒守财奴,后者死期已至,而边上的小恶魔则在奉上钱袋。与此同时,天使抬头看向十字架,鼓励守财奴想想上帝,抛弃罪恶的歧途。  
讲解员:
绿衣人代表守财奴早年的样子。他贪婪地数着金币,旁边有只老鼠抓起一份借据。
电影人杰姆·科恩: 
杰姆·科恩: 
电影里的闪回镜头在绘画中可以同步呈现:相同故事中不同时刻的场景被放在画面上的不同位置,于是观者会在不同场景之间自动剪接。这里的恶魔已经钻进箱子,尽情掠取人类无法长久拥有的物品——即财富,毕竟人人终有一死。所以这幅画表达的是“生不带来死不带去”,虽然年代迥异,但时至今日仍然犀利不减。纵然那些钱袋现在可能变成了股票、债券或比特币,但贪婪与囤积行为始终不变,所以说这是一个经久不衰的母题。  
讲解员:
博斯的标志性魔怪无处不在,富于开创性。 
杰姆·科恩: 
窗帘下的恶魔很像电影《黑湖妖谭》里的怪物,足以证明博斯对流行文化的影响。
凯温·费尔德曼:
一个天使坐在守财奴身后,一只手放在守财奴肩上,另一只手高举,指向一扇窗户。窗上有一个十字架,一道光线透过窗户照射下来,留给守财奴一个好好反省,改邪归正的时刻。
讲解员:
博斯的画对我们来说仍有许多未知之处。它可能来自一幅更加完整的祭坛画,那幅大画可能全面描绘了人在善念与恶念之间摇摆不定的纠结状态。总之这幅画给我们留下了许多未解之谜。红外线成像显示,博斯自己也不是很确定故事的结局。
凯温·费尔德曼:
博斯原本画的是守财奴一手抓起小恶魔递来的钱袋,另一只手拿着一些银质圣杯。我们在眼前的这个最终版本中可以看到,博斯改变了主意。现在我们无法确定守财奴接下来想要选择哪个方向。
在我看来,博斯特别经得起时间考验的一点是他仿佛竖起一块明镜,照出人性的真相。博斯有本事让这面镜子毫不过时,无论放在今天还是此画诞生的500年前都一样诙谐犀利 博物馆西馆藏品精选
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