Watch “The Midnight Parasites,” a Surreal Japanese Animation Set in the World of Hieronymus Bosch’s <i>The Garden of Earthly Delights</i> (1972)

Hierony­mus Bosch’s bizarre paint­ings might have looked per­fect­ly ordi­nary to his con­tem­po­raries, argues Stan­ley Meisler in “ The World of Bosch .” Mod­ern view­ers may find this very hard to believe.

斯坦利·梅斯勒在《博斯的世界》中指出，希罗尼穆斯·博斯奇特的画作对于他的同时代人来说可能看起来非常普通。现代观众可能会觉得难以置信。

We approach Bosch through lay­ers of Freudi­an inter­pre­ta­tion and Sur­re­al­ist appre­ci­a­tion.

我们通过弗洛伊德的解释和超现实主义的欣赏来接近博斯。

We can­not help “regard­ing the scores of bizarre monsters”—allegories for sins and pun­ish­ments far more leg­i­ble in 15th-cen­tu­ry Netherlands—“as a kind of dark and cru­el com­ic relief.”

我们情不自禁地“将大量奇异的怪物”（在 15 世纪的荷兰更清晰地表达罪恶和惩罚的寓言）“视为一种黑暗而残酷的喜剧浮雕”。

While Bosch might have intend­ed his work as seri­ous ser­mo­niz­ing, it is impos­si­ble for us to inhab­it the medieval con­scious­ness of his time and place.

虽然博斯的作品可能是严肃的说教，但我们不可能生活在他所处的时代和地点的中世纪意识中。

There’s just no get­ting around the fact that Bosch is real­ly weird —weird­er even (or more imag­i­na­tive­ly alle­gor­i­cal) than near­ly any oth­er artist of his time.

无可否认，博斯真的很奇怪——甚至比他那个时代的几乎所有其他艺术家都更奇怪（或者更具想象力的寓言性）。

In some very impor­tant ways, he belongs to a 20th-cen­tu­ry aes­thet­ic of post-Freudi­an dream log­ic as much as he belonged to pecu­liar medieval visions of heav­en and hell.

在一些非常重要的方面，他属于20世纪后弗洛伊德梦逻辑的美学，就像他属于中世纪特有的天堂和地狱的想象一样。

Bosch “described ter­ri­ble, unbear­able holo­causts crush­ing mankind for its sins,” writes Meisler, visions that seemed both stranger and more famil­iar in the wake of so many man-made holo­causts whose absur­di­ties defy rea­son.

迈斯勒写道，博斯“描述了可怕的、难以忍受的大屠杀，因为人类的罪孽而对人类进行了镇压”。在发生了如此多荒唐的人为大屠杀之后，这些景象似乎既陌生又熟悉。

What mod­ern hor­rors does famed Japan­ese ani­ma­tor Yōji Kuri invoke in his psy­che­del­ic 1972 film “The Mid­night Par­a­sites,” above, a sur­re­al­ist short set in the world of Bosch?

著名日本动画师栗里洋司 1972 年的迷幻电影《午夜寄生虫》（上图是一部以博斯世界为背景的超现实主义短片）中唤起了哪些现代恐怖？

Here Kuri imag­ines what would life might be like if we all lived in Bosch’s paint­ing “ Gar­den of Earth­ly Delights .” It’s a basi­cal­ly shit and death or rather a cycle of life where blue fig­ures live and die; eat shit and shit gold; are skew­ered, and devoured; are regur­gi­tat­ed and reborn to car­ry on the cycle once again.

在这里，库里想象了如果我们都生活在博斯的画作“人间乐园”中，生活会是什么样子。这基本上是一场狗屎和死亡，或者更确切地说，这是一个蓝色人物生与死的生命循环；吃屎，吃黄金；被串起来，被吞掉；被反流并重生，再次进行循环。

Kuri’s satir­i­cal vision, in films long favored by coun­ter­cul­tur­al audi­ences, has “bite,” writes Ani­ma­tion World Network’s Chris Robin­son : “he helped lift Japan­ese ani­ma­tion out of decades of cozy nar­ra­tive car­toons into a new era of graph­ic and con­cep­tu­al exper­i­men­ta­tion.

动画世界网络的克里斯·罗宾逊（Chris Robinson）写道，久里的讽刺视觉在长期以来受到反主流文化观众青睐的电影中具有“吸引力”：“他帮助日本动画摆脱了数十年舒适的叙事卡通，进入了图形和概念实验的新时代。

His films mock and shock, attack­ing tech­nol­o­gy, pop­u­la­tion expan­sion, monot­o­ny of mod­ern soci­ety…

他的电影嘲讽又震撼，攻击科技、人口膨胀、现代社会的单调……

Wit­ness­ing the sur­ren­der of Japan dur­ing WW2, the dev­as­ta­tion of his coun­try fol­lowed by the quick rise of West­ern inspired mate­ri­al­ist cul­ture and ram­pant con­sump­tion, Kuri, like many of his col­leagues at the time, ques­tioned the state and direc­tion of his soci­ety and world.”

目睹了二战期间日本的投降、国家的满目疮痍，以及西方物质主义文化的迅速崛起和猖獗的消费，栗里和当时的许多同事一样，对他的社会和世界的状况和方向提出了质疑。

His cre­ative appro­pri­a­tion of Bosch, “dark, dirty, odd­ly beau­ti­ful, with a groovy sound­track,” Gal­lagher writes, may not, as Meisler wor­ries of many mod­ern takes, get Bosch wrong at all.

加拉格尔写道，他对博斯的创造性挪用“黑暗、肮脏、奇怪的美丽，配上美妙的配乐”，也许不会像迈斯勒对许多现代作品的担心那样，完全误解了博斯。

Though the Dutch artist’s sym­bol­ism may nev­er be comprehensible—or any­thing less than hallucinatory—to us mod­erns, Kuri’s half-play­ful reimag­in­ing uses Boschi­an fig­ures for some seri­ous mor­al­iz­ing, show­ing us a hell world gov­erned by grave laps­es and cru­el­ties Bosch could nev­er have imag­ined.

尽管这位荷兰艺术家的象征主义对于我们现代人来说可能永远无法理解，或者说只是一种幻觉，但库里半开玩笑地重新想象，利用博斯的人物进行了一些严肃的道德说教，向我们展示了一个由博斯无法想象的严重失误和残酷统治的地狱世界。

Relat­ed Con­tent: Hierony­mus Bosch Fig­urines: Col­lect Sur­re­al Char­ac­ters from Bosch’s Paint­ings & Put Them on Your Book­shelf

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