纪录片《大英博物馆世界简史》 018米诺斯跳牛飞人(8)

The word 'palace', which Evans used to describe the large buildings he excavated, suggests royalty, but in fact these buildings seem to have been religious, political and economic centres.

虽然埃文斯称他挖掘出的那些大型建筑遗址为“宫殿”，暗示着某种王权, 但其实它们更像是宗教、政治与经济中心。

They were architecturally complex places, housing a great variety of activities, one of them the administration of trade and produce, organising the large population of skilled artisans who wove cloth and worked the imported gold, ivory and bronze.

它们的建筑结构复杂，能举办多种活动,如贸易与生产管理:把大量编织布匹与加工进口黄金、象牙、青铜的手工艺人组织起来。有这些技术精湛的手工艺人，就不会有这尊雕像的诞生。

Frescoes in the palace at Knossos show large gatherings of people, suggesting that these were also ceremonial and religious centres.

克诺索斯宫殿的壁画描绘了大量聚集的人群，表明这里也是宗教中心或礼仪场所。

Despite over a century of excavation,the Minoans remain enticingly enigmatic.

虽然对米诺斯的考古挖掘已进行了一个多世纪，但它仍保持着让人着迷的神秘感，我们所掌握的知识仍然极为零碎，令人沮丧。

Objects like this little bronze statue of the Bull Leaper tell us a lot about Crete's key historic role in the mastery of metals which, in a few centuries, transformed the world.

类似跳牛飞人雕像这样的物品向我们展示了克里特历史的一个方面，它精湛的金属加工工艺将在几个世纪之后改变世界。

And it also asserts the enduring fascination of mythical Crete as the perpetual site where we confront the most disturbing links between man and beast in ourselves.

它同时也拥有神话中克里特的永恒魅力，让我们了解人类与牲畜间最复杂的关系。

When Picasso in the 1920s and 30s wanted to explore the bestial elements that were shaping European politics, he turned instinctively to the palace of Minoan Crete, to that encounter between man and bull that still haunts us all ... the Minotaur.

二十世纪二三十年代，毕加索想要找出改变欧洲政治本质的野性元素，他凭直觉将目光投向了米诺斯的宫殿，投向地下迷宫，投向仍时时困扰着我们的人与公牛…与米诺陶洛斯的战争。