Statue of Huastec goddess

我们真的理解古文明吗?

A History of the World in 100 Objects

2010-07-08

13 分钟
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The history of humanity as told through one hundred objects from the British Museum in London is in Mexico. This week Neil MacGregor is meeting the Gods - exploring the sophistication of religious art in the 14th and 15th centuries as people around the world created physical expressions for devotion and for representing the divine. Today he is with a striking sandstone sculpture of a goddess made by the Huastec people of present day Mexico. This remarkable figure stands bare breasted with hands folded over her stomach and wearing a remarkable fan-shaped headdress. She has been associated with the later Aztec goddess of sexuality and fertility. The writer Marina Warner describes the power of the goddess figure in matters of fertility and sexuality while the art historian Kim Richter describes the particular nature of Huastec society and sculpture. Producer: Anthony Denselow
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  • Thank you for downloading this episode of a history of the world in 100 objects from BBC Radio 4.

  • If you want to test the old cliché that an act of translation is always an act of betrayal,

  • then the internet automated translation services will give you lots of happy ammunition.

  • I fed into it the sentence which is the theme for this week's programs.

  • "This week," I typed, "we're spinning the globe,

  • looking at some of the world's religions around 700 years ago

  • and at how different cultures used objects to bring gods and humans nearer to each other."

  • Once this sentence had been translated from English into French,

  • then from French into Greek and then from Greek back into English,

  • it read: "This week we turn ball that looks at certain of religions of world this there at about 700 years

  • and the way which different cultures has adopted objects to bring more almost gods and humans from each other."

  • It's an amusingly crude exercise,

  • but when it comes to translating complex ideas from a lost culture with no written language,

  • we can't be confident of doing much better

  • as we work our way through layers of later interpretation by people with quite different ways of thinking.

  • To get anywhere near an original understanding of this program's object,

  • we have to go through a filter of two later cultures with two different languages,

  • and even then, we're not quite sure where we stand.

  • It's an object that's always intrigued me,

  • and I'm less and less sure that I understand it.