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【书籍搬运】Cherim’s Heart Cherim之心

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原文地址:http://www.uesp.net/wiki/Skyrim:Cherim%27s_Heart

作者:帝国大学教授 Livillus Perus

翻译:花溪流萤

本期访谈对象为与Maqamat Lusign(我们曾在第十七期中对其进行访问)同时期的虎人Khajiti,他的挂毯备受赞誉,行销帝国近三十年,经久不衰。他位于艾斯维尔的4个工厂,不断产出其作品的复制品。但挂毯原本则屡屡爆出天价,帝国皇帝就亲自购得10幅,并且其代办最近正在寻求购买五幅亦或更多。

Cherim作品因将柔和色彩活用于明丽底布的突出风格而知名,这与老款式样大相径庭。近来Cherim创作主体倾向于远古神话:众神协商创世会晤,尾随先知来到晨风省的奇莫,在白金塔与Morihaus军团鏖战的野精灵,诸如此类。而他的早期作品却都以当世为背景。我有幸在其兽人城的住所对他进行了采访,并共同讨论了他最早的杰作——亚尼坤纳之心。

亚尼坤纳之心展示的是艾尔维尔和瓦伦森林之间长达五年战争的重大战役历史片段,这场战争始于第3纪元394年(一说为3E395年,取决于对战争正式爆发时间的不同观点)终于3E399年。大多数官方记载显示,这场战争持续时间为四年零九个月,但伟大叙事诗的艺术加工为其平添了长达三月之久。

Cherim介绍说,本作品纤毫毕现的准确还原了战场本身细节。一百二十个木精灵弓箭手表情各异,但无一例外的对虎人军队的到来深感恐惧。他们的锁甲泛着暗淡光辉,艾斯维尔战猫的摄人阴影已笼罩整片山丘,全部肌肉紧绷,势如离弦之箭,处于随时待命状态。Cherim能够准确获悉这些细节并不令人意外,毕竟他当时以虎人步兵的身份,参与了这场战役。

前景中,虎人所披传统战甲的每个微小细节——束腰外衣上的刺绣花边以及斑纹图案。艾斯维尔式样宽松皮甲上的每片漆板,以及护甲和头盔上的银质凹槽均被刻画的栩栩如生。

“我不明白板甲有何意义”Cherim说道。“它太闷热了,对身体来讲,感觉像是同时被炙烤和活埋。在Zelinin战役期间,我们的诺德指挥官坚持让我们佩戴这种盔甲,它太沉重了,以至于我连回头看看我的虎人战友在做什么都很难办到。我曾经试图为Zelinin战役绘制一些草图,但由于观察不足,绘制出来的效果很难保证真实,人物看上去相当呆板,如同钢铁傀儡或者锻莫百夫长一般。只有虎人指挥官才了解我们,这些重甲对于我们来讲美观意义远大于实用价值。”

“艾斯维尔输掉了Zelinin战役,不是吗?”

“的确如此,但是艾斯维尔最终在下一场战役亚尼坤纳之心中取得了决定性的战果,并最终赢得战争。”Cherim笑着说道。“当我们把诺德指挥官赶回孤寂城后,形势马上产生了逆转。我们必须摆脱他们带来的厚重盔甲,寻求足够数量适合我们穿着的传统盔甲。显而易见,传统盔甲的决定性优势是我们可以更加迅捷的移动,这点不难从挂毯所画士兵的自然站姿看出。”

“现在,我们来看远景中这位战斗至最后一刻被射穿的可怜虎人战士,另外一个优点便凸显出来了。这听起来有些奇怪,但是传统盔甲的一大特性就是射过来的箭矢,不是擦身而过,便是透身而过。箭头宛若钩子,如果不能透甲而入,便会一直勾在盔甲上。身着传统盔甲的战士被射穿后,将发现箭头在射向自己箭矢方向的另外一侧。我们的医生能够轻松处理这样的非致命性伤口。然而如若穿着重型板甲,那么箭头就会留在盔甲中(箭头接触皮肤),除非虎人战士脱下盔甲亲手拔出箭矢(我们在Zelinin战役中正是这么做的),否则伴随每次移动,伤口均会龟裂。(脱下盔甲)在激烈的战斗中可是一个既困难又浪费时间的过程,这么说已经相当保守(实际难度更大)。”

我随后问道,“在战役中你有自画像么?”

“当然,”Cherim再次咧嘴笑道。“你看到那个从木精灵尸体上扒取戒指的那个模糊身影了么?他虽然背对着你,但是它有一条同我一样的棕红色尾巴。我并不认同所有关于虎人的陈腔滥调(贬低虎人尾巴?),但是有时候还是接受为妙。”

此种以自画像自嘲的方式在本系列下一卷亦即第十九卷对R阿努lf Hook的访谈中同样有明显涉及。。

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Interviews With Tapestrists vol. 18: Cherim's Heart of Anequina
by Livillus Perus, Professor at the Imperial University
Interview with Cherim, a master tapestry weaver

 Contemporary with Maqamat Lusign (interviewed in volume seventeen of this series) is the Khajiti Cherim, whose tapestries have been hailed as masterpieces all over the Empire for nigh on thirty years now. His four factories located throughout Elsweyr make reproductions of his work, but his original tapestries command stellar prices. The Emperor himself owns ten Cherim tapestries, and his representatives are currently negotiating the sale of five more.
The muted use of color contrasted with the luminous skin tones of Cherim's subjects is a marked contrast with the old style of tapestry. The subjects of his work in recent years have been fabulous tales of the ancient past: the Gods meeting to discuss the formation of the world; the Chimer following the Prophet Veloth into Morrowind; the Wild Elves battling Morihaus and his legions at the White Gold Tower. His earliest designs dealt with more contemporary subjects. I had the opportunity to discuss with him one of his first masterpieces, The Heart of Anequina, at his villa in Orcrest.
The Heart of Anequina presents an historic battle of the Five Year War between Elsweyr and Valenwood which raged from 3E 394 (or 3E 395, depending on what one considers to be the beginning of the war) until 3E 399. In most fair accounts, the war lasted 4 years and 9 months, but artistic license from the great epic poets added an additional three months to the ordeal.
The actual details of the battle itself, as interpreted by Cherim, are explicit. The faces of a hundred and twenty Wood Elf archers can be differentiated one from the other, each registering fear at the approach of the Khajiti army. Their hauberks catch the dim light of the sun. The menacing shadows of the Elsweyr battlecats loom on the hills, every muscle strained, ready to pounce in command. It is not surprising that he got all the details right, because Cherim was in the midst of it, as a Khajiti foot soldier.
Every minute part of the Khajiti traditional armor can be seen in the soldiers in the foreground. The embroidered edging and striped patterns on the tunics. Each lacquered plate on loose-fitting leather in the Elsweyr style. The helmets of cloth and fluted silver.
“Cherim does not understand the point of plate mail,” said Cherim. “It is hot, for one, like being both burned and buried alive. Cherim wore it at the insistence of our Nord advisors during the Battle of Zelinin, and Cherim couldn't even turn to see what my fellow Khajiit were doing. Cherim did some sketches for a tapestry of the Battle of Zelinin, but Cherim finds that to make it realistic, the figures came out very mechanical, like iron golems or dwemer centurions. Knowing our Khajiti commanders, Cherim would not be surprised if giving up the heavy plate was more aesthetic than practical.”
“Elsweyr lost the Battle of Zelinin, didn't she?”
“Yes, but Elsweyr won the war, starting at the next battle, the Heart of Anequina,” said Cherim with a smile. “The tide turned as soon as we Khajiit sent our Nordic advisors back to Solitude. We had to get rid of all the heavy armor they brought to us and find enough traditional armor our troops felt comfortable wearing. Obviously, the principle advantage of the traditional armor was that we could move easily in it, as you can see from the natural stances of the soldiers in the tapestry.
“Now if you look at this poor perforated Cathay-raht who just keeps battling on in the bottom background, you see the other advantage. It seems strange to say, but one of the best features of traditional armor is that an arrow will either deflect completely or pass all the way through. An arrow head is like a hook, made to stick where it strikes if it doesn't pass through. A soldier in traditional armor will find himself with a hole in his body and the bolt on the other side. Our healers can fix such a wound easily if it isn't fatal, but if the arrow still remains in the armor, as it does with heavier armor, the wound will be reopened every time the fellow moves. Unless the Khajiit strips off the armor and pulls out the arrow, which is what we had to do at the Battle of Zelinin. A difficult and time-consuming process in the heat of battle, to say the least.”
I asked him next, “Is there a self portrait in the battle?”
“Yes,” Cherim said with another grin. “You see the small figure of the Khajiit stealing the rings off the dead Wood Elf? His back is facing you, but he has a brown and orange striped tail like Cherim's. Cherim does not say that all stereotypes about the Khajiit are fair, but Cherim must sometimes acknowledge them.”
A self-deprecating style in self-portraiture is also evident in the tapestries of Ranulf Hook, the next artist interviewed in volume nineteen of this series.          

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