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釋義：

5

In the mid-1960s, Eddy de Jongh published an extraordinary array of material — especially from the emblem books and vernacular literature — that confirmed the unreliability of taking Dutch pictures at surface value alone.

1960 年代中期，E d J 公布了一系列不尋常的材料 —— 尤其是來自于 emblem books 和白話文學(xué) —— 證實(shí)了荷蘭繪畫不能只看表面價(jià)值。

6

The major difficulty, however, with the findings of critics such as de Jongh is that it is not easy to assess the multiplicity of levels in which Dutch viewers interpreted these pictures.

然而，像 d J 這樣的評論者的研究發(fā)現(xiàn)的主要困難，在于難以評估荷蘭觀眾對這些畫作的解讀的多種不同層次。

7

De Jongh’s followers typically regard the pictures as purely symbolic.

D J 的后繼者們特別地把這些畫視為純象征性的。

8

Not every object within Dutch paintings need be interpreted in terms of the gloss given to its equivalent representation in the emblem books.

不是荷蘭繪畫中出現(xiàn)的每種事物，都有必要解釋為像 emblem books 里那樣有什么寓意。

9

Not every foot warmer is to be interpreted in terms of the foot warmer in Rowmer Visscher’s Sinnepoppen of 1614, not every bridle is an emblem of restraint (though many were indeed just that).

不是每個(gè)暖腳爐都要解釋為 1614 年 R V 的作品 S 中出現(xiàn)的暖腳爐，不是每副馬籠頭都象征著約束(盡管很多時(shí)候確實(shí)象征著約束)。

10

To maintain as Brown does, that the two children in Netscher’s painting A Lady Teaching a Child to Read stand for industry and idleness is to fail to understand that the painting has a variety of possible meanings, even though the picture undoubtedly carriers unmistakable symbolic meanings, too.

正如 B 認(rèn)為 N 的作品 A Lady Teaching a Child to Read 代表勤勞和懶惰，未能理解這幅畫包含的其他可能的含義，盡管這幅畫無疑也帶有明顯的象征意味。

11

Modern Art historians may well find the discovery of parallels between a painting and a specific emblem exciting, they may, like seventeenth-century viewers, search for the double that lie behind many paintings.

當(dāng)代藝術(shù)史學(xué)者可能也認(rèn)為，發(fā)現(xiàn)一幅畫和一種特定的象征之間的對比關(guān)系很有趣，他們也許會(huì)像十七世紀(jì)的觀眾那樣，尋找許多畫背后的類比對象。

12

But seventeenth-century response can hardly be reduced to the level of formula.

但十七世紀(jì)的觀眾的反應(yīng)，很難概括成公式。

13

To suggest otherwise is to imply a laboriousness of mental process that may well characterize modern interpretations of seventeenth-century Dutch Art, but that was, for the most part, not characteristic in the seventeenth century.

否則就意味著一種更復(fù)雜的心理過程，也可以定義對十七世紀(jì)荷蘭藝術(shù)的現(xiàn)代解讀，但那很大程度上已經(jīng)跟十七世紀(jì)沒什么關(guān)系了。

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