This the first of Gustav Klimt’s truly religious paintings， in terms of depicting specific Christian imagery， has a haunting and powerful visual presence with the paradox of its simple rustic charm set against one of his typical decorative backdrop.

這是古斯塔夫·克里姆特第一幅真正意義上的宗教畫作，描繪了特定的基督教意象。質(zhì)樸的田園風(fēng)貌和畫家代表性的裝飾背景似有抵觸，呈現(xiàn)出強烈的視覺沖擊，令人印象深刻。

The icons1 are fixed in a columnar structure of life which forms a wild vibrant floral mass growing up through the religious station. Unlike the previous farmhouse landscape from the same period， there is a greater sense of spatial depth and a brighter， more convincing management of light.

兩具塑像固定在一根真人大小的柱狀物上——爛漫野花沿著這個柱形祭臺生長，形成了一個花柱。與同一時期早前創(chuàng)作的農(nóng)舍風(fēng)景畫不同，此畫縱深感更強，用光更亮、更自然。

The looser feel in this work is apparent as nature exudes a more rhythmic quality. Klimt’s tentative moves into Expressionism， with its strong linear feel and brighter color range， are perceptible alongside the continuing influence of Vincent Van Gogh.

這幅畫顯然令人感覺更松弛，大自然散發(fā)著更強的律動美?？死锬诽匾恢笔艿轿纳亍よ蟾叩挠绊懀瑫r可以看出他在嘗試表現(xiàn)主義的風(fēng)格，畫作有濃重的線條感，色彩也更鮮艷。

The historical significance of the work’s period， painted as it was in the final years before the First World War， must not be forgotten. Tensions were mounting in the region as Austria’s weakening， decadent empire completed its demise with misplaced aggression in the Balkans， plummeting Europe into the chaos of the war in 1914.

這幅畫創(chuàng)作完成后沒幾年就發(fā)生了第一次世界大戰(zhàn)，這一時期的歷史意義絕不能被遺忘。日漸衰落、腐朽的奧匈帝國在巴爾干半島發(fā)動錯誤的侵略后走向滅亡，該地區(qū)的緊張局勢隨之日益加劇，導(dǎo)致歐洲1914年陷入混亂的一戰(zhàn)。

The small simple crucifix， lonely and isolated in Klimt’s beloved countryside haven， possibly appealed to him as a beacon of hope.

那個簡樸的小十字架孤零零豎立在克里姆特深愛的避世田園中，對他來說，這可能是一座希望的燈塔。