我们一早朝拜瓦拉洛（Varallo）的圣山，第一座礼拜堂就是创世纪场景，往前几步，即见到马槽里躺着降生的耶稣。一抬头，从头顶的天窗中，正午的阳光从孔里穿下来，漂浮着的伯利恒之星被点亮，照亮整个房间。初建成时，信徒可以步入场景中央，抱起马槽里的小耶稣，或跻身与围观牧民为伍。

几乎不用地图，凭直觉往前走，先是平缓的坡道、树荫、湖景，缓步上升，心情轻松愉快；直到一个转弯、一段上坡，抬头看见门楣上四个大字——SPQR。踏过城门，步入耶路撒冷，帝国总督的疆土。心中不由咯噔一声，剧情急转直下。

接下来是最后的晚餐、审判、鞭打、上十字架。最后，要蹲着爬进一个复刻耶路撒冷圣墓（Holy Sepulchre）的低矮石室，在黑暗里与一具「遗体」独处。再出来时，眼前的祭坛上空无一物——祂已经复活了。

三百年后，同样是这批礼拜堂，十九世纪的鉴赏家们却嗤之以鼻：粗俗、恐怖，如同怪异的蜡像馆。他们不相信这些礼拜堂，出自与达芬奇齐名的大师之手。

1861年，伦敦国家美术馆馆长伊斯特莱克爵士（Sir Charles Lock Eastlake）说，这些所谓的「圣山」，不过是「荒唐的彩绘着装雕塑展览，风格类似杜莎夫人蜡像馆，但又远为逊色。」这些雕塑太吵闹，太民俗，「很少有新教徒能在参观圣山时不产生某种厌恶之感。」（Eliza Cole, 1859），让学者们「羞于拿出来讨论」。

直到最近几十年，圣山才被「重新发现」，二十世纪晚期，以全新眼光来到圣山的访客，无不被其中新鲜的清澈所击中。虽是「穷乡儿女造像」，然而「骨血峻宕，拙厚中皆有异态」。

这中间的几百年，发生了什么？我们怎么就进入了一个只要「高光混剪」、不再需要「漫长剧情」的时代？为什么一种曾让几万人翻山越岭、虔诚朝拜、用身体去参与的艺术，会让今天的我们无所适从，却又在真正走完全程之后，被狠狠击中，如同经历了一场漫长的朝圣？

本期节目，在巡礼朝拜圣山当晚，我们聊了聊这一天我们看到的一切，那片粼粼湖光中漂浮的岛屿，那颗放在入口处的头骨，那座金碧辉煌到诡异的教堂，以及在悬崖上让我们痛彻心扉的震撼、恐怖与感动。

我们必须全身心投入这另一种沉痛现实。

…SACRA HUIUS MONTIS EXCOGITAVIT LOCA, UT HIC HIERUSALEM VIDEAT QUI PEREGRINARE NEQUIT. 他构想了这座山上的圣地，使无法前往耶路撒冷朝圣之人，亦能在此得见圣城。（微缩圣墓门口的铭文）

LAPIS SANCTI SEPULCRI DOMINI NOSTRI IESV CHRISTI QUOD YIEROSOLIMIS EST INDE TRANSLATVS ET ERECTVS HIC IN TITVLVM. 此乃吾主耶稣基督之圣墓之石，自耶路撒冷移置于此，立以为碑。（微缩圣墓门口的铭文）

SIMILE È IL S[AN]TO SEPVLCRO DE Y[ESV] XR[IST]O. 此处如在(simile)耶稣基督圣墓。（圣墓墓室上方的意大利文铭文）

DOVE CONVENE A QUESTO HUMILIARSI / UN LUOCO QUIVI GIAZE PICOLINO / DONDE EL SEPULCRO SANCTO PO TOCARSE 到此当自谦卑，在此小室，乃可亲触圣墓。（1514年导览手册，第19教堂）

本期主播：可达、汉洋、李诞

照片：可达、汉洋

编辑/后期：蜡笔

参考文献与延伸阅读：

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