中國網(wǎng)站品牌欄目（頻道）
Geneva-based auctioneer David Feldman, the Foundation's vice president, said: 'We feel these latest discoveries and new scientific analysis just carried out leave little doubt that it is Da Vinci's work.
瑞士日內(nèi)瓦拍賣商大衛(wèi)·費(fèi)爾德曼（David Feldman）是蒙娜麗莎基金會(huì)的副主席。他說：“我們認(rèn)為這些最新的發(fā)現(xiàn)和最新的科學(xué)分析幾乎可以斷定這就是達(dá)·芬奇的作品。
'The vast majority of experts now either agree with us or accept that there is a strong case for our thesis'.
“目前絕大多數(shù)的科學(xué)家如果不是認(rèn)同我們的觀點(diǎn)，就是認(rèn)同這是支撐我們研究論題的有力依據(jù)?！?/p>
The painting is claimed to show a younger Lisa del Giacondo, the Florentine merchant's wife who is the subject of the slightly smaller Mona Lisa painting which now hangs in the Louvre in Paris.
這幅畫據(jù)推測(cè)畫的應(yīng)該是佛羅倫薩一位商人的妻子，名叫麗莎·戴爾·喬孔達(dá)（Lisa del Giacondo），與現(xiàn)在懸掛于巴黎盧浮宮的蒙娜麗莎畫像是同一個(gè)人，但是比其更苗條更小巧。
The Mona Lisa Foundation says it was probably left unfinished by Da Vinci in 1505, before being completed and handed to Lisa's husband the following year.
蒙娜麗莎基金會(huì)認(rèn)為這可能是達(dá)芬奇在1505年的時(shí)候沒完成的作品，第二年就交給了麗莎的丈夫。
That would make it more than a decade older than the better-known Mona Lisa, which was unveiled in 1517 before passing into the hands of the French royal family and, later, international legend.
這比更廣受人知的《蒙娜麗莎》畫像的創(chuàng)作早了至少十年。在交到法國皇家手里以及成為世界名作之前，《蒙娜麗莎》在1517年便公之于眾。
The alleged earlier painting has been subject to X-rays and ultraviolet light scans to establish its age, and has been compared to Da Vinci's techniques - including his use of geometry in his famous Vitruvian Man sketch of 1490.
這副存在爭(zhēng)議的畫像經(jīng)過了x光掃描以及紫外線掃描后確定了其創(chuàng)作時(shí)間，再加以對(duì)比達(dá)·芬奇的技藝，包括他在1490年速寫的著名畫作《維特魯威人》（Vitruvian Man）的幾何學(xué)應(yīng)用。
They say it lacked a specific glazing technique which Da Vinci developed in 1508, and which was used in most of his paintings after that date.
他們認(rèn)為這幅畫缺少了達(dá)·芬奇在1508年改良的特殊上釉技藝，而這項(xiàng)技藝在此之后的絕大多數(shù)畫作中都能看到。
It has earned the seal of approval, at least partially, from modern experts including Renaissance historian Giorgio Vasari, art historian John Eyre, research physicist Professor John Asmus and Professor Alessandro Vezzosi, one of the most influential living experts on Da Vinci.
但它已經(jīng)得到了至少一部分人的認(rèn)可?，F(xiàn)代專家包括文藝復(fù)興時(shí)期的歷史學(xué)家喬治·瓦沙里（Giorgio Vasari），藝術(shù)歷史學(xué)家約翰·艾爾（John Eyre），研究型物理學(xué)家約翰·阿斯米（John Asmus）教授和亞歷山德羅·韋佐西（Alessandro Vezzosi）教授，韋佐西教授是目前還在世的研究達(dá)·芬奇最有影響力的專家。
Not everyone is convinced the painting is a real work by the Italian master. There were several contemporary copies of the Mona Lisa, and historians have often suggested the so-called early version is just another one.
但不是所有人都相信這幅畫是這位意大利大師的真跡，因?yàn)榕c其同時(shí)代的蒙娜麗莎的仿造品就有幾副，所以有些歷史學(xué)家多次提出這所謂的早期版本可能僅僅是出自另外一位畫家之手。
And although the Swiss-based Mona Lisa Foundation is described as being not for profit, its entire aim is to study the painting - which is now owned by an anonymous 'consortium', so it is difficult to establish who would benefit financially if it was declared a genuine Da Vinci.
即使瑞士的蒙娜麗莎基金會(huì)聲稱自己是非營利性組織，只致力于研究這幅畫作，但這幅畫現(xiàn)在已經(jīng)歸入一個(gè)匿名的財(cái)團(tuán)所有。如果這幅畫被斷定是達(dá)芬奇的真跡，很難說是否有人會(huì)因此而大賺一筆。
One of the leading doubters of the painting's authenticity in 2012 was Oxford University art history professor Martin Kemp, who was instrumental in identifying a major work by Leonardo Da Vinci in 2010.
在2012年的其中一位對(duì)這幅畫的主要質(zhì)疑者是來自牛津大學(xué)的藝術(shù)歷史教授馬丁·肯普（Martin Kemp），他在2010年協(xié)助了達(dá)·芬奇畫作的分析工作。
Although he had not personally seen the painting - also known as the Isleworth Mona Lisa after Blaker's studio - he said two years ago: 'The Isleworth Mona Lisa mistranslates subtle details of the original, including the sitter's veil, her hair, the translucent layer of her dress, the structure of the hands.
即使他沒有親眼見到這幅年輕版本的作品，但對(duì)布萊克畫室的艾爾沃思版《蒙娜麗莎》有所聽聞。他在2012年說過：“艾爾沃思版的《蒙娜麗莎》誤解了原作中一些微妙的細(xì)節(jié)，包括女士的面紗，頭發(fā)，一層半透明的衣服，以及手的擺姿。
'The landscape is devoid of atmospheric subtlety. The head, like all other copies, does not capture the profound elusiveness of the original.'
“畫作的環(huán)境部分缺乏精致，而頭部像其他仿冒品一樣沒有原畫渾然天成的特性。”
He also said the Isleworth version was painted on canvas, and Da Vinci's preferred choice was wood.
他還認(rèn)為艾爾沃思版本的《蒙娜麗莎》是在帆布上創(chuàng)作的，而達(dá)·芬奇偏好在木板上作畫。
（翻譯：佳木China 編輯：陳丹妮）
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