The Renaissance is the remarkable story of the age in which the techniques and inspirations which had been lost since the classical era were rediscovered and reintroduced into the world of art. This episode features the work of Leonardo da Vinci, Raphael, Holbein and Michaelangelo.

五十万年前，一个身穿“Welcome”上衣的男人来到自然世界。他俨然一副主宰者的姿态，先是一脚踩死微不足道的小虫子，又把双头蛇变成自己的靴子，再是把公鸡当篮球打。他吃羊腿，穿皮衣。男人一路上肆意的让它们为自己服务，甚至猎杀各种动物。他砍伐树木，把垃圾倾倒在海水中。男人如此享受地游历在机械城市里，在这座由垃圾堆积而成的王国中，他就是王。直到乘坐UFO而来的外星人打死他后，只有他身上那行“Welcome”留在垃圾山中，异常醒目。 　　这部对“人类文明肆意侵害自然”充满讽刺和调侃的黑色幽默动画短片，由伦敦自由艺术家史蒂夫·卡兹执导。他曾为可口可乐、百加得、丰田、锐步、索尼PSP、菲利普等诸多世界知名品牌制作动画。

五十万年前，一个身穿“Welcome”上衣的男人来到自然世界。他俨然一副主宰者的姿态，先是一脚踩死微不足道的小虫子，又把双头蛇变成自己的靴子，再是把公鸡当篮球打。他吃羊腿，穿皮衣。男人一路上肆意的让它们为自己服务，甚至猎杀各种动物。他砍伐树木，把垃圾倾倒在海水中。男人如此享受地游历在机械城市里，在这座由垃圾堆积而成的王国中，他就是王。直到乘坐UFO而来的外星人打死他后，只有他身上那行“Welcome”留在垃圾山中，异常醒目。 　　这部对“人类文明肆意侵害自然”充满讽刺和调侃的黑色幽默动画短片，由伦敦自由艺术家史蒂夫·卡兹执导。他曾为可口可乐、百加得、丰田、锐步、索尼PSP、菲利普等诸多世界知名品牌制作动画。

《人与自然》（Human and Nature）是中国中央电视台综合频道（CCTV-1）的科教自然类节目，1994年5月11日开播，节目每日05:30在中央电视台综合频道首播。 　　栏目内容定位为介绍动植物和自然知识以及探索人与自然之间的相互影响，相互作用，探讨社会、经济、生态协调发展和可持续性发展的有效途径。 　　你了解了世界，认识了自己。 　　《原生故事》领略生命的差异与共同，讲述生存相依的道理。 　　《自然启示》体验自然界的危险与奇异，开拓见识，留下思考。 　　《人物亲历》分析人类社会的压力与恐惧，舒缓情绪，理性应对。 　　其宗旨为“讴歌生命，关注环境”。主要介绍动物、植物、自然知识以及探索人与自然之间的相互影响及作用。

《人与自然》（Human and Nature）是中国中央电视台综合频道（CCTV-1）的科教自然类节目，1994年5月11日开播，节目每日05:30在中央电视台综合频道首播。 　　栏目内容定位为介绍动植物和自然知识以及探索人与自然之间的相互影响，相互作用，探讨社会、经济、生态协调发展和可持续性发展的有效途径。 　　你了解了世界，认识了自己。 　　《原生故事》领略生命的差异与共同，讲述生存相依的道理。 　　《自然启示》体验自然界的危险与奇异，开拓见识，留下思考。 　　《人物亲历》分析人类社会的压力与恐惧，舒缓情绪，理性应对。 　　其宗旨为“讴歌生命，关注环境”。主要介绍动物、植物、自然知识以及探索人与自然之间的相互影响及作用。

The new series on Renaissance painting, written and presented by Matthew Collings, begins with an artistic investigation into one of the most radiant and beautiful images in all of art history, The Madonna of the Meadow, painted in 1505 by Raphael. 　　Renaissance art has become part of the 21st-century heritage industry but when Raphael was alive, it was a startling new form of visual expression, and Raphael's vibrant 'realism' was striking and fresh. It became the model for western art for the next 400 years, right up until the birth of Modernism. 　　As much as it was a cultural 'rebirth', the Renaissance was also a revolution in ideas about reality. Matthew Collings sets out to remind us of how radical Renaissance paintings were when they were made, as well as opening our eyes to what is still truly great about them. In this programme he deconstructs The Madonna of the Meadow with the help of the very latest high-resolution digital technology, which allows him to explore the inner secrets of Raphael's painterly effects with a clarity and at a level of detail never before seen on television. 　　As Matthew says, it is a journey 'to the other side of an illusion', revealing how Raphael created the alluring images that were so appealing to his wealthy Renaissance clients - including the Pope - and which entranced artists for centuries after his death. Matthew explains the secret to Raphael's vibrant colour harmonies, which the artist grasped intuitively, long before the advent of colour 'theory'; and Raphael also knew how to exploit colour effects to create the impression of extraordinary depth in his paintings.

The new series on Renaissance painting, written and presented by Matthew Collings, begins with an artistic investigation into one of the most radiant and beautiful images in all of art history, The Madonna of the Meadow, painted in 1505 by Raphael. 　　Renaissance art has become part of the 21st-century heritage industry but when Raphael was alive, it was a startling new form of visual expression, and Raphael's vibrant 'realism' was striking and fresh. It became the model for western art for the next 400 years, right up until the birth of Modernism. 　　As much as it was a cultural 'rebirth', the Renaissance was also a revolution in ideas about reality. Matthew Collings sets out to remind us of how radical Renaissance paintings were when they were made, as well as opening our eyes to what is still truly great about them. In this programme he deconstructs The Madonna of the Meadow with the help of the very latest high-resolution digital technology, which allows him to explore the inner secrets of Raphael's painterly effects with a clarity and at a level of detail never before seen on television. 　　As Matthew says, it is a journey 'to the other side of an illusion', revealing how Raphael created the alluring images that were so appealing to his wealthy Renaissance clients - including the Pope - and which entranced artists for centuries after his death. Matthew explains the secret to Raphael's vibrant colour harmonies, which the artist grasped intuitively, long before the advent of colour 'theory'; and Raphael also knew how to exploit colour effects to create the impression of extraordinary depth in his paintings.

According to Giorgio Vasari, the first art historian, the Renaissance was centred on a revival of interest in classical art that began and flourished in Italy. Waldemar disagrees, and accuses Vasari of errant jingoism. In fact, the most significant early developments in Renaissance art took place not in Italy, but in the ‘barbarian’ lands of Flanders and Germany. Instead of understanding the Renaissance as a return to classical models, we should see it as a climax of medieval values - an epoch of huge religious passions and powerful human emotions. 　　The series will celebrate material that is new to television. Waldemar will include art that is not usually thought of as Renaissance art. This will involve 're-classifying' what is sometimes called Late Gothic, and showing it off as a marvellous and native artistic tradition, particularly in the remarkable field of polychrome sculpture. On top of all the new art to be introduced, Waldemar will also look from fresh and intriguing angles at many of the established Renaissance giants, including Michelangelo in the Vatican, Leonardo in the Louvre, Botticelli in the Uffizi and Van Eyck in Ghent.

According to Giorgio Vasari, the first art historian, the Renaissance was centred on a revival of interest in classical art that began and flourished in Italy. Waldemar disagrees, and accuses Vasari of errant jingoism. In fact, the most significant early developments in Renaissance art took place not in Italy, but in the ‘barbarian’ lands of Flanders and Germany. Instead of understanding the Renaissance as a return to classical models, we should see it as a climax of medieval values - an epoch of huge religious passions and powerful human emotions. 　　The series will celebrate material that is new to television. Waldemar will include art that is not usually thought of as Renaissance art. This will involve 're-classifying' what is sometimes called Late Gothic, and showing it off as a marvellous and native artistic tradition, particularly in the remarkable field of polychrome sculpture. On top of all the new art to be introduced, Waldemar will also look from fresh and intriguing angles at many of the established Renaissance giants, including Michelangelo in the Vatican, Leonardo in the Louvre, Botticelli in the Uffizi and Van Eyck in Ghent.