Art historian Dr James Fox makes the case for a singularly British renaissance, telling the stories of the artists and artisans who changed Britain forever.

Art historian Dr James Fox makes the case for a singularly British renaissance, telling the stories of the artists and artisans who changed Britain forever.

(from夏末秋字幕组)从哥特式大教堂宏伟的雕塑杰作，到教堂唱诗班座椅下俏皮的横木，英国中世纪的雕塑作品总是那样的令人过目难忘。在那个还不存在“雕塑家”这个概念的年代，无以计数的流动工匠们完成了教堂中众多的雕塑，他们的名字却湮没在了历史的长河中。 　　英国雕塑史的首个黄金时代在那场声势浩荡的亨利八世教堂改革中终结，改革带来的浩劫，必将耗时数个世纪才能得以平复。

(from夏末秋字幕组)从哥特式大教堂宏伟的雕塑杰作，到教堂唱诗班座椅下俏皮的横木，英国中世纪的雕塑作品总是那样的令人过目难忘。在那个还不存在“雕塑家”这个概念的年代，无以计数的流动工匠们完成了教堂中众多的雕塑，他们的名字却湮没在了历史的长河中。 　　英国雕塑史的首个黄金时代在那场声势浩荡的亨利八世教堂改革中终结，改革带来的浩劫，必将耗时数个世纪才能得以平复。

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.

At the end of the 15th Century, Rome is ruled ruthlessly by power mad and sex hungry Cesare Borgia, the eldest son of Pope Alexander VI. Following the advice of his chief adviser Niccolo Macchiavelli, Cesare Borgia decides to attempt to unify the country in order to become even more powerful. To this end he needs his sister Lucrezia. Presently, the beautiful creature is married to the Count of Pesaro but she would be more useful if she was the wife of Alphonse of Aragon. Never mind, let the Count join his ancestors! And when the Duke of Aragon becomes useless, Cesare easily finds his replacement. Used as a pawn by her brother, Lucrezia eventually renounces happiness and becomes patron of the arts and the letters/ Written by Guy Bellinger

上世纪二十至四十年代的中国，那是一个民气十足、海阔天空的时代，一群年轻人经历了一段放任自流的时光，自由地追求梦想与爱情，有人在流离中刻骨求爱，有人在抗争中企盼家国未来……萧红，一个特立独行的女子，一路流亡，从北方到南方，从哈尔滨到香港，一边躲避战乱，一边经历着令人唏嘘又痛彻心扉的爱情与人生。对生的坚强对死的挣扎在她笔下穿透纸背，她的人生亦是如此。