I've visited the Getty Museum several times, and at the end of May 2026, my daughter took us to the long-anticipated Getty Villa.
The Getty Villa is located along the Pacific Coast Highway in Pacific Palisades, near Malibu. Like the Getty Center, admission is completely free, but a free timed-entry reservation must be made in advance, and paid parking is required (currently around $25 per vehicle). Incidentally, the Getty Center is currently undergoing modernization renovations and is temporarily closed to the public, with plans to reopen in the spring of 2028.
I introduced the Getty Center in my post on the Getty Museum, and likewise, the Getty Villa was built by oil tycoon and art patron J. Paul Getty. Unlike the grand, modern architectural complex of the Getty Center, the Getty Villa was modeled after the "Villa dei Papiri" in Herculaneum, Italy. The Villa dei Papiri was an ancient Roman country estate that was buried when Mount Vesuvius erupted in 79 AD.
Because much of the original Villa dei Papiri remains unexcavated, Getty and his team of architects and archaeologists adapted its layout. They meticulously recreated its expansive peristyle gardens, vibrant frescoes, and mosaic floors while filling out the remaining architectural details by borrowing elements from other ancient Roman estates preserved in nearby Pompeii and Stabiae.
The Getty Villa was originally designed by the Santa Monica-based architecture firm Langdon & Wilson, working in close consultation with archaeologist Norman Neuerburg and British architect Stephen Garrett. The building was constructed in the early 1970s and opened in 1974. For its massive 1990s renovation, the Boston firm Machado Silvetti served as the lead design architects, and SPF:architects served as the record/executive architects.
The Getty Villa houses a collection of 44,000 antiquities spanning Greek, Roman, and Etruscan cultures over a 6,900-year period from 6,500 BC to 400 AD. The exhibits feature a wide array of marble statues, intricate jewelry, coins, Roman mosaics, and glassware. Notable highlights include the Lansdowne Heracles and the Victorious Youth. The Getty Center focuses on a much broader, later-era collection including European paintings, drawings, illuminated manuscripts, sculpture, and modern photography.
我去過蓋蒂中心/蓋蒂博物館 (Getty Center/Getty Museum) 好幾次，2026 年五月底，我女兒帶我們去嚮往已久的蓋蒂别墅 (Getty Villa) 參觀。
蓋蒂別墅位於馬里布 (Malibu) 太平洋海岸公路 (Pacific Coast Highway) 沿線的太平洋帕利塞德 (Pacific Palisades)。與蓋蒂博物館一樣，入場完全免費，但都需要提前預約特定時段(免費)，才可入內，並且需要付停車費 (目前為每輛車 25 美元）。順便一提，蓋蒂中心目前正在進行現代化改造工程，暫時對外關閉，計劃將於 2028 年春季重新開放。
我在蓋蒂博物館的文章中介紹過蓋蒂中心，同樣地，蓋蒂別墅是由石油大亨兼藝術贊助人J. 保羅·蓋蒂（J. Paul Getty）建造。不同於蓋蒂中心的宏大現代建築群，蓋蒂別墅是仿照了義大利赫庫蘭尼姆（Herculaneum）的「紙莎草別墅」（Villa dei Papiri）設計的。紙莎草別墅是一座古羅馬鄉間宅邸，曾於公元 79 年因維蘇威火山爆發而被掩埋。
由於紙莎草別墅的大部分區域尚未挖掘出土，所以蓋蒂及其建築師與考古學家團隊調整了一些它的佈局。他們精心重建了別墅寬闊的列柱中庭庭院、色彩鮮豔的壁畫及馬賽克地面，同時借鑒了龐貝（Pompeii）和斯塔比亞（Stabiae）等地保存完好的其他古羅馬莊園的元素，以填補其餘的建築細節。
蓋蒂別墅最初是由位於聖莫尼卡的建築事務所 Langdon & Wilson 設計的，設計過程中與考古學家諾曼·諾伊爾堡（Norman Neuerburg）及英國建築師斯蒂芬·加勒特（Stephen Garrett）密切磋商。這建築建於 1970 年代初，於 1974 年啟用。在 1990 年代的大規模翻修工程中，波士頓的 Machado Silvetti 事務所擔任主創設計建築師，而 SPF:architects 則擔任執行建築師。
蓋蒂別墅收藏了44,000 件古物，涵蓋了從公元前 6500 年到公元 400 年、跨越 6900 年歷史的希臘、羅馬及伊特魯裡亞文明。展品種類豐富，包括各式大理石雕像、精美首飾、錢幣、羅馬馬賽克鑲嵌畫以及玻璃器皿。其中的著名藏品包括「蘭斯當的赫拉克勒斯」（Lansdowne Heracles）和「勝利的青年」（Victorious Youth）。相較之下，蓋蒂中心的館藏範圍更為廣泛，主要涵蓋歐洲繪畫、素描、泥金裝飾手抄本、雕塑以及現代攝影作品等較晚時期的藝術品。
Getty's original private ranch house
蓋蒂最初的私人牧場住宅
Getty's original private ranch house is located on the hill above the Getty Villa. Purchased in 1945, the California-style ranch served as his home and the initial site of the Getty Museum, but today houses administrative offices and the research library. In front of the ranch house, there is a three-story building on the left hand-side. It is a 15,500-square-foot building built into the hill that contains the museum store on the lower level, a cafe on the second level, and a private dining room on the top level. On the right hand-side is the Getty Villa museum building.
蓋蒂最初的私人牧場住宅位於蓋蒂別墅上方的山丘上。這座加州風格的牧場式住宅購於 1945 年，曾既是他的居所，也是蓋蒂博物館最初的所在地，如今則作為行政辦公室和研究圖書館。在牧場式住宅前方，左側矗立著一棟三層樓建築。這是一棟依山而建、面積達 15,500 平方英尺的建築，其底層設有博物館商店，二樓為咖啡廳，頂層則設有私人餐廳。右側則是蓋蒂別墅博物館的主建築。
The Getty Villa Map 蓋蒂别墅地圖
Getty Villa Museum Building
蓋蒂別墅博物館的主建築
The Barbara and Lawrence Fleischman Theater stands in front of the Villa — a 450-seat outdoor classical amphitheater modeled after ancient Greek and Roman architecture. The theater faces the west side of the Villa and uses its entrance as a stage. It hosts the museum's annual outdoor classical theater performance, a tragedy or comedy, every fall.
芭芭拉與勞倫斯·弗萊施曼劇院（Barbara and Lawrence Fleischman Theater）坐落於別墅前方，是一座仿照古希臘和古羅馬建築風格建造的露天古典圓形劇場，設有 450 個座位。劇場面向別墅西側，以別墅入口作為舞台，每年秋季都會舉辦博物館的年度戶外古典戲劇演出（包括悲劇或喜劇）。
1st Floor 一樓
The first-floor exhibitions include: Greek Art, Etruscan Art, J. Paul Getty and the Villa, and The Classical World in Context.
一樓的展覽包括了: 希臘藝術, 伊特拉斯坎/伊特魯裡亞藝術, 保羅·蓋蒂與這棟別墅, 脈絡中的古典世界。
Special Exhibit: Sculpted Portraits from Ancient Egypt
特別展覽: 古埃及雕塑肖像
The works in this exhibition are on special loan from the British Museum, London. This exhibition features sculpture from a time of intense artistic revival and renewal in ancient Egypt: the Twenty-Sixth Dynasty (664-526 BCE), also known as the Saite Dynasty after its capital city of Sais in the Nile Delta. Egyptian artists of this period made striking portrait statues of officials associated with the court and priesthood, sculpted reliefs, figurines, and sarcophagi (stone coffins). Depictions of individuals made for temples allowed subjects to eternally worship the gods and receive blessings, while others were placed in tombs, functioning as vessels that could temporarily house the deceased’s spirit.
本次展覽的展品係由倫敦大英博物館特別出借。展示古埃及藝術經歷劇烈復興與革新時期 (第二十六王朝, 公元前 664–526 年) 的雕塑作品，該王朝因其位於尼羅河三角洲的都城塞伊斯（Sais）而被稱為「塞伊斯王朝」。這段時期的埃及藝術家創作了許多引人注目的雕塑，包括宮廷與神職人員的肖像雕像、浮雕、小雕像以及石棺。為神殿製作的人物雕像旨在讓被描繪者得以永恆地崇拜神祇並獲得神佑；而另一些雕像則置於墓葬之中，作為暫時容納逝者靈魂的載體。
Greek Art: Greek Coins and Gems
希臘藝術: 希臘錢幣與寶石
Greek Coins Coinage was invented around 650 BC in the kingdom of Lydia (in present-day western Turkey), a region rich in gold. Nearby Greek cities soon copied the practice of minting coins, and by 500 BC the fashion had spread to all parts of Greece and southern Italy. Carefully weighed lumps of gold and silver were stamped with a depiction of the city’s patron deity or another emblem with local significance. The images are often of superb artistic quality, reflecting civic pride.
Greek Gems and Rings Colorful semiprecious gemstones carved with images and used as personal seals became fashionable in Greece around 600 BC. Carnelian, agate, amethyst, rock crystal, and chalcedony were the most common materials, although exotic imported stones, such as lapis lazuli, were occasionally chosen. Most were pierced lengthwise and strung with gold or silver wire to be worn as rings or pendants. A wide range of subjects were depicted, including gods and mythological scenes, young men engaged in various activities, and many types of animals and birds. Although the seals served the practical purpose of identification—like a signature—gems and rings were luxury objects that were primarily used as jewelry.
希臘錢幣的鑄幣技術，約於西元前 650 年誕生於盛產黃金的呂底亞王國（位於今土耳其西部）。鄰近的希臘城邦很快就效法了這種鑄幣方法。到了西元前 500 年，這種風尚遍及希臘各地及義大利南部。人們將精確稱量過的金塊或銀塊壓印上該城邦守護神或其他具有地方意義的圖案。這些圖像往往具有極高的藝術水準，體現了市民的自豪感。
約西元前 600 年，刻有圖案並用來作個人印章的彩色次珍貴寶石在希臘開始流行。紅玉髓、瑪瑙、紫水晶、水晶和玉髓是最常用的材質，不過偶爾也會用青金石等外來進口石材。大多數寶石都沿著長軸方向鑽孔，並穿以金線或銀線，製成戒指或吊墜佩戴。這些寶石上的雕刻題材豐富多樣，涵蓋了神祇與神話場景、參與各種活動的年輕人，以及各類飛禽走獸。雖然這些印章具有類似簽名的身份標識功能，但寶石與戒指本質上還是屬於奢侈品，主要拿來作為首飾佩戴。
Greek Art: Athenian Vases
希臘藝術: 雅典陶瓶
Made of fired clay, figure-decorated vases are among the most enduring survivals of the art and culture of ancient Athens. The black-figure technique—with figures rendered in black gloss, details incised, and red and white added—was well established by 600 BC. New techniques were developed around 525–500 BC, such as red-figure, in which the figures were left in the color of the clay and the background was painted black. Craftsmen continued to innovate with pigments, gilding, and further refinements to shapes, but by about 325 BC Athenian production of painted pottery had mostly ceased.
繪有人物圖案的陶製花瓶，是古雅典藝術與文化中流傳至今、最具代表性的遺存之一。早在西元前 600 年，黑繪工藝（即以黑色光澤顏料描繪人物輪廓，刻畫細節，並輔以紅、白兩色）便已相當成熟。西元前 525 年至 500 年間，新的工藝（如紅繪法）應運而生；在這種工藝中，人物保留陶土本色，而背景則被塗成黑色。工匠們不斷在顏料、鍍金工藝及器形改良方面推陳出新，但到了公元前 325 年左右，雅典的彩繪陶器生產已基本停滯。
Greek Art: Archaic and Classical Greece
希臘藝術: 古希臘和古典希臘
Around 800 BC, after three centuries of decline following the collapse of the Bronze Age kingdoms, Greece began to flourish again. The Archaic (800–480 BC) and Classical (480–323 BC) periods saw new forms of government, a revival in international trade, and rapid artistic development. Although Greek was the common language, each polis (city-state) was independent and culturally unique, and each made distinctive works of art. Athens emerged as an artistic center, famous for sculpture and decorated pottery, which was widely exported. Sparta, Corinth, and the region of Thessaly were known for their bronzework. The cities of Ionia, on the west coast of present-day Turkey and the nearby islands, produced sculpture and pottery in a more mannered and ornate style.
The achievements of Greek sculptors over the sixth and fifth centuries BC were especially remarkable. They learned to create masterful works in marble and bronze by carefully studying the human body and experimenting with complex poses. Sculpture served as civic monuments, funerary markers, and votive offerings to the gods in sanctuaries. Small-scale bronze statuettes often display the sophistication of their life-size counterparts.
西元前 800 年左右，在經歷了青銅時代諸王國崩潰後長達三個世紀的衰退期之後，希臘開始重現繁榮。在古希臘時期（西元前 800–480 年）和古典希臘時期（西元前 480–323 年），希臘出現了新的政體形式，國際貿易得以復甦，藝術也取得了快速發展。儘管希臘語是通用語言，但各個城邦（polis）保持獨立，擁有獨特的文化，並各自創作出風格鮮明的藝術作品。雅典崛起為藝術中心，以其雕塑和裝飾陶器聞名遐邇，這些陶器被廣泛出口至各地。斯巴達 (Sparta)、科林斯 (Corinth) 及色薩利 (Thessaly) 地區則以青銅工藝著稱。位於現今土耳其西海岸及附近島嶼的愛奧尼亞 (Ionia) 諸城邦，其生產的雕塑和陶器則呈現出更為講究技法、裝飾更為繁複的風格。
西元前 6 世紀和 5 世紀，希臘雕塑家更是有特別卓越的成就。他們透過細緻觀察人體，並嘗試擺各種複雜的姿勢，掌握了運用大理石和青銅創作傑出作品的技巧。雕塑作品的功能多種多樣，既可用作公共紀念碑和墓葬標誌，也可作為供奉於聖域神廟中的祭品。小型青銅雕像往往展現出與真人大小雕像同樣精湛的工藝水準。
Greek Art: The Greeks in Southern Italy and Sicily
希臘藝術: 義大利南部與西西里的希臘人
In the eighth century BC, adventurous Greeks began sailing to distant lands to trade olive oil, wine, and pottery for metals, grain, and luxury goods. Seeing the fertile soil, mild climate, and commercial opportunities abroad, some chose to emigrate. Others, fleeing famine or political pressures at home, soon followed. Sicily and southern Italy were especially attractive and extensively settled. All became prosperous and independent of their parent cities in Greece.
The wealth attained by the colonies encouraged the building of monumental temples, the creation of statues carved from imported marble, and the production of bronzework and gold jewelry. Terracotta sculpture became a specialty of the area. Pottery was decorated with mythological scenes using the black- and redfigure techniques learned from Athenian craftsmen. The taste for exquisitely crafted objects extended to coinage, particularly in Sicily, where some of the finest examples were minted.
西元前 8 世紀，富有冒險精神的希臘人開始航向遙遠的異域，用橄欖油、葡萄酒和陶器交換金屬、穀物及奢侈品。目睹了海外肥沃的土地、溫和的氣候以及蘊藏的商業機遇，有些人選擇移居海外；有些人則因國內的飢荒或政治壓力而紛紛效仿。西西里島和義大利南部因極具吸引力而成為希臘人普遍定居的區域。這些城邦均日益繁榮，逐漸脫離希臘本土的母邦，成為獨立的政治實體。
殖民地累積的財富推動了宏偉神廟的興建、進口大理石雕像的創作，以及青銅器和金飾的製造。赤陶雕塑也成為該地區的一大特色。陶器裝飾常取材自神話場景，並運用了從雅典工匠習得的黑繪與紅繪技法。這種對精湛工藝的追求也體現在錢幣鑄造上，尤其是在西西里島，那裡鑄造了一些工藝極高、堪稱傑作的錢幣。
Greek Art: The Hellenistic World
希臘藝術: 希臘化世界
After uniting the rival city-states of Greece, Alexander the Great (ruled 336–323 BC) set out to conquer the vast Persian Empire. In a span of five years he captured territory that stretched from Asia Minor (in present-day Turkey) to the borders of India. Following his death at age thirty-two, Alexander’s generals vied for control of his empire, and eventually three dominant kingdoms emerged: the Antigonid dynasty in Macedonia and Asia Minor; the Seleucid dynasty in Syria, Mesopotamia, and Persia; and the Ptolemaic dynasty in Egypt.
The borders of the kingdoms were always changing, and soon a number of native principalities arose. The Hellenistic kingdoms next came into conflict with Rome, which subsumed much of the Greek world by 146 BC. Egypt was the last to resist, capitulating to Rome in 30 BC.
The Hellenistic period was a time of major artistic innovation marked by the development of true portraiture and the depiction of intense emotion. Royal patrons commissioned sculptors to create powerful monuments and encouraged the production of spectacular luxury objects, including gems, jewelry, silver vessels, and coins.
在統一了希臘各敵對城邦之後，亞歷山大大帝（在位時間：西元前 336–323 年）揮手征服了遼闊的波斯帝國。短短五年間，他征服的疆域從（位於今土耳其境內的）小亞細亞一直延伸至印度邊境。亞歷山大在 32 歲時去世，其麾下將領隨即為爭奪帝國控制權展開角逐，最終形成了三個主要王國：統治馬其頓和小亞細亞的安提柯王朝；統治敘利亞、美索不達米亞和波斯地區的塞琉古王朝；以及統治埃及的托勒密王朝。
這些王國的疆界不斷變動，不久便湧現出若干本土政權。隨後，這些希臘化王國與羅馬發生衝突；至西元前 146 年，羅馬已將希臘世界的大部分地區納入其版圖。埃及是最後一個抵抗的國家，最終在西元前 30 年向羅馬投降。
希臘化時期是一個藝術創新層出不窮的時代，其顯著特徵包括寫實肖像藝術的發展以及對強烈情感的生動刻畫。王室贊助者不僅委託雕塑家創作氣勢恢宏的紀念性雕塑，也大力推動了各類精美奢華物品的製作，其中包括寶石、珠寶、銀器和硬幣。
Etruscan Art
伊特拉斯坎/伊特魯裡亞藝術
Between the eighth and first centuries BC, the Etruscans flourished in the region of present-day Tuscany, bordered by the Arno and Tiber Rivers. They descended from the Villanovans, who occupied northern and central Italy around 1000-720 BC. Communities in Etruria practiced distinctive religious rituals and customs and spoke a language unlike those of their Mediterranean neighbors.
Trade and immigration fostered the production of exceptional sculpture, wall painting, pottery, and metalwork. The prosperous society that emerged blended Italic cultural traditions with Near Eastern and Greek forms of artistic expression. Eclipsed by Rome beginning in the fourth century BC, Etruria was subsumed into its expanding empire by the late first century BC.
西元前 8 世紀至 1 世紀間，伊特魯裡亞人在位於阿諾河（Arno）與台伯河（Tiber）之間的現今托斯卡納地區繁榮發展。他們是維拉諾瓦人（Villanovans）的後裔，而維拉諾瓦人曾在公元前 1000 年至 720 年間居住於義大利北部和中部。伊特魯裡亞地區的社群奉行獨特的宗教儀式與習俗，並使用一種不同於地中海周邊鄰近民族語言的獨特語言。
貿易往來與人口遷移促進了傑出雕塑、壁畫、陶器及金屬工藝品的創作。這個繁榮社會融合了義大利本土的文化傳統與近東及希臘的藝術表現。伊特魯裡亞自西元前 4 世紀起逐漸式微，於西元前 1 世紀末被不斷擴張的羅馬帝國吞併。
Temple of Hercules
赫拉克勒斯神廟
In ancient Rome, wealthy individuals decorated their villas and palaces with Greek statues as well as new works commissioned in earlier Greek styles. Collecting sculpture was a way to assert status and demonstrate a refined aesthetic sense. Images of gods and heroes, in particular, lent an air of power and prestige to a luxury residence and its owner.
Between the mid-1500s and the mid-1900s, many collections of antiquities were formed by European aristocrats and affluent Americans who lived or traveled around the Mediterranean. Like the Romans before them, they wanted to acquire art from previous centuries for private display. Sculpture was given a prominent position in their city and country homes, where they often conducted business and entertained guests. Owning ancient statues implied a personal connection with the grandeur of the classical past and established the collector’s place in an illustrious tradition.
在古羅馬，富裕人士常以希臘雕像以及仿照早期希臘風格訂製的新作來裝飾其別墅與宮殿。收藏雕塑不僅是彰顯社會地位的方式，更體現了收藏者優雅的美感。尤其是那些描繪神靈與英雄形象的雕塑，更為豪華宅邸及其主人增添了一份威嚴與尊貴的氣度。
從 16 世紀中葉到 20 世紀中葉，許多居住在地中海沿岸或在此遊歷的歐洲貴族與美國富商，紛紛建立起各自的古董收藏。正如昔日的羅馬人一樣，他們熱衷於搜羅往昔歲月的藝術珍品，以供私人欣賞。雕塑在他們的城市官邸與鄉間別墅中佔據著顯要位置——這些場所往往既是他們洽談商務的重地，也是款待賓客的社交空間。擁有古老的雕塑，不僅意味著與古典時代那宏偉輝煌的歷史建立起某種個人聯繫，更確立了收藏者在這一顯赫文化傳統中的一席之地。
Somewhere in the Villa 別墅裡的某個地方
Inner Peristyle 內柱廊庭
Inner Peristyle: a long, narrow, marble lined pool forms the centerpiece of the landscaping. Along each side are replicas of bronze female statues from the Villa dei Papiri, modelled to appear as if they are drawing water from the pool. In each corner of the garden is a replica white marble fountain, and there are several bronze copies of famous Greek sculptures like the Doryphoros and busts of Greek philosophers like Pythagoras and Democritus.
內柱廊庭：景觀的中心是一座狹長的、內壁貼有大理石飾面的水池。水池兩側排列著仿製的青銅女性雕像，造型彷彿正從池中汲水。花園的每個角落都設有一座仿製白色大理石噴泉；此外，這裡還陳列著多件著名希臘雕塑（如《持矛者》）的青銅複製品，以及畢達哥拉斯和德謨克利特等希臘哲學家的半身像。
The East Garden 東花園
The East Garden is small and secluded, surrounded by laurel and plane trees. Its chief feature is an exact replica of the famous shell and mosaic fountain at the House of the Great Fountain in Pompeii, but there is also a circular fountain at the center of a basin filled with aquatic plants, around which the garden is oriented.
東花園小巧幽靜，四周環繞著月桂樹和懸鈴木。其主要景觀是龐貝古城「大噴泉之家」那座著名的貝殼馬賽克噴泉的精確複製品；此外，花園中央設有一個圓形噴泉，坐落於種滿水生植物的水池之中，整個花園的佈局也以此為中心展開。
Outer Peristyle 外列柱廊
Outer Peristyle, formal gardens. An exact proportional replica of the one at the Villa dei Papiri. The garden is 308 by 105 feet (94 m × 32 m), with a 220 feet (67 m) long pool at the center. Traditional Roman landscaping designs are replicated with manicured bay laurel, boxwood, oleander, and viburnum shrubs. There are rows of date palms lining each of the long sides of the Outer Peristyle garden. Each corner features pomegranate trees surrounded by ornamental plants like acanthus, ivy, hellebore, lavender, and iris. 91 Copies of Roman bronzes excavated at the Villa dei Papiri and elsewhere are scattered throughout the garden.
外列柱廊 (正式花園)，是「紙莎草別墅」同類花園等比例的翻版 。花園長 308 英尺（94 公尺）、寬 105 英尺（32 公尺），中央設有一座長 220 英尺（67 公尺）的水池。花園重現了傳統的羅馬景觀設計，種植了修剪整齊的月桂、黃楊、夾竹桃和莢蒾灌木。外列柱廊花園的兩條長邊沿線排列著成行的椰棗樹；花園的四個角落各植有一棵石榴樹，周圍環繞著茛苕、常春藤、鐵筷子、薰衣草和鳶尾等觀賞植物。花園各處也散佈著從紙莎草別墅及其他地點出土的羅馬青銅器複製品。
2nd Floor 二樓
The second-floor exhibitions include: Roman Art, and Special Exhibitions.
二樓的展覽包括了：羅馬藝術以及特別展覽。
Roman Art 羅馬藝術
Between 272 BC, when the Romans seized the Greek colony of Taras in southern Italy, and 31 BC, when they defeated Egypt, the Greek world was incorporated into the expanding Roman Empire. Greek art, literature, and philosophy, however, captivated the conquerors, influencing Roman culture for centuries. A vast repertoire of sculpture representing gods, heroes, and mortals was received and adapted by Roman workshops to suit new tastes and contexts. Images of deities that stood in temples and sanctuaries were reproduced for decorative purposes. Statues of athletes created to honor individual Greek victors, now famous as masterpieces by prominent artists of the past, were copied for display in public baths and private villas. Portraits of Greek philosophers, orators, and poets, once commissioned for city squares and places of learning, now reflected the intellectual ambitions of wealthy Romans in their homes.
從西元前 272年 羅馬人奪取義大利南部希臘殖民地塔拉斯 (Taras)，到西元前 31 年擊敗埃及，希臘世界被納入了不斷擴張的羅馬帝國版圖。然而，希臘的藝術、文學與哲學深深吸引了征服者，並對羅馬文化產生了數世紀的影響。羅馬工匠接收並改造了大量表現神祇、英雄及凡人的雕塑作品，以適應新的美感趣味與使用脈絡。原本矗立於神廟與聖域中的神像，被複製用於裝飾目的；那些為紀念希臘獲勝者而創作的運動員雕像——如今已作為古代傑出藝術家的名作而聞名——也被複製並陳列於公共浴場與私人別墅之中。希臘哲學家、演說家及詩人的肖像，雖最初是為城市廣場和學府而定制，後來卻成為富裕羅馬人彰顯其文化修養與志趣的居家陳設。
Roman Art: Roman Sculpture
羅馬藝術: 羅馬雕塑
The second and third centuries AD saw an increase in the quantity of sculpture across the Roman Empire, including portraits, mythological figures, and funerary monuments. Sculptors became more sophisticated in their carving techniques, skillfully using the drill to shape masses of hair and drapery and to detail the irises and pupils of the eyes, which in previous decades had been painted. Portraits became more individualized and expressive.
A renewed embrace of Greek culture, exemplified by the emperors Hadrian (ruled AD 117–138) and Marcus Aurelius (ruled AD 161–180), stimulated an interest in sculpture adapted from famous Greek images, especially statues of deities and mythological groups. Around the same time, a shift in funerary customs from cremation to burial prompted a demand for marble sarcophagi displaying mythological scenes that alluded to a peaceful and happy afterlife, a tradition that continued through the third century AD.
西元 2 世紀和 3 世紀，羅馬帝國各地的雕塑數量顯著增加，涵蓋了肖像畫、神話人物及墓葬紀念物等多種類型。雕塑家的技藝日臻成熟，他們熟練運用鑽具來雕琢濃密的毛髮與衣褶，並精細刻畫虹膜與瞳孔——而在早些年，這些細節通常僅靠彩繪表現。肖像雕塑也變得更有個性，表現力更豐富。
在哈德良(Hadrian)(在位時間：公元 117–138 年）和馬可·奧勒留(Marcus Aurelius)（在位時間：公元 161–180 年）等皇帝的推崇下，羅馬社會重新掀起了對希臘文化的熱潮，這激發了人們對仿照希臘名作（尤其是神雕像與神話群像）進行創作的熱潮。同時，喪葬習俗由火葬轉變為土葬，從而帶動了對大理石石棺的需求；這些石棺上常飾有神話場景，以此寓意死後世界的安寧與幸福——這一傳統一直延續到了公元 3 世紀。
Roman Art: The Roman Villa
羅馬藝術: 羅馬別墅
Wealthy Romans often owned luxuriously decorated villas in the countryside or by the sea. Many of the rooms and corridors of these homes were brightly painted with frescoes depicting mythological scenes, landscapes, and illusionistic vistas. Marble and bronze portraits of famous Greek statesmen, poets, playwrights, and philosophers ornamented the rooms, and even bronze furniture attachments and the silver used for dining bore images drawn from myth and literature. Gardens typically adjoined the houses, and these spaces, too, displayed marble and bronze sculpture. Villas not only provided a setting of calm beauty and culture but also demonstrated the owner’s wealth and sophistication.
Although villas were located throughout the Roman Empire, the best preserved are those around the Bay of Naples at Pompeii, Boscoreale, Herculaneum, and other cities buried by the volcanic eruption of Mount Vesuvius in AD 79. All the frescoes in this gallery were discovered in this area, and the works in bronze, marble, and silver on view are similar to finds from these sites.
富裕的羅馬人常在鄉間或海濱擁有裝飾奢華的別墅。這些宅邸的許多房間和走廊都繪有色彩鮮豔的壁畫，描繪著神話場景、自然風光以及營造視覺錯覺的景緻。室內裝飾著希臘著名政治家、詩人、劇作家和哲學家的各類大理石及青銅肖像；即便是家具上的青銅飾件和餐具所用的白銀，也都飾有取材於神話與文學作品的圖案。別墅通常有花園，這些戶外空間同樣陳列著大理石與青銅雕塑。別墅不僅營造出寧靜優美且充滿文化氣息的居住環境，更彰顯了主人的財富與優雅品味。
儘管羅馬帝國各地均建有別墅，但保存最完好的當屬那不勒斯灣週邊的別墅群——這些別墅位於龐貝（Pompeii）、博斯科雷亞萊（Boscoreale）、赫庫蘭尼姆（Herculaneum）及其他城市，均因公元 79 年維蘇威火山爆發而被掩埋。本展廳內的所有壁畫均出土於該地區，而展出的青銅、大理石及白銀製品，也與這些遺址中的考古發現風格相類似。
Roman Art: Achilles Sarcophagus
羅馬藝術: 阿基里斯石棺
Roman Art: Greek and Roman Glass
羅馬藝術: 希臘與羅馬玻璃
Around 1600 BC, craftsmen in Egypt and Mesopotamia began to create vessels made of glass, as well as colorful ingots that were traded as a commodity throughout the Mediterranean. The material was produced by combining silica (found in sand or quartz), sodium carbonate, and lime (obtained from seashell debris) and heating the mixture to at least 1,300°F. While in this molten state, glass was manipulated into a vast array of shapes.
The Greeks learned glassmaking from their Phoenician and Egyptian neighbors around 600 BC. In this era Greek glassmakers became proficient at manufacturing small flasks that could be sealed with a stopper and suspended from a cord or chain. Such vessels typically served as containers for scented oils and perfumes. In the Hellenistic period (323–31 BC), glass was widely used for drinking cups. By the first century AD, glass vessels began to replace bronze and terracotta containers for drinking, dining, and food storage. Glassmakers employed a variety of techniques to manufacture and embellish these items, including casting in molds, engraving and carving, blowing glass with an air pipe to create complex shapes, combining strands of molten glass to form patterned surfaces, and painting finished objects.
約西元前 1600 年，埃及和美索不達米亞的工匠開始製作玻璃器皿，以及作為商品的彩色玻璃塊在地中海各地進行貿易。這種材料的製作方法是將二氧化矽（取自沙子或石英）、碳酸鈉和石灰（取自貝殼碎片）混合，並將混合物加熱至至少 1300°F（約 704°C）。在熔融狀態下，玻璃可塑造成各種不同的形狀。
約西元前 600 年，希臘人從腓尼基和埃及鄰邦學會了玻璃製造技術。這段時期的希臘玻璃工匠擅長製作小型瓶子，這種瓶子配有瓶塞，並可用繩索或鏈條懸掛；它們通常用於盛裝香油和香水。在希臘化時期（西元前 323–31 年），玻璃被廣泛用於製作飲用杯。到了西元 1 世紀，玻璃器皿開始取代青銅和陶製容器，用於飲水、用餐及食物儲存。玻璃工匠採用多種技術來製造和裝飾這些物品，包括模具鑄造、雕刻、利用吹管吹製複雜形狀、將熔融玻璃條組合以形成圖案表面，以及在成品上進行彩繪。
Roman Art: Roman Treasury
羅馬藝術: 羅馬寶庫
Ancient Roman craftsmen, continuing Greek traditions, created small-scale works of art from precious materials, including gold, silver, bronze, gemstones, and ivory. Bronze statuettes, often enhanced with silver inlay, were both offered to the gods and displayed in the home. Sculpted figures also ornamented household vessels and other objects in everyday use. Finely decorated silver vessels in the dining rooms of the wealthy conveyed high status, learning, and good taste. Gems—such as amethyst, garnet, carnelian, and rock crystal—were engraved with images and set in seal rings or worn as pendants. Cups, figurines, and delicate perfume vessels were also carved from semiprecious stone. Coins, though mass-produced, show superb workmanship, especially in their portraits of Roman emperors.
古羅馬工匠承襲希臘傳統，利用黃金、白銀、青銅、寶石和象牙等珍貴材質創作了各類小型藝術品。青銅小雕像（常飾以銀質鑲嵌）既用於敬奉神靈，也用於家居陳設；人物雕塑也常被用來裝飾日常使用的器皿及各類物品。富裕人家餐廳中裝潢精美的銀器，彰顯了主人的崇高地位、文化修養與高雅品位。紫水晶、石榴石、紅玉髓和水晶等寶石常被雕刻上圖案，鑲嵌於印章戒指之上或製成吊墜佩戴。此外，人們也利用半寶石雕琢杯具、小雕像及精緻的香水容器。儘管錢幣屬於大量生產，卻展現出精湛的工藝水準，尤其是在刻畫羅馬皇帝肖像方面。
Roman Art: The Villa at Boscoreale
羅馬藝術: 博斯科雷阿萊別墅
In contrast to the urban houses of Pompeii and the seaside villas overlooking the Bay of Naples, the country estates of Boscoreale were working farms. Although many of the residences were modest, others contained elaborately ornamented rooms, including bath complexes. Some of the finest wall paintings and silver vessels of the period have been discovered in these homes.
與龐貝城內的住宅及俯瞰那不勒斯灣的海濱別墅不同，博斯科雷阿萊（Boscoreale）的鄉村莊園屬於生產型農莊。儘管許多住宅規模樸素，但也有一些裝飾精美的房間，甚至配備了浴場設施。該時期一些最精美的壁畫和銀器便是在這些宅邸中被發現的。
The Herb Garden 香草園
The Herb Garden is located just west of the Outer Peristyle. It is an authentic recreation of a working Roman kitchen garden, filled with medicinal, culinary, and aromatic plants cultivated in antiquity. For example: basil, garlic, rosemary, thyme, pomegranate, fig, apricot, apple, and pear. The centerpiece of the space is a square basin surrounded by water lilies and lotus blossoms.
這座香草園位於外圍列柱廊以西，是古羅馬基本菜園的真實復製 ，種植古時常用的藥用植物、食用香草及芳香植物。例如：羅勒、大蒜、迷迭香、百里香、石榴、無花果、杏桃、蘋果和梨子。這區域的中心是一座方形水池，池畔環繞著睡蓮與荷花。
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