揭开神秘顶级魅力的面纱：释放自由的艺术

Unveiling the Veil of Mysterious Top Attraction: The Art of Embracing Freedom

1. 。《蒙娜丽莎的微笑》创作于1504年左右。画中的蒙娜丽莎成为美学的，哲学的象征性形象，早已成为达达主义和超现实主义画家模仿的对象。

1. "The Smile of Mona Lisa" was created around 1504. The Mona Lisa in the painting has long become a symbolic figure in aesthetics and philosophy, and has long been an object of imitation by Dadaist and Surrealist painters.

2. 弘一法师说：“畏手畏脚的，基本都过的不好。如果你总是处于紧绷状态，就会一点点地磨掉自己地意志，时时刻刻都在抗争、消耗。在很多优秀的人身上，都有一种独特的魅力叫松弛感。”

2. Master Hongyi said: "People who are hesitant and timid usually don't live a good life. If you are always in a state of tension, you will gradually wear down your willpower, constantly struggling and consuming yourself. Many outstanding individuals possess a unique charm called 'relaxation'."

3. 蒙娜丽莎原型的遗骨被丢弃在垃圾场据英国《每日电讯报》10月11日报道，一位意大利学者日前惊爆，因为不知墓穴中死者的身份，早在30年前，有人从墓穴中挖出达·芬奇不朽名作《蒙娜丽莎》原型丽莎·盖拉尔迪尼的遗骸，并当成垃圾倾倒在了佛罗伦萨市郊的一个垃圾厂建停车场挖掉墓地研究显示，丽莎于1542年在佛罗伦萨去世，葬于当地一座名为“圣奥尔索拉”的女修道院的墓园里。经过几百年的岁月，该修道院早已不复存在，后来这片场地上建起了一家烟草厂和一所大学的教学大楼，在上世纪80年代又成为意大利警察的宿舍区。意大利艺术史专家朱塞佩·帕兰蒂日前宣布，经过长达数十年对历史档案和资料的研究，他发现30年前开发商在那片地区修建地下停车场时，将当地的墓园连同地基一起挖走，而丽莎的遗骸混同着石块被当成建筑垃圾倾倒在了佛罗伦萨市郊的一个大型垃圾场，如今那里已是一座高达30米的垃圾山。开发商竟不知古迹帕兰蒂著有《蒙娜丽莎揭秘：达·芬奇模特的真实身份》一书，他近日接受采访时表示：“可惜的是，丽莎的墓穴已被毁掉，当时人们不知道里面埋的是什么人，他们也没有认识到保护古迹的重要性，他们只想给警察修宿舍。”

3. According to a report by the British Daily Telegraph on October 11, an Italian scholar recently shocked the public by revealing that the remains of the prototype of Leonardo da Vinci's masterpiece, "Mona Lisa," Lisa Gherardini, were discarded in a landfill. Because the identity of the deceased in the tomb was unknown, someone had excavated the remains of Lisa Gherardini from the tomb as early as 30 years ago and discarded them as garbage in a landfill in the outskirts of Florence, where a parking lot was being built by digging up the cemetery. Research shows that Lisa died in Florence in 1542 and was buried in the cemetery of a female monastery named "Santa Orsola." Over centuries, the monastery no longer existed, and later, a tobacco factory and a teaching building of a university were built on the site, and in the 1980s, it became a dormitory area for Italian police. Italian art historian Giuseppe Palanti announced recently that after decades of research on historical archives and materials, he discovered that 30 years ago, when developers were constructing an underground parking lot in that area, they had excavated the local cemetery along with the foundation, and Lisa's remains, mixed with stones, were disposed of as construction waste in a large landfill in the outskirts of Florence, which has now become a garbage mountain 30 meters high. The developers were unaware of the significance of the ancient site. Palanti, who wrote the book "Mona Lisa Decoded: The Real Identity of Leonardo da Vinci's Model," said in an interview: "Unfortunately, Lisa's tomb has been destroyed. At that time, people did not know what was buried inside, and they did not realize the importance of protecting historical sites. They only wanted to build dormitories for the police."

4. 肖像图(4张)500年来，人们一直对《蒙娜丽莎》神秘的微笑莫衷一是。不同的观者或在不同的时间去看，感受似乎都不同。有时觉得她笑得舒畅温柔，有时又显得严肃，有时像是略含哀伤，有时甚至显出讥嘲和揶揄。在一幅画中，光线的变化不能像在雕塑中产生那样大的差别。但在蒙娜丽莎的脸上，微暗的阴影时隐时现，为她的双眼与唇部披上了一层面纱。而人的笑容主要表现在眼角和嘴角上，达 ·芬奇却偏把这些部位画得若隐若现，没有明确的界线，因此才会有这令人捉摸不定的“神秘的微笑”。哈佛大学神经科专家利文斯通博士说，蒙娜丽莎的微笑时隐时现，是与人体视觉系统有关，而不是因为画中人表情神秘莫测。利文斯通博士是视觉神经活动方面的权威，主要研究眼睛与大脑对不同对比和光暗的反应。利文斯通说：“笑容忽隐忽现，是由于观看者改变了眼睛位置。”她表示，人类的眼睛内有两个不同部分接收影像。中央部分(即视网膜上的浅窝)负责分辨颜色、细致印记。环绕浅窝的外围部分则留意黑白、动作和阴影。据利文斯通说，当人们看着一张脸时，眼睛多数集中注视对方的双眼。假如人们的中央视觉放在蒙娜丽莎的双眼，较不准确的外围视觉便会落在她的嘴巴上。由于外围视觉并不注重细微之处，无形中突出了颧骨部位的阴影。如此一来，笑容的弧度便显得更加大了。不过，当眼睛直视蒙娜丽莎的嘴巴，中央视觉便不会看到阴影。利文斯通说：“如果看着她的嘴巴，使得我们永远无法捕捉她的笑容。”蒙娜丽莎的笑容若隐若现，源于人们的目光不断转移。利文斯通指出，若要临摹《蒙娜丽莎》，描绘口部时便要望着别处。后经使用x光照射，发现蒙娜丽莎嘴部涂画40层颜料，每一层都很薄。证实并不是用笔所画，而是作者把颜料涂在手上继而画在上面。而每一层颜料都要几个月才能风干，推算大约10年才画好蒙娜丽莎的微笑。1993年，加拿大美术史家苏珊·吉鲁公布了一项令人震惊的研究成果。她说蒙娜丽莎那倾倒无数观赏者的口唇，是一个男子裸露的脊背。这一论断既新鲜又荒诞，然而论证是有力的。集画家、雕刻家、建筑师、工程师及科学家等多种才艺于一身的达·芬奇，可谓是个“怪杰”。他喜欢穿粉红色外套，在胡须上毫无顾忌地涂上五颜六色，还常称自己解剖过不下30具死尸。他还是个左撇子，习惯从右到左倒着书写，别人要借助镜子才能读出他写的东西。因此借助镜子亦不失为欣赏者读画的一种方法。旋转90度后从镜中看蒙娜丽莎抿着的笑唇，恰好是一个背部线条分明的结实男性脊背以及左臂和肘部的一角；再说，表现人体美和呼唤人性的觉醒，既是大师的人生哲学，又是他的艺术观。确实，在不同角度不同光线下欣赏这幅画，人们都会得到不同的感受。那微笑时而温文尔雅，时而安详严肃，时而略带哀伤，时而又有几分讽嘲与揶揄，神秘莫测的微笑显露出人物神秘莫测的心灵活动。几百年来，“微笑”的新解层出不穷。诸如微笑不露皓齿是因原型虽典雅美丽却口齿不齐；原型因爱女夭折，忧郁寡欢，难掩凄楚之态；更有甚者，把蒙娜丽莎从贵妇宝座上推落下来，把原型贬为妓女，故而微笑中带着讥嘲和揶揄。美国马里兰州的约瑟夫·鲍考夫斯基博士认为：“蒙娜丽莎压根就没笑。"法国里昂的脑外科专家让·雅克·孔代特博士认为蒙娜丽莎刚得过一场中风，请看，她半个脸的肌肉是松弛的，脸歪着所以才显得微笑。英国医生肯尼思·基友博士相信蒙娜丽莎怀孕了。他的根据是：她的脸上流露出满意的表情，皮肤鲜嫩，双手交叉着放在腹部。画中，左边的地平线比右边的低，蒙娜丽莎的左侧看上去比右侧大。历史上左边代表女性，体现达·芬奇崇拜女性。电脑分析显示，蒙娜丽莎和达芬奇自画像的脸部有多处相似，可能蒙娜丽莎就是达芬奇本人，埃及传说中主管男性生殖器的神叫阿蒙（Amon），主管女性生殖器的神叫伊西斯（Isis）——古代文字中曾将其读做L'ISA，因此Mona Lisa就是暗示AMON L'ISA，即蒙娜丽莎非男非女，是两性的融合体。

4. Portrait photos (4 pieces) For 500 years, people have been divided over the mysterious smile of the Mona Lisa. Different viewers or those who see it at different times have different feelings. Sometimes it seems to be a comfortable, gentle smile, sometimes serious, sometimes slightly sad, and sometimes even sarcastic and derisive. In a painting, the changes in light cannot produce such a big difference as in sculpture. However, on the face of Mona Lisa, the faint shadows appear and disappear, casting a veil over her eyes and lips. Human smiles are mainly expressed in the corners of the eyes and the corners of the mouth, but Leonardo da Vinci deliberately depicted these parts faintly, without clear boundaries, which is why there is this elusive "mysterious smile". Dr. Livingston, a neurology expert at Harvard University, said that the intermittent appearance of Mona Lisa's smile is related to the human visual system rather than because the expression of the figure in the painting is mysterious and unpredictable. Dr. Livingston is an authority on visual neural activity, mainly studying the eyes and brain's responses to different contrasts and light and dark. Livingston said, "The intermittent appearance of the smile is due to the viewer changing their eye position." She explained that the human eyes have two different parts that receive images. The central part (i.e., the shallow pit on the retina) is responsible for distinguishing colors and fine prints. The peripheral part surrounding the shallow pit pays attention to black and white, movement, and shadows. According to Livingston, when people look at a face, their eyes are usually focused on the eyes of the other person. If the central vision is placed on Mona Lisa's eyes, the less accurate peripheral vision will fall on her mouth. Since the peripheral vision does not pay attention to details, it unintentionally highlights the shadows on the cheekbones. In this way, the arc of the smile appears larger. However, when the eyes are directly focused on Mona Lisa's mouth, the central vision will not see the shadows. Livingston said, "If you look at her mouth, it makes us forever unable to capture her smile." Mona Lisa's intermittent smile is due to the continuous shifting of people's gaze. Livingston pointed out that if you want to copy Mona Lisa, you should look elsewhere when depicting the mouth. After using X-rays, it was found that Mona Lisa's mouth was painted with 40 layers of paint, each very thin. It was confirmed that it was not painted with a brush, but the author painted the paint on his hand and then painted it on. Each layer of paint takes several months to dry, indicating that it took about 10 years to paint Mona Lisa's smile. In 1993, Canadian art historian Susan Gilroy revealed a shocking research finding. She said that the lips that have captivated countless viewers of Mona Lisa were a man's bare back. This conclusion is both fresh and absurd, but the argument is forceful. Leonardo da Vinci, who gathered various talents such as painter, sculptor, architect, engineer, and scientist, can be called a "odd genius." He liked to wear a pink overcoat, daubed colorful paints on his mustache without hesitation, and often claimed that he had dissected more than 30 corpses. He was also a left-handed person, accustomed to writing from right to left, and others had to use a mirror to read what he wrote. Therefore, using a mirror is not a bad way for viewers to appreciate the painting. After rotating 90 degrees and looking at Mona Lisa's pursed smile in the mirror, it is a well-defined male spine with a clear back line and a corner of the left arm and elbow; besides, expressing the beauty of the human body and calling for the awakening of human nature are both the master's philosophy of life and his artistic view. Indeed, people will get different feelings when appreciating this painting from different angles and under different light conditions. The smile is sometimes gentle and elegant, sometimes calm and serious, sometimes slightly sad, and sometimes with a bit of sarcasm and derision. The mysterious smile reveals the mysterious mental activity of the character. For hundreds of years, new interpretations of "smile" have emerged endlessly. Such as, the reason why the smile does not show white teeth is because the prototype is elegant and beautiful but has uneven teeth; the prototype is sad and melancholic due to the death of his daughter, and it is difficult to hide his sorrow; more seriously, Mona Lisa was pushed down from the throne of noblewoman and degraded to a prostitute, so the smile contains sarcasm and derision. Dr. Joseph Bokovsky of Maryland, Maryland, believes that "Mona Lisa is not smiling." Dr. Jean-Jacques Condette, a neurosurgeon in Lyon, France, believes that Mona Lisa just had a stroke. Look, half of her face's muscles are relaxed, and her face is crooked, which is why she seems to be smiling. Dr. Kenneth Guy of the United Kingdom believes that Mona Lisa is pregnant. His evidence is: her face shows a satisfied expression, her skin is fresh, and her hands are crossed on her abdomen. In the painting, the left horizon is lower than the right, and Mona Lisa's left side appears larger than her right. In history, the left represents women, reflecting Leonardo da Vinci's admiration for women. Computer analysis shows that Mona Lisa and Leonardo da Vinci's self-portrait have several similarities in the face, which may indicate that Mona Lisa is actually Leonardo da Vinci himself. In Egyptian legends, the god who governs the male reproductive organ is Amon, and the goddess who governs the female reproductive organ is Isis. In ancient texts, it was read as L'ISA, so Mona Lisa suggests AMON L'ISA, indicating that Mona Lisa is neither male nor female but a fusion of both genders.

5. Mona Lisa‘s Smile

5. Mona Lisa's Smile

6. 按照以往的说法，达·芬奇的《蒙娜丽莎》收藏于巴黎的卢浮宫。但在收藏界却有一种说法称，挂在卢浮宫的不是《蒙娜丽莎》，真正的《蒙娜丽莎》是在伦敦一所公寓的墙上。这间寓所和这幅作品的保管者普利策博士说，《蒙娜丽莎》完成后，作品就留在了丽莎·德·佐贡多家。后来，又有一个贵族请达·芬奇为他的情妇画一幅肖像，这个被称为“拉乔康达”（意为“微笑的人儿”）的女子，和蒙娜丽莎长得很像。于是，一时懒惰的达·芬奇把《蒙娜丽莎》的脸部换成拉乔康达。画作完成后，那个贵族抛弃了拉乔康达，因而没有买下这幅画。后来达·芬奇应弗朗西斯一世的邀请去法国，带去了这幅画。普利策说，使卢浮宫增添光辉的是拉乔康达的肖像画。《蒙娜丽莎》后来流落到英格兰，本世纪初被一家博物馆馆长、艺术鉴赏家威廉·布莱克买下，后来又为瑞士一财团收购，普利策便是其中的成员。本世纪初，曾经有许多人大规模地复制、伪造艺术名作，有理由怀疑伦敦的那幅是赝品。但是，普利策博士对他的这幅画的真实性深信不疑。他用显微摄影技术证实，伦敦这幅画上的指纹同达·芬奇其他作品上的指纹相同；根据记载，蒙娜丽莎比拉乔康多年轻19岁，被画时披着一条表示悼念的面纱，在两幅画中，只有伦敦那幅显示一个更显年轻的女人披着漂亮的面纱；另一个证据是，拉斐尔当年在达·芬奇作这幅画时曾经作过速写，速写中的蒙娜丽莎背后有两根圆柱，这两根圆柱出现在伦敦的肖像画里，而卢浮宫那幅的背景是山崖、小径、石桥、树丛与潺潺的流水。几百年以来，不少收藏家各自声称他们藏有真正的《蒙娜丽莎》,数量竟达60幅之多。更有趣的是，美国缅因州伯特兰美术馆在1984年收到一幅《不微笑的蒙娜丽莎》，经测定，此画确实是当年达·芬奇的手笔，画中的人物除了不微笑以外，其余都酷似蒙娜丽莎本人。专家由此推测，这幅《不微笑的蒙娜丽莎》可能是作者同时画的一幅底稿。还有一种说法认为目前卢浮宫内收藏的《蒙娜丽莎》是一幅赝品，其依据在于1911年发生的那起盗窃案。在那起盗窃案中，《蒙娜丽莎》失窃。两年后，它出现在意大利，但是画面上蒙娜丽莎身后两旁的廊柱已经被切掉了。几年后，《蒙娜丽莎》被归还卢浮宫。但许多专家都认为，这次失而复得只是一场烟幕，真正的《蒙娜丽莎》已经被一位富有的收藏家重金收购，挂在卢浮宫内的只是一件赝品而已。

6. As previously said, Leonardo da Vinci's "Mona Lisa" is collected in the Louvre in Paris. However, in the collecting world, there is a saying that what hangs in the Louvre is not the "Mona Lisa," but the real "Mona Lisa" is on the wall of an apartment in London. The keeper of this apartment and the work, Dr. Pulitzer, said that after the completion of "Mona Lisa," the work remained in the home of Lisa Gherardini. Later, a nobleman asked Leonardo da Vinci to paint a portrait of his mistress, a woman who looked very much like Mona Lisa and was called "La Gioconda" (meaning "the smiling girl"). Lazy at the time, Leonardo da Vinci replaced the face of Mona Lisa with that of La Gioconda. After the painting was completed, the nobleman abandoned La Gioconda and did not buy the painting. Later, Leonardo da Vinci went to France at the invitation of Francis I and took this painting with him. Dr. Pulitzer says that what adds luster to the Louvre is the portrait of La Gioconda. "Mona Lisa" later fell into the hands of an English museum curator and art connoisseur, William Blake, at the beginning of the century, and was later acquired by a Swiss syndicate, of which Pulitzer was a member. At the beginning of the century, many people copied and forged famous works on a large scale, and there is reason to suspect that the one in London is a forgery. However, Dr. Pulitzer is deeply convinced of the authenticity of his painting. He used microphotography technology to confirm that the fingerprints on the London painting are the same as those on Leonardo da Vinci's other works; according to records, Mona Lisa was 19 years younger than La Gioconda, and was depicted wearing a mourning veil. In the two paintings, only the London one shows a more youthful woman wearing a beautiful veil; another piece of evidence is that Raphael had sketched Mona Lisa while Leonardo was painting this work, and in the sketch, Mona Lisa's back was against two columns, which appeared in the portrait painting in London, while the background of the Louvre painting was cliffs, paths, stone bridges, thickets, and running water. For hundreds of years, many collectors have claimed to have the real "Mona Lisa," and the number has reached 60. What is more interesting is that in 1984, the Bates Museum of Art in Maine received a "Mona Lisa Without a Smile," which was determined to be a work by Leonardo da Vinci himself at that time. The character in the painting, except for not smiling, is very similar to Mona Lisa herself. Experts speculate that this "Mona Lisa Without a Smile" may be a draft painted at the same time by the author. Another theory suggests that the "Mona Lisa" currently collected in the Louvre is a forgery, based on the theft that occurred in 1911. In that theft, "Mona Lisa" was stolen. Two years later, it appeared in Italy, but the columns on either side of Mona Lisa's back in the painting had been cut off. Years later, "Mona Lisa" was returned to the Louvre. However, many experts believe that this return was just a smoke screen, and the real "Mona Lisa" had already been bought for a fortune by a wealthy collector, and what hangs in the Louvre is just a forgery.

7. 我们曾如此渴望命运的波澜，后来才发现人生最曼妙的风景，是内心的淡定和从容。我们曾如此期待外界的认可，后来才发现世界是自己的，和其他人毫无关系。

7. We once so eagerly sought the vicissitudes of fate, only to discover later that the most enchanting scenery of life is the calmness and composure within. We once so eagerly awaited recognition from others, only to find out later that the world is our own, having nothing to do with others.

8. 人这辈子，活着活着就死了。不要以为自己是什么惊天动地的存在，地球离开了谁都会转，四季离开了谁一样轮替交换。人最终的命运就是一捧黄土，所有的东西生不带来，死不带走，什么都不属于你，包括你的肉身。

8. In this life, people live and then they die. Don't think of yourself as some earth-shattering existence. The Earth can turn without anyone, and the change of the four seasons happens regardless of who is around. The ultimate destiny of humans is to become a heap of earth. All things come into this world without us and leave without us. Nothing belongs to you, not even your physical body.

9. 加利福尼亚大学教授卡罗·佩德雷蒂认为，蒙娜丽莎身后的背景是意大利中部阿雷佐市布里阿诺桥附近的景色。佩德雷蒂的证据是，达·芬奇出生在距阿雷佐约100公里的芬奇镇，并曾经在阿雷佐生活过，这一地区的原始景观与《蒙娜丽莎》的背景几乎完全一样，因此，达·芬奇很有可能采用这一地区的田园景色作为《蒙娜丽莎》的背景。当佩德雷蒂的这一观点在达·芬奇绘画国际研讨会上宣布后，许多美术史专家都对他的研究结果表示肯定。

9. Professor Carlo Pedretti of the University of California believes that the background behind the Mona Lisa depicts a view near the Bridge of Bria in the city of Arezzo, located in central Italy. Pedretti's evidence is that Leonardo da Vinci was born in the town of Vinci, about 100 kilometers from Arezzo, and had lived in Arezzo himself. The primitive landscape of this area is almost identical to the background of the Mona Lisa, so it is highly likely that da Vinci used the rural scenery of this region as the background for the Mona Lisa. After Pedretti announced this viewpoint at the International Leonardo da Vinci Painting Symposium, many art history experts expressed positive comments on his research findings.

10. 人生就是一场体验，不要畏手畏脚的，想做什么就去做，想说什么就去说，想经历什么就去经历。不要患得患失，不必怕这怕那，不用在乎任何人对你的任何看法，不后悔，不害怕，不退缩，可以接受任何遗憾和残缺，允许一切发生。

10. Life is an experience. Don't be hesitant or afraid. Do what you want to do, say what you want to say, and experience what you want to experience. Don't worry about gains and losses, don't be afraid of this or that, don't care about anyone's opinions of you, don't regret, don't fear, don't retreat, and be able to accept any regrets and imperfections, allowing everything to happen.

11. 按照记载，丽莎·迪·格拉尔弟尼在46岁时抑郁而死，但一位日本心脏病专家说他发现蒙娜丽莎的左眼上有一块黄斑，这是胆固醇含量过高的征兆。这个日本心脏病专家说蒙娜丽莎应该死于心肌梗塞。说不尽的蒙娜丽莎。蒙娜丽莎，这是一个永远探讨不完的问题。自问世至今，将近五百年，后人不知做过多少品评和揣测，留下越来越多的迷局。当今，世上有研究《蒙娜丽莎》的专著数百部，而有近百名学者将此画作为终身课题。时间的推移不会使疑团得到解决，只会随着研究的深入，将更多的疑惑留给后人。人们过分地喜爱她。无止境地探讨她那难以觉察的、转瞬即逝然而亘古不变的微笑，那洞察一切而又包容一切的眼神，那端庄沉稳的姿态，高贵而朴素的装束，以及无懈可击的完美构图。人们惊叹：列奥纳多，惟有列奥纳多，上帝一样的智慧，才能采集那么多美的元素，将众多美好合为一个完美。于是，美、智慧、永恒，三位一体，极致的搭配，再无超越的可能。就这样，蒙娜丽莎带给人们无限美好的遐想，也给人们无限沉重的压力。人们既愿意栖身她的庇荫，吸取滋润的营养；又渴望走出她的阴影，呼吸自由的空气。多少年了，无数醉心绘事的人，都为这一重矛盾所困扰。这是一个神话，它与达．芬奇无关，完全是后人制造的。神话像雪球，随着时间的推移不断滚动，无限膨胀，最终连神话的制造者也被吞没。如今，蒙娜丽莎坐在卢浮宫一处显要的位置，隔着厚厚的防弹玻璃，每天以我们熟知的、神秘而永恒的微笑迎候数以万计的来访者。这些朝圣般的观众心中装着各式疑问，他们渴望通过这一张温柔娴静的脸庞读出答案，然而离开时却将更多的问题带走。问题是五花八门，许多与蒙娜丽莎并无关系。有人会问：蒙娜丽莎究竟是画中人的名字，还是微笑的别称？画中人究竟是银行家乔．贡多的妻子，还是伊萨贝尔王妃？此画确有真人模特，还是凭想象画成？画中人物没有眉毛，这是当年佛罗伦萨的审美时尚，还是像某人所说，其人正在怀孕，是妊娠反应？画中人是否刚经历流产的伤痛，所穿衣裳是丧服？蒙娜丽莎那令人迷惑的表情真的是微笑吗？难道不是面部麻痹症造成？蒙娜丽莎到底是男是女？其原型是否就是达．芬奇本人？问题越问越离奇，距离画本身越来越遥远，不仅无助于解读该画，反而将人不断引向迷途。其实，有些问题已经构成了对《蒙娜丽莎》的亵渎，只是提问者尚未觉察。蒙娜丽莎是男是女，这还用得着问吗？任何一个对性别有感知的人都不该对此产生疑问，可是有人偏要提出如此荒唐的问题。有人说蒙娜丽莎给人的感觉是中性的，至少她（他）不会给人产生性的诱惑。试问，难道惟有性感才能构成女性美吗？如此，一幅肖像画与一幅色情照片又有多大区别？无疑，蒙娜丽莎是美的，她的美充分体现在人性美上，而不局限于女性特征；或者说，她的美已经超越了性别阻隔，但这并不等于连性别都分辩不出。对于显而易见的事实还要发出荒唐的疑问，若不是别有用心也是无聊之极了。面对一幅分明令人愉悦的肖像却偏要说甚么面部麻痹症，这简直令人愤慨。蒙娜丽莎表情是僵化的吗？瞬间的表情被定格就说成僵化，那真是荒唐透顶。微笑是难以描述的，专注中不自觉的微笑，友善的微笑，欣慰的微笑，或是略带嘲讽的微笑，那是每个人不同情绪下的感受，但笑意是毫无疑问的。至于有人感到蒙娜丽莎的微笑是常人难以企及的，因而断定此画不是以真人为模特，而是完全凭想象画成，这种论断也纯属多余。人们惊叹达．芬奇卓越的绘画技巧：画中人由面部五官到双手，再到身体的其他部分，包括衣着穿戴，每一处都那么真实可感，几乎伸手可及，这是凭空想象无法完成的。倘若没有真实人物作参照，达．芬奇纵然有天大的才气也不可能画得如此生动细腻。有人要问，画中人的眼神、她的笑意是那么遥远和不辩深意，那是其人所独有的吗？为什么今人就摹仿不出？其实这样的问题很好解答。每一个了解绘画的人都懂得，肖像画并不等同于人物原型。一幅好的肖像画首先要体现作者与表现对象间的互动；画家将自己的智慧、情感、人生理念、精神渴求等等都融铸进了画中人物，这样观众从画面上读到的肯定比真实人物要丰富的多。我们了解了达．芬奇的生平，认识了他在诸多领域的非凡造诣之后，上述问题也就迎刃而解。既如此，那么画中人究竟是谁的妻子、叫什么名字就不重要了，她是达．芬奇全部艺术才情的汇聚，也是他理想人格的集中体现。从这个意义上说，她不是任何人的妻子，她是一个超乎常规限定的完美人性。我们可以理解蒙娜丽莎为达．芬奇的精神肖像，但要说是以他本人为模特就显得太庸俗化了。有人通过电脑技术将达．芬奇的自画像与蒙娜丽莎作以对照，发现两者的基本结构惊人地相似，于是断定该画是以他本人为模特。其实这是吹毛求疵。相似不等于吻合，当然完全吻合是不可能的，正如画中人与真实人物也非完全相同；然而不同的人总有相似之处，并且相似性是主要的，差异却是微小的；更何况每一个画家描绘他人时总会不自觉地把自己的形象带进画面，因为画家对自己最熟悉；这点想来达．芬奇也不会例外。说到这些，其余的问题也就无须解释了。如果我们多读一些画，多接触一些画家，那么不着边际的问题就不会提出来了。驳斥了上述一些问题，不是说围绕《蒙娜丽莎》的研究都是无意义。作为世界美术史上最具知名度的一件作品，必然会有无尽的问题为后人探讨。对于《蒙娜丽莎》人们过分熟悉，很难再产生新鲜感；然而醉心于此画的人，却是每看必有新得，各中奥妙怕是只可意会了。《蒙娜丽莎》不但是卢浮宫的镇馆之宝，简直是法国人的骄傲。当年《蒙娜丽莎》曾经失窃，千万人为之痛不欲生，政府则把当日定为“国难日”；而当它失而复得时，则举国欢腾，其盛况不啻于国家重获新生。法国人莫非忘记了，《蒙娜丽莎》本不该属于他们。在蒙娜丽莎的故乡意大利，拥有无法估量的艺术宝藏；却不曾拥有《蒙娜丽莎》，不能不说是巨大遗憾。这是世界上拥有最多发烧友的一幅画，不要说艺术界，单就政界要员对她的迷恋就令人诧异：大名鼎鼎的戴高乐总统每当心绪烦躁时，必驱车前往卢浮宫欣赏《蒙娜丽莎》，出来后便满面春风，原先的烦恼荡然无存；而蓬皮杜总统则公开承认无法克制对《蒙娜丽莎》的心驰神往之情。世纪伟人邱吉尔可谓是曾经沧海了，可他晚年有幸亲抚《蒙娜丽莎》时，竟无法控制颤抖的手指；铁娘子撒切尔夫人亦对《蒙娜丽莎》情有独钟，无缘享有真迹，就收藏了4幅赝品。看到这些事实，我们会产生疑问：一幅不大的肖像画为何竟有如此巨大的魅力或是震慑力，难道不是有一种神秘的无形力量在驱动么？有些问题是难以回答的，我们先从《蒙娜丽莎》自身来认识。举世公认的真迹现藏卢浮宫，那是流传有序的。当年达．芬奇迁居法国，身边就带着这幅画；达．芬奇死后，《蒙娜丽莎》即为法国王室所拥有；卢浮宫建成后，此画就被永久收藏。然而，人们不解，现今看到的《蒙娜丽莎》与当初描述的不尽相同。莫非已经过他人做手脚了？的确，我们今天看到的画与当年达．芬奇初画的已经有了不小的差距。据说，当年拿破仑得到《蒙娜丽莎》，为了将它装进现成的镜框，裁去了画面左右各三厘米；原先的画上两侧有石柱，现在看不到了，只能看见一点柱础。按说拿破仑给此画造成了极大破坏，可我们今天却不会这么认为。在今人看来，《蒙娜丽莎》的构图是完美无缺的，人物身后的风景拓展了画面空间，又很好地烘托了人物内心世界，人物形象也极为突出；相反，两侧增加了立柱反倒觉得构图沉闷，视野欠开阔，人物形象也失去了单纯。拿破仑戎马一生，未曾对艺术有过特殊的关注，却在美术史上留下了显著的一笔，真是不可思议。看来神圣也不见得是不可动摇的。我们现在看到的《蒙娜丽莎》是棕褐色调，略带些青绿色相，色彩简洁而沉静，朴素而凝重。我们以为画向来如此，其实不然。据达．芬奇同时代人对此画的描述，当时的画是色彩鲜艳，调子明快的，什么时候变成了现在的样子呢？当年法王得到了《蒙娜丽莎》，为了更好地保护它，在表面涂了过多的光油；历经数百年光阴，光油变成了暗褐色，像我们目前看到的色彩；画表面已经开裂，形成了蛛网般的细密纹理。保存状况不佳，那是令人惋惜的；然而，我们宁愿承认当今的《蒙娜丽莎》。单纯浑厚的色调与人物沉静内敛的精神气质相得益彰；深暗的衣饰、迷蒙的背景将人物脸庞及双手衬托得响亮动人；而均匀的裂纹则给人物增添了神秘气息，让我们欣赏她时带上更多的崇敬与神往。有人想通过现代科技手段除去表面油垢，恢复原先明丽的色彩；只是担心技术不过关，怕损伤画面。其实，倘若真的修复了，我们反倒会觉得陌生以至难以接受。临摹名画是一种喜爱的表现，《蒙娜丽莎》就拥有世界上最多的临本。且不说今人的临摹，仅在达．芬奇时代就有好几个版本的《蒙娜丽莎》，那多半是达．芬奇的学生或助手临的。有几幅技巧拙劣，放在原作跟前不堪入目，不过其中也不乏佳作。在美国新泽西州也有一幅《蒙娜丽莎》，和卢浮宫的原作极为相似，只是构图略大一些，露出左右两侧的石柱（原作构图本来如此）。画上的蒙娜丽莎秀丽、清纯，更具人间气息。专门研究《蒙娜丽莎》的学者雷特认为这幅也是达．芬奇所作，而且是最初作品，该作表现出了人物的青春魅力；而收藏于卢浮宫那幅大约作于1513年。达．芬奇到了晚年技艺愈加炉火纯青，但多年过去，蒙娜丽莎已不再年轻，而多了些许成熟与深沉。这种说法颇耐人寻味，但毕竟只是推测，难以得到证实。多数人对此持否定意见，反对者认为：达．芬奇一生中创作的绘画屈指可数，他从未重复过自己的作品。

11. According to records, Lisa Gherardini died of depression at the age of 46, but a Japanese cardiologist claims that he discovered a macula on the left eye of Mona Lisa, which is a sign of high cholesterol levels. This Japanese cardiologist believes that Mona Lisa should have died of myocardial infarction. Mona Lisa, an endless topic. Mona Lisa, this is a question that can never be fully explored. For nearly five centuries since its creation, countless appraisals and speculations have been made, leaving behind more and more mysteries. Today, there are hundreds of monographs on "Mona Lisa" in the world, and nearly a hundred scholars regard this painting as their lifelong topic. The passage of time will not solve the mystery, but will only leave more doubts for future generations as research deepens. People love her too much. Endlessly discussing her imperceptible, fleeting, yet eternal smile, her all-seeing and inclusive eyes, her dignified and stable posture, her noble and simple attire, and her impeccable perfect composition. People marvel: Leonardo, only Leonardo, with the wisdom of God, could gather so many elements of beauty and combine them into a perfect unity. Thus, beauty, wisdom, and eternity are combined into a trinity, the ultimate pairing, with no possibility of surpassing it. Just like that, Mona Lisa brings people endless beautiful daydreams and endless heavy pressure. People are willing to take shelter under her protection, absorb the nutritious nutrients; yet they also long to step out of her shadow, breathe the air of freedom. For how many years, countless people fascinated by painting have been troubled by this contradiction. This is a myth, unrelated to Da Vinci, and entirely created by later generations. The myth is like a snowball, rolling and expanding endlessly with time, eventually engulfing even the creators of the myth. Now, Mona Lisa sits in a prominent position in the Louvre, waiting for countless visitors every day behind thick bulletproof glass, with the mysterious and eternal smile that we all know. These pilgrim-like viewers carry all sorts of questions in their hearts, hoping to find the answers through this gentle and serene face, but leaving behind more questions when they leave. The questions are diverse, and many have nothing to do with Mona Lisa. Some may ask: Is Mona Lisa the name of the person in the painting, or the name of the smile? Is the person in the painting the wife of the banker Giocondo, or the Duchess Isabella? Is there a real person as the model for the painting, or is it painted purely from imagination? Why does the person in the painting not have eyebrows? Is this because it was the aesthetic fashion of Florence at the time, or is it because, as someone said, she was pregnant and experiencing pregnancy-related symptoms? Is the person in the painting just recovering from the pain of a miscarriage, and the clothes she is wearing are mourning clothes? Is Mona Lisa's mysterious expression really a smile, or is it caused by facial paralysis? Is Mona Lisa male or female? Is her prototype Da Vinci himself? The questions become more and more bizarre, and are increasingly distant from the painting itself, not helping to interpret the painting but constantly leading people astray. In fact, some of these questions have already constituted an affront to "Mona Lisa," though the questioners are not yet aware of it. Does it really need to be asked whether Mona Lisa is male or female? Any person with a sense of gender should not have any doubts about it, but someone has to ask such absurd questions. Some say that Mona Lisa gives people a sense of neutrality, at least she (he) does not give people sexual temptation. Ask, is only sexiness capable of constituting female beauty? In this case, what is the difference between a portrait and a pornographic photo? Undoubtedly, Mona Lisa is beautiful, and her beauty is fully reflected in the beauty of human nature, not limited to female characteristics; or, her beauty has gone beyond the barriers of gender, but this does not mean that gender cannot be distinguished. For the obvious facts, to raise absurd doubts is either malicious or extremely boring. To say something like facial paralysis in front of a portrait that is obviously pleasing to the eye is simply outrageous. Is Mona Lisa's expression rigid? To say that a momentary expression that is frozen is rigid is the most absurd thing. A smile is difficult to describe, an unconscious smile in concentration, a friendly smile, a satisfying smile, or a slightly sarcastic smile, that is the feeling of each person under different emotions, but the smile is undoubtedly there. As for some people feeling that Mona Lisa's smile is beyond the reach of ordinary people, therefore concluding that the painting was not painted from a real person but purely from imagination, this conclusion is also superfluous. People marvel at Leonardo's outstanding painting skills: from the facial features to the hands, and then to the other parts of the body, including the attire, every detail is so real and tangible, almost within reach, which is impossible to achieve without imagination. If there had not been a real person to refer to, Leonardo, with all his talent, could not have painted it so vividly and finely. Some people want to ask, why are the eyes and smile of the person in the painting so distant and indistinct, are they unique to that person? Why can't modern people imitate them? In fact, such questions are very easy to answer. Every person who understands painting knows that a portrait is not the same as the prototype of the person. A good portrait painting first of all reflects the interaction between the author and the subject of the painting; the painter incorporates his wisdom, emotions, life philosophy, spiritual aspirations, and so on into the characters in the painting, so the viewers will definitely get more from the painting than from the real person. After understanding Da Vinci's life and recognizing his extraordinary achievements in many fields, the above questions can be easily solved. In this way, it is not important who the person in the painting is married to or what her name is; she is the gathering of Da Vinci's entire artistic talent and the concentrated embodiment of his ideal personality. In this sense, she is not anyone's wife; she is a perfect human nature beyond the limitations of the conventional. We can understand Mona Lisa as Da Vinci's spiritual portrait, but to say that it is based on his own model is too vulgarized. Some people have used computer technology to compare Da Vinci's self-portrait with Mona Lisa and found that the basic structures of the two are strikingly similar, thus concluding that the painting is based on his own model. In fact, this is nitpicking. Similarity does not mean identity, of course, complete identity is impossible, just as the person in the painting is not completely the same as the real person; however, different people always have similarities, and similarity is the main factor, while difference is minor; moreover, every painter will unconsciously incorporate his own image into the painting when painting others, because the painter is most familiar with himself; this should not be an exception for Da Vinci. Speaking of these, the other questions do not need to be explained. If we read more paintings and get in touch with more painters, we will not come up with questions that are out of the blue. By refuting the above questions, it does not mean that all research on "Mona Lisa" is meaningless. As the most famous work in the history of world art, there are endless questions for future generations to explore. People are too familiar with "Mona Lisa," and it is difficult to have a fresh feeling about it; however, those who are obsessed with this painting always have new insights, and the mysteries within it are perhaps only understandable in the heart. "Mona Lisa" is not only the treasure of the Louvre but also the pride of the French. In the past, "Mona Lisa" was stolen, and millions of people were in despair; the government even designated that day as "a national day of disaster." When it was recovered, the whole country celebrated, and the joy was no less than the rebirth of the country. Have the French forgotten that "Mona Lisa" should not have belonged to them? In Mona Lisa's hometown of Italy, there are invaluable art treasures; however, they do not have "Mona Lisa," which cannot be said to be a huge regret. This is the painting with the most fanatics in the world, not to mention the art world, even the political elite's obsession with it is astonishing: the famous President de Gaulle would drive to the Louvre to admire "Mona Lisa" whenever he was in a bad mood, and after leaving, he would be full of smiles, and the original trouble would be gone; President Pompidou openly admitted that he could not control his longing for "Mona Lisa." The great statesman Churchill had seen it all, but when he had the opportunity to touch "Mona Lisa" in his later years, he could not control his trembling hands; Prime Minister Thatcher also had a special liking for "Mona Lisa," and without the real thing, she collected four forgeries. Seeing these facts, we may wonder: why does such a small portrait have such a huge charm or awe, does not there seem to be some mysterious invisible force driving it? Some questions are difficult to answer, so let's first understand "Mona Lisa" itself. The universally recognized original is now in the Louvre, which has a well-documented history. When Da Vinci moved to France, he brought this painting with him; after Da Vinci's death, "Mona Lisa" became the property of the French royal family; after the construction of the Louvre, this painting was permanently collected. However, people do not understand why the "Mona Lisa" we see today is not exactly the same as the original description. Could it be that someone has tampered with it? Indeed, the painting we see today is quite different from the one Da Vinci painted initially. It is said that when Napoleon got "Mona Lisa," he cut off 3 centimeters from both sides of the painting to fit it into the existing frame; there were columns on both sides of the original painting, which are now invisible, only the bases can be seen. It is said that Napoleon caused great damage to the painting, but today we would not think so. In the eyes of today's people, the composition of "Mona Lisa" is perfect, the landscape behind the character expands the space of the painting and also well sets off the inner world of the character, and the character image is also very prominent; on the contrary, the addition of columns on both sides makes the composition feel heavy and the view narrow, and the character image also loses its simplicity. Napoleon spent his life in the military, and had never paid special attention to art, but he left a significant mark in the history of art; this is truly incredible. It seems that the sacred is not necessarily unshakable. The "Mona Lisa" we see now is in a brownish tone, with a little green, simple and solemn, plain and heavy. We think the painting has always been like this, but in fact, it is not. According to the descriptions of Da Vinci's contemporaries, the painting was originally colorful and bright, when did it become like this? When the French king got "Mona Lisa," he coated it with too much varnish to better protect it; after hundreds of years, the varnish turned dark brown, like the color we see now; the surface of the painting has cracked, forming a dense web-like texture. Poor preservation is regrettable, but we would rather admit the current "Mona Lisa." The simple and thick color and the character's calm and reserved temperament complement each other; the deep dark attire and the hazy background highlight the face and hands of the character, making them vivid and moving; while the even cracks add a mysterious atmosphere, making us admire her with more reverence and longing. Some people want to use modern technology to remove the surface dirt and restore the original bright color; but they are worried that the technology is not up to par and may damage the painting. In fact, if it is really restored, we might feel unfamiliar and even difficult to accept. Copying famous paintings is a way of expressing love, and "Mona Lisa" has the most copies in the world. Not to mention the copies made today, there were several versions of "Mona Lisa" during Da Vinci's time, most of which were copied by his students or assistants. Some of them were technically clumsy and were not worth looking at next to the original, but there were also some excellent works. There is also a "Mona Lisa" in New Jersey, which is extremely similar to the original in the Louvre, only the composition is slightly larger, showing the columns on both sides (the original composition was like this). The Mona Lisa on the painting is beautiful, pure, and more human. The scholar who specializes in "Mona Lisa," Ret, believes that this is also a work by Da Vinci, and even the original work, which shows the youthful charm of the character; while the one in the Louvre was probably painted in 1513. As Da Vinci grew older, his skills became even more refined, but after many years, Mona Lisa was no longer young and had some maturity and depth. This interpretation is very thought-provoking, but it is still just a speculation and difficult to be verified. Most people hold a negative opinion and oppose it, believing that Da Vinci created a very small number of paintings in his life and never repeated his works.

12. 在与人相处的过程中，如果遇到真正爱你的人，一定要好好珍惜。遇到真心实意的朋友，一定要竭尽真诚。如果碰到消耗你的，伤害你的，嫌弃你的人，该反击就反击，该远离就远离，该拒绝就拒绝。

12. In the process of interacting with others, if you meet someone who truly loves you, you must cherish them. When you encounter a sincere friend, you must give your all in sincerity. If you encounter someone who consumes you, harms you, or despises you, be ready to fight back when necessary, distance yourself when appropriate, and refuse when needed.

13. 蒙娜丽莎微笑让人迷恋，蒙娜丽莎双眼暗藏玄机。据英国《卫报》12日报道，意大利研究者借助显微镜在艺术巨匠莱奥纳多·达·芬奇的名作《蒙娜丽莎》眼中发现神秘字符，或许能为揭开画中人真实身份开启新途径。左右眼均有西文字符意大利国家文化遗产理事会主席西尔瓦诺·温切蒂借助显微镜观察油画中蒙娜丽莎的眼睛，发现微小字符。英国《卫报》12日援引温切蒂的话报道：“肉眼看不出来。她绿褐色的右眼球上画有黑色的LV字样，很明显这是莱奥纳多·达·芬奇的姓名首字母。”相比起右眼，蒙娜丽莎左眼中的内容更值得探索。温切蒂说，左眼球上的字符尚未辨明。“很难清楚分辨……但看起来是字母CE，也可能是B或者S。”“这幅画差不多有500年历史了，”他解释说，画作清晰度和锐度不如当年。除眼睛外，画作其他位置也藏有字符。温切蒂说：“在背景中桥拱上可以看到数字72，也可能是字母L和数字2。”达·芬奇不仅是文艺复兴时期意大利杰出画家，还在科学和哲学领域表现出过人能力。他热衷于用符号和密码来传递信息。温切蒂认为，达·芬奇把字符藏在眼中是因为“眼睛是心灵的窗户”，是一种交流途径。蒙娜丽莎身份添神秘发现眼中字符为蒙娜丽莎的真实身份更添神秘色彩。温切蒂推测，达·芬奇希望别人从蒙娜丽莎眼睛里发现她究竟是谁。名画问世后，人们对蒙娜丽莎的真实身份一直存在争议。流传较广的一种说法是，她真名为莉萨·盖拉尔迪尼，是意大利佛罗伦萨一名商人的妻子；一些历史学家认为，蒙娜丽莎是达·芬奇的自画像，因为达·芬奇是同性恋，感情生活不为人知，所以他把自己画成女人形象；而美国作家丹·布朗在其所著的《达芬奇密码》一书中提到，蒙娜丽莎这个名字可能是字谜，暗指一位埃及神明。温切蒂认为，《蒙娜丽莎》创作于米兰。他说：“作品背面写着‘149’三个数字，第4个数字被擦去，（据此）可以推断他（达·芬奇）于15世纪90年代在米兰的时候完成这幅作品。”温切蒂说，他们对蒙娜丽莎眼中字符的研究尚处于起步阶段，期待“能更深入探索这个秘密，尽快揭示更多细节”。从眼睛着手研究少见蒙娜丽莎以迷人微笑闻名，从她的眼睛着手研究实不多见。谈及研究眼睛的原因，温切蒂告诉英国《每日邮报》记者，他是受到一本书的启发。温切蒂说，同事路易吉·博尔贾在一家店淘到一本发霉的旧书，书的作者是一名20世纪60年代的法国历史学家。书中写道，蒙娜丽莎眼中“充满各种记号和字符”。“值得一提的是，之前没有人注意到这些符号，”温切蒂说，这些字符不是随意涂鸦，也不是随机形成。“我们向两名行家咨询得知，这些字符是在放大镜下用微型画笔画出。”他说。温切蒂擅长研究文艺复兴时期艺术中的冷门学科。他今年6月发现文艺复兴另一名画家米凯兰基洛·梅尔西即卡拉瓦乔的遗骸。

13. Mona Lisa's smile is captivating, and her eyes hide mysteries. According to a report by The Guardian on December 12, Italian researchers have discovered mysterious characters in the eyes of Leonardo da Vinci's masterpiece, "Mona Lisa," using a microscope, which may open a new path to revealing the true identity of the person in the painting. Both eyes contain Western characters. The President of the Italian National Council for Cultural Heritage, Silvano Vinceti, observed Mona Lisa's eyes in the oil painting under a microscope and found tiny characters. The Guardian quoted Vinceti on December 12: "The naked eye cannot see them. On her right, greenish-brown eye, there is a black LV, which is clearly the initials of Leonardo da Vinci." Compared to the right eye, the content in Mona Lisa's left eye is more worth exploring. Vinceti said, "The characters on the left eye have not yet been identified. It is hard to make out clearly... but it looks like CE, or possibly B or S." "This painting is about 500 years old," he explained, "and the clarity and sharpness are not as good as they were back then." Besides the eyes, there are also characters hidden in other parts of the painting. Vinceti said, "In the background, on the bridge arch, you can see the number 72, which may also be the letters L and the number 2." Da Vinci was not only an outstanding painter of the Renaissance period in Italy but also showed extraordinary abilities in the fields of science and philosophy. He was enthusiastic about using symbols and ciphers to convey information. Vinceti believes that Da Vinci hid characters in the eyes because "the eyes are the windows of the soul," a means of communication. The discovery of characters in Mona Lisa's eyes adds to the mystery of her true identity. Vinceti speculates that Da Vinci wanted others to discover who Mona Lisa really was from her eyes. There has been controversy over Mona Lisa's true identity since the painting was created. A widespread theory is that her real name was Lisa Gherardini, the wife of a Florentine merchant; some historians believe that Mona Lisa is Da Vinci's self-portrait because Da Vinci was a homosexual, and his love life was unknown, so he painted himself as a woman; while American author Dan Brown mentioned in his book "The Da Vinci Code" that the name Mona Lisa might be a cipher, referring to an Egyptian god. Vinceti believes that "Mona Lisa" was created in Milan. He said, "The back of the work has the numbers '149', the fourth number has been erased, (from this) we can infer that he (Da Vinci) completed this work in the 1990s of the 15th century when he was in Milan." Vinceti said that their research on the characters in Mona Lisa's eyes is still in its infancy and they are looking forward to "further exploring this secret and revealing more details as soon as possible." It is rare to start research from the eyes. Mona Lisa is famous for her charming smile, and it is not common to start research from her eyes. Talking about the reason for studying the eyes, Vinceti told a reporter from The Daily Mail that he was inspired by a book. Vinceti said that his colleague Luigi Borja found a moldy old book in a store, written by a French historian from the 1960s. The book states that Mona Lisa's eyes are "full of various marks and characters." "It is worth mentioning that no one has noticed these symbols before," Vinceti said, "these characters are not random scribbles or randomly formed. We consulted two experts and learned that these characters were painted with a miniature brush under a magnifying glass." He said. Vinceti is good at studying the obscure subjects in the arts of the Renaissance period. In June of this year, he discovered the remains of another Renaissance painter, Michelangelo Merisi, also known as Caravaggio.

14. 人生短短几十年，忽聚忽散，忽生忽死，一定要抓紧时间好好体验人生的美妙和幸福，不要让自己处于紧绷的状态，那样只会让自己处于非常不好的境地。给自己足够的松弛感，按照自己喜欢的方式度过一生。

14. Life is but a short span of a few decades, with moments of gathering and dispersing, of being born and dying. It is essential to seize the time to fully experience the wonders and happiness of life, and not to be in a state of constant tension, as that would only lead to a very poor condition. Give yourself enough relaxation, and live your life in the way that you prefer.

15. 弘一法师说：“人这一辈子，要记住七个没必要。讨厌一个人，没必要翻脸；喜欢一个人，没必要低三下四；错过一个人，没必要怀念；看穿一个人，没必要揭穿；离开一个人，没必要伤害对方；感恩一个人，没必要卑躬屈膝；敬畏一个人，没必要恭维。”

15. Master Hongyi said, "Throughout one's lifetime, there are seven things that are not necessary. You don't need to turn your back on someone you dislike; you don't need to kowtow to someone you like; you don't need to pine for someone you've missed; you don't need to expose someone you see through; you don't need to hurt someone you leave; you don't need to grovel to someone you are grateful to; and you don't need to flatter someone you respect."

16. 东方欲晓，莫道君行早，踏遍青山人未老，风景这边独好。人生这一趟旅程，最重要的其实只有两个字：高兴。加油吧，不负此生。

16. As the east begins to dawn, do not say that you are leaving early. As you tread through green mountains, you have not yet grown old, and the scenery here is uniquely beautiful. In this journey of life, what is most important is actually only two words: happiness. Keep going, do not waste this life.

17. 列奥纳多达芬奇的《蒙娜丽莎的微笑》别名“乔康达”达·芬奇是意大利著名画家意大利文艺复兴三杰之一（1452——

17. Leonardo da Vinci's "Mona Lisa's Smile," also known as "Gioconda," is a famous painting by the Italian artist Leonardo da Vinci, who is one of the three great masters of the Italian Renaissance (1452—).