當成文藝復興年吧，
一套接一套的
大師經典作品回顧展，
讓人應接不暇
又讓人愛不釋手
只恨時間有限
不能盡覽
收羅了溫德斯的七部早期代表作：
《守門員的焦慮》，《愛麗絲漫遊城市》、《歧路》、《公路之王》
《巴黎德州》、《慾望之翼》和《美國朋友》，
至於《里斯本的故事》和《樂士浮生錄》則要待來年了。
他把自己的旅行發現全都轉進了電影
同樣地，他也把自己的電影心情寫進了底片
8月29日2200
報告我認識的溫德斯
里斯本/葡京 Lisbon: the city that looks South and West. 〈36 Hours Lisbon〉2023不要乘坐古老的黃色 28 路電車，而要登上幾乎空無一人的 12E 號電車。書：細腿男《里斯本：沒落的美感》2018，2021第3.7版；《Exploring Lisbon Street Art》. 電影： 四導演之一：" Lisbon Story" 1994 feature film directed by Wim Wenders. 2025 02 14。印度建築師......
| 名の由来：Lisboa, ポルトガル語 フェニキア語から派生した「安全な港」を意味する Allis Ubbo ; ラテン語 オデュッセウスに因んだUlyssippo ; ローマ人のテージョ川の名称 Olissipona | |
| 愛称： A Cidade das Sete Colinas (7つの丘の街), Rainha do Mar (海の女王) |
Lisbon Lisboa | |
|---|---|
| Motto(s): Mui Nobre e Sempre Leal "Very Noble and Always Loyal" | |
 Location of Lisbon | |
  Lisbon Location within Portugal | |
| Coordinates: 38°43′31″N 09°09′00″W | |
| Country |  Portugal |
| Metro | Lisbon metropolitan area |
| District | Lisbon |
| Historic province | Estremadura |
| Settlement | c. 1200 BCE |
| Roman Olissipo | c. 138 BCE |
| Moorish rule | 711 CE |
| Siege of Lisbon | 1147 CE |
| Capital city | 1256 CE |
| Civil parishes | (see text) |
| Government | |
| • Type | Local administrative unit |
| • Body | Concelho/Câmara Municipal |
| • Mayor | Carlos Moedas |
| • Municipal chair | Rosário Farmhouse |
| Area | |
| 100.05 km2 (38.63 sq mi) | |
| • Metro | 3,015.24 km2 (1,164.19 sq mi) |
| Elevation | 2 m (7 ft) |
| Population (2023) | |
| 567,131[1] | |
| • Density | 5,445.7/km2 (14,104/sq mi) |
| • Metro | 2,961,177[1] |
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里斯本（葡萄牙語：Lisboa[liʒˈboɐ] （ⓘ）），亦稱為葡京[註 1][2]，是葡萄牙共和國的首都和最大都市，它也是該國的政治中心，作為政府所在地和國家元首的住所。其位置位於葡萄牙中南部大西洋沿岸，城北為辛特拉山，城南為特茹河出海口，與倫敦、巴黎、羅馬等同為西歐歷史最悠久的城市。市區面積100.05平方公里、人口544,851人（2021年）。包含衛星城的都會區人口超過300萬，相當於葡萄牙人口的27%左右.[3]。現今與波多同為葡萄牙兩大代表性城市。[4]
里斯本是一個城市和直轄市，政府所在地和國家元首官邸。葡萄牙語國家共同體（CPLP）總部設在該市，是歐洲大陸最西端的首都，位於大西洋沿岸。
里斯本因其在金融、商業、媒體、娛樂、藝術、國際貿易、教育和旅遊方面的重要性，依照全球化及世界城市研究網絡（GaWC）所公布之《世界級城市》名單中，被列為屬於ALPHA-級別的國際都市[5][6][7] ，也是歐洲大陸的主要經濟中心之一，里斯本港也是歐洲大西洋沿岸最大的貨櫃港之一。[8]此外，里斯本機場在2018年接待了2900萬名乘客，是葡萄牙最繁忙的機場、伊比利半島第三繁忙的機場和歐洲第二十最繁忙的機場。[9]里斯本是南歐第九大訪問量最大的城市，僅次於伊斯坦堡、羅馬、巴塞隆納、米蘭、雅典、威尼斯、馬德里和佛羅倫斯，2018年，里斯本共有3,539,400名遊客。里斯本地區的GDP購買力平價高於葡萄牙其他地區。其國內生產總值達963億美元，人均32,434美元。在全球總收入中排名第40位。[10]葡萄牙跨國公司的總部大多位於里斯本地區。[11]
里斯本是世界上最古老的城市之一，也是歐洲第二古老的首都（僅次於雅典），比其他現代歐洲首都早了幾個世紀開發。尤利烏斯·凱撒將其命名為「Felicitas Julia」（意為「祝賀凱撒」，羅馬帝國滅亡後，自5世紀開始，里斯本被一系列日耳曼部落統治；後來在8世紀被摩爾人佔領。1147年，阿方索一世征服了這座城市，使得里斯本從那時起一直是葡萄牙的政治、經濟和文化中心。[12]
歷史
| Lisbon Story | |
|---|---|
 | |
| Directed by | Wim Wenders |
| Written by | Wim Wenders |
| Produced by | Paulo Branco Ulrich Felsberg João Canijo Wim Wenders |
| Starring | Rüdiger Vogler Patrick Bauchau |
| Cinematography | Lisa Rinzler |
| Edited by | Peter Przygodda Anne Schnee |
| Music by | Jürgen Knieper Madredeus |
| Distributed by | Atalanta Filmes (Portugal) |
Release date |
|
Running time | 100 minutes |
| Countries | Germany Portugal France Spain |
| Languages | German Portuguese English |
Lisbon Story (Portuguese: O Céu de Lisboa (Brasil); German: Lisbon Story) is a 1994 feature film directed by Wim Wenders. It was screened in the Un Certain Regard section at the 1995 Cannes Film Festival.[1] As part of Lisbon's programme as the European City of Culture in 1994, Wenders and three Portuguese filmmakers were invited to make a documentary about the city. The result was the fictional Lisbon Story.[2]
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Street Art City Walks: Lisbon
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1755年，里斯本發生了一場歐洲史上規模最大的九級強震，火災和海嘯造成了十萬人死亡，其中在里斯本有九萬人死亡，也造成城市及港口嚴重損毀，當中包括里韋拉宮與一些著名設施、教堂、圖書館等建築物，即使在地震中沒有即時倒塌的建築物最後也抵擋不過火災而被摧毀，從此里斯本遠洋貿易的中心地位不再，葡萄牙帝國的國力也開始逐漸衰落。重建後的里斯本，除了擴闊大量的廣場、道路，國王和首相也聘請了很多建築物和工程師重建市中心，更藉此機會重新規劃城市，興建了新的龐巴爾式建築依地形高低排列，採用洛可可和新古典主義裝飾，但予以簡化、自成一格，並在建築結構嵌入木樁支架防震。[15]
在19世紀初，拿破崙帝國皇帝拿破崙一世發動半島戰爭同時入侵西班牙及葡萄牙，法國軍隊占領馬德里並攻至里斯本，當時的皇室集體逃亡至巴西，而城市也受到一定程度的破壞。1910年10月3日，里斯本爆發起義，推翻君主制，5日共和黨人在里斯本市政廳宣告成立葡萄牙共和國。第二次世界大戰期間，里斯本則是少數開放的大西洋港口城市。現在她是葡萄牙的政治、文化中心，第一大港與第一大城。
1974年里斯本爆發康乃馨革命，實現了葡萄牙的民主化[16]。1983年，貝倫塔及熱諾尼莫修道院（Mosteiro dos Jerónimos）成為世界文化遺產[17]。1998年，里斯本主辦世界博覽會，主題為「海洋，未來的資產」，以配合里斯本海洋城市的特色。博覽會舉行共132天，總計一千萬人次參觀[18]。
May 7, 2020 — Your first stop in the Graça district is on the Rua Damasceno Monteiro. The stand-out wall here is AKACorleone's Fernando Pessoa-inspired design ...
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Wim Wenders with the producer and actors after the 25th Anniversary screening of Lisbon Story at Lisbon Film Festival 2019Our guide to the best street art in Lisbon and where to find the most notable murals by both international and local artists.
History of Street Art in Lisboa · Neighbourhoods Famous for... · Quinta do Mocho
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Jul 27, 2022 — Graca. Some of the best Lisbon street art can be found in Graca. Compared to Alfama, this is definitely more of a colorful distrcit with plenty ...
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Times Literary Supplement
Here Is Where We Meet, published in 2005.
Lisbon: the city that looks South and West
THE-TLS.CO.UK
The book opens in a square in Lisbon where there is a cypress tree whose branches have been trained to form ‘a gigantic, impenetrable, very low umbrella with a diameter of twenty metres.’ One hundred people, writes the narrator, could easily shelter under it. The tree bears a poem for passers-by to read: ‘I am the handle of your hoe, the gate of your house, the wood of your cradle and the wood of your coffin.’
Life and death: intimations, already.
It was hot – perhaps 28°C – at the end of the month of May. In a week or two, Africa, which begins – in a manner of speaking – on the far bank of the Tagus, would begin to impose a distant yet tangible presence. An old woman with an umbrella was sitting very still on one of the park benches. She had the kind of stillness that draws attention to itself. Sitting there on the park bench, she was determined to be noticed. A man with a suitcase walked through the square with the air of going to a rendezvous he kept every day. Afterwards a woman carrying a little dog in her arms – both of them looking sad – passed, heading down towards the Avenida de Liberdade. The old woman on the bench persisted in her demonstrative stillness. To whom was it addressed?Abruptly, as I was asking myself this question, she got to her feet, turned and, using her umbrella like a walking stick, came towards me.I recognised her walk, long before I could see her face. The walk of somebody already looking forward to arriving and sitting down. It was my mother.
This woman – who will address the narrator as ‘John’ – has been dead for 15 years. She takes his arm and advises him, ‘The dead don’t stay where they are buried.’ Mother and son walk the streets of Lisbon, carrying on a long conversation about their past, but also about the plans that she still has for the future.
Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
– TS Eliot, ‘Burnt Norton’, The Four Quartets
Berger writes that these paintings were made, deliberately, for the dark. ‘They were for the dark.’
They were hidden in the dark so that what they embodied would outlast everything visible, and promise, perhaps, survival.
‘a kind of vicarious autobiography and history of our time as refracted through the prism of art’.
In one of these encounters his mother cautions him:
You sound like somebody writing an autobiography. Don’t.
Don’t what?
You’re bound to get it wrong.
Their last conversation takes place on the Àguas Livres aqueduct, a ‘path through the sky’ high above ‘a couple of unfinished streets and some houses which were being lived in, though still being built.’
I could see a car with no wheels, a balcony the size of a kitchen chair, a child’s swing with only one rope attached to a tree, red tiles with concrete blocks on them to prevent them being blown away in the Atlantic winds, a window without a frame with a double mattress hanging out of it, a dog on a chain, barking in the sun.
John’s mother sees these things too. Do you see? she says suddenly.
Everything is broken, slightly broken, like the rejects from the factory they sell cheap, at half price. Not really damaged, only rejects. Everything – the hills, the Sea of Straw, the child’s swing down there, the car, the castle, everything is a reject, and has been so since the beginning.
His mother’s view of the world is that everything was damaged from the beginning of creation. ‘That’s why we are here,’ she insists. ‘To repair.’
Yet you are not really here are you?
How stupid can you get! We – us – we are all here. Just like you and the living are here. You and us, we are here to repair a little of what is broken. This why we occurred.
Occurred?
Came to be.
Looking down into the valley, she gives an example: ‘The dog down there is on too short a chain. Change it, lengthen it. Then he’ll be able to reach the shade and he’ll lie down and stop barking.’ John counters: ‘There are certain things which, to be repaired, require nothing short of a revolution.’ ‘So you say, John’ his mother replies sceptically.
Perhaps there has been no finer affirmation of the purpose of art. In the darkness Berger thinks of a friend, Anne, who is dying. A long time ago she would camp, summer after summer at Paleolithic sites. He imagines her saying that what was painted in these caves was ‘like a map.’
Of what?
The company in the dark.
Who are where?
Here, come from elsewhere …
In a short coda, John discusses his books with his mother.
I risk to write nonsense these days.
Just write down what you find.
I’ll never know what I’ve found.
No, you’ll never know. All you have to know is whether you’re lying or whether you’re trying to tell the truth, you can’t affford to make a mistake about that distinction any longer …
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