米开朗琪罗作品解读WorksofMichelangelo.

Michelangelostrength,beautyandsorrow•ThroughouttheMiddleAges,painterswereconsideredskilledcraftsworkersonalevelwithgoldsmiths,carpenters,andothertradespeople.Bythemid–16thcentury,incontrast,Michelangelocouldclaimthat“inItalygreatprincesassucharenotheldinhonororrenown;itisapainterthattheycalldivine.”•Fromanonymouscraftsworkerstodivinelytalentedindividualsmorehonoredandrenownedthanprinces—whathadhappened?•RenaissancehumanistsheldthathumankindwasnotworthlessintheeyesofGod,astheChurchhadtaughtduringtheMiddleAges.•Rather,humankindwasGod’sfinestandmostperfectcreation.ReasonandcreativitywereGod’sgifts,proofofhumankind’sinherent(与生俱来的)dignity.•People’sobligation(义务)toGodwasnottotrembleandsubmitbut,rather,tosoar,strivingtorealizetheirfullintellectualandcreativepotential.（奋发向上，努力实现自己全部的智力和创造潜能）•First,ItalyhadbeenamongthefirstareastorecovereconomicallyfromthechaosoftheearlyMiddleAges.•Thecity-stateswaswealthy,independent,andfiercelycompetitive,theywouldviewithoneanothertoengagethefinestartists.•TheChurch,alsoanimportantpatronofthearts,wascenteredinItalyaswell.HumanismarosefirstinItaly,anditwasinItalythatthefirstuniversitypositioninGreekstudieswasestablished.•Finally,ItalianshadlonglivedamidtheruinsofancientRome,andtheyviewedthemselvesasthedirectdescendantsoftheearliercivilization.•Thepursuitofbeautymadepainting,sculpture,andarchitectureasintellectualactivitiesalliedwithmathematics,science,andpoetry.Artistswerenolongercraftsworkers,butlearnedpersonswhosecreativepowerswereviewedasalmostmiraculous(不可思议的).•Thegreatestartistswereconsideredabreedapart(与众不同的人),formingaclassofpeoplerespectednotbecauseofwhotheywerebutbecauseofwhattheycoulddo.•Theterm“Renaissanceman”isappliedtosomeonewhoisverywellinformedabout,orverygoodatdoing,manydifferent,oftenquiteunrelatedthings.•SeveraloftheleadingfiguresoftheRenaissancewereartisticjacks-of-all-trades(通才).Michelangelowasapainter,sculptor,poet,architect.Leonardowasapainter,inventor,sculptor,architect,engineer,scientist,musician,andall-roundintellectual.•Inourage,thoseaccomplishmentsseemimpossible,butduringtheheadyyearsoftheRenaissancenothingwasimpossible.•Michelangelohadestablishedhisreputationasasculptorbytheageof23•酒神巴库斯Bacchus(1496–1497)•GiorgioVasari：“boththeslendernessofayoungmanandthefleshinessandroundnessofawoman”,anditsandrogynous(雌雄同体)qualityhasoftenbeennoted.•“…hasanexpressionofthemostrevoltingdissoluteness.”(最令人作呕的放荡)•“inbrief...itisnottheimageofagod”.•哀悼基督ThePietà(1498–1499)•ThethemeisofNorthernorigin,popularbythattimeinFrancebutnotyetinItaly.Michelangelo‘sinterpretationofthePietàisunprecedentedinItaliansculpture.ItisanimportantworkasitbalancestheRenaissanceidealsofclassicalbeautywithnaturalism.(古典美与自然主义的调和)•作者突破了以往苍白衰老的模式，圣母被刻画成为一个容貌端庄美丽的少女，却没有影响到表现她对基督之死的悲痛，她的美是直观的，但她的悲哀却是深沉的。她所体现出的青春、永恒和不朽的美，正是人类对美追求的最高理想。•大卫David(1501-1504)•ThoughLeonardoDaVinciandotherswereconsulted,itwasMichelangelo,only26yearsold,whoprovedhedeservedthecommission.•Becauseofthenatureoftheheroitrepresented,thestatuesooncametosymbolizethedefenseofcivillibertiesembodiedintheRepublicofFlorence.TheeyesofDavid,withawarningglare,wereturnedtowardsRome.•米开朗基罗生活在意大利社会动荡的年代，颠沛流离的生活使他对所生活的时代产生了怀疑。痛苦失望之余，他在艺术创作中倾注着自己的思想，同时也在寻找着自己的理想，并创造了一系列如巨人般体格雄伟、坚强勇猛的英雄形象。《大卫》就是这种思想最杰出的代表。•创世纪（西斯廷礼拜堂天顶画）TheSistineChapelceiling(1508-1512)•CentraltotheceilingdecorationareninescenesfromtheBookofGenesisofwhichTheCreationofAdamisthebestknown,havinganiconicstandingequalledonlybyLeonardodaVinci'sMonaLisa•ThehandsofGodandAdambeingreproducedincountlessimitations.Thecomplexdesignincludesseveralsetsofindividualfigures,bothclothedandnude,whichallowedMichelangelotofullydemonstratehisskillincreatingahugevarietyofposesforthehumanfigure,andhaveprovidedanenormouslyinfluentialpatternbookofmodelsforotherartistseversince.•TheCreationofAdamisthemostfamiliaroftheceilingimages.•ThefirstmanAdam,recliningonarock.Heiswell-formedbutlistless(无精打采),thespiritoflife—thesoul—hasnotyetbeenbreathedintohim.•Atright,GodsweepstowardAdam.God’sleftarmembracesawomanthoughttorepresentEve,thefirstwoman,whoatthispointinthestoryisstillanideainGod’smind.•Hisleftforefingerpointstoachild,probablymeanttobetheChristchild,whowillcomemuchlatertoredeem(救赎)theworld.•Thefocalpointofthisimageisthetwohands,stretchingtowardeachother.Inasplitsecondtheywillmeet,andthelonghistoryofhumankindwillbegin.•Michelangelo’sgeniusisnowhereclearer.Hedoesnotshowustheending.Heshowsus,rather,thethrillingpotential.(扣人心弦的潜在性)我的胡子向着天，我的头颅弯向着肩，胸部像头枭。画笔上滴下的颜色，在我脸上形成富丽的图案。腰缩向腹部的位置，臀部变做秤星，维持我全身重量的均衡。我再也看不清楚了，走路也徒然摸索几步。我的皮肉，在前身拉长了，在后背缩短了，仿佛是一张叙利亚的弓。Mybeardturnsuptoheaven;mynapefallsin,Fixedonmyspine:mybreast-bonevisiblyGrowslikeaharp:arichembroideryBedewsmyfacefrombrush-dropsthickandthin.Myloinsintomypaunchlikeleversgrind:Mybuttocklikeacrupperbearsmyweight;Myfeetunguidedwandertoandfro;Infrontmyskingrowslooseandlongbehind,Bybendingitbecomesmoretautandstrait;CrosswiseIstrainmelikeaSyrianbow•被缚的奴隶、垂死的奴隶Slaves1513•在中世纪意大利,统治阶级在墓前立奴隶像是象征死者的权威。显然,用奴隶雕像装饰陵墓，是沿用古罗马时代纪念碑装饰的惯例，米开朗基罗在教皇墓前造奴隶雕像，在于通过两尊奴隶雕像，传达被束缚、被奴役的灵魂，希望求得解脱