Transcript woman nude book

Michelangelo
strength ,beauty and sorrow
• Throughout the Middle Ages, painters were
considered skilled crafts workers on a level
with goldsmiths, carpenters, and other
tradespeople. By the mid–16th century, in
contrast, Michelangelo could claim that “in
Italy great princes as such are not held in
honor or renown; it is a painter that they call
divine.”
• From anonymous crafts workers to divinely
talented individuals more honored and
renowned than princes—what had happened?
• Renaissance humanists held that humankind
was not worthless in the eyes of God, as the
Church had taught during the Middle Ages.
• Rather, humankind was God’s finest and most
perfect creation. Reason and creativity were
God’s gifts, proof of humankind’s inherent(与
生俱来的) dignity.
• People’s obligation(义务) to God was not to
tremble and submit but, rather, to soar,
striving to realize their full intellectual and
creative potential.（奋发向上，努力实现自
己全部的智力和创造潜能）
• First, Italy had been among the first areas to
recover economically from the chaos of the early
Middle Ages.
• The city-states was wealthy, independent, and
fiercely competitive,they would vie with one
another to engage the finest artists.
• The Church, also an important patron of the arts,
was centered in Italy as well. Humanism arose
first in Italy, and it was in Italy that the first
university position in Greek studies was
established.
• Finally, Italians had long lived amid the ruins of
ancient Rome, and they viewed themselves as
the direct descendants of the earlier civilization.
• The pursuit of beauty made painting,sculpture,
and architecture as intellectual activities allied
with mathematics,science, and poetry. Artists
were no longer crafts workers, but learned
persons whose creative powers were viewed
as almost miraculous(不可思议的).
• The greatest artists were considered a breed
apart(与众不同的人), forming a class of
people respected not because of who they
were but because of what they could do.
• The term “Renaissance man” is applied to
someone who is very well informed about, or
very good at doing, many different, often
quite unrelated things.
• Several of the leading figures of the
Renaissance were artistic jacks-of-alltrades(通才). Michelangelo was a
painter,sculptor, poet, architect. Leonardo was
a painter,inventor, sculptor, architect, engineer,
scientist, musician, and all-round intellectual.
• In our age, those accomplishments seem
impossible,but during the heady years of the
Renaissance nothing was impossible.
• Michelangelo had established his reputation as a
sculptor by the age of 23
• 酒神巴库斯 Bacchus (1496–1497)
• Giorgio Vasari： “both the slenderness of a
young man and the fleshiness and roundness of a
woman”, and its androgynous(雌雄同体) quality
has often been noted.
• “…has an expression of the most revolting
dissoluteness.”(最令人作呕的放荡)
• “in brief... it is not the image of a god”.
• 哀悼基督 The Pietà(1498–1499)
• The theme is of Northern origin, popular by that
time in France but not yet in Italy. Michelangelo‘s
interpretation of the Pietà is unprecedented in
Italian sculpture. It is an important work as it
balances the Renaissance ideals of classical
beauty with naturalism.(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)
• Though Leonardo Da Vinci and others were
consulted, it was Michelangelo, only 26 years old,
who proved he deserved the commission.
• Because of the nature of the hero it represented,
the statue soon came to symbolize the defense of
civil liberties embodied in the Republic of
Florence. The eyes of David, with a warning glare,
were turned towards Rome.
• 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）
The Sistine Chapel ceiling(1508-1512)
• Central to the ceiling decoration are nine scenes
from the Book of Genesis of which The Creation
of Adam is the best known, having an iconic
standing equalled only by Leonardo da Vinci's
Mona Lisa
• The hands of God and Adam being reproduced in
countless imitations. The complex design includes
several sets of individual figures, both clothed
and nude, which allowed Michelangelo to fully
demonstrate his skill in creating a huge variety of
poses for the human figure, and have provided an
enormously influential pattern book of models
for other artists ever since.
• The Creation of Adam is the most familiar of the ceiling
images.
• The first man Adam,reclining on a rock.He is wellformed but listless(无精打采),the spirit of life—the
soul—has not yet been breathed into him.
• At right, God sweeps toward Adam.God’s left arm
embraces a woman thought to represent Eve, the first
woman, who at this point in the story is still an idea in
God’s mind.
• His left forefinger points to a child, probably meant to
be the Christ child, who will come much later to
redeem(救赎) the world.
• The focal point of thi simage is the two hands,
stretching toward each other. In a split second they will
meet, and the long history of humankind will begin.
• Michelangelo’s genius is nowhere clearer. He does not
show us the ending. He shows us, rather, the thrilling
potential.(扣人心弦的潜在性)
My beard turns up to heaven;
我的胡子向着天，
my nape falls in,
我的头颅弯向着肩，
Fixed on my spine:
胸部像头枭。
my breast-bone visibly
Grows like a harp:
画笔上滴下的颜色，
a rich embroidery
在我脸上形成富丽的图案。
Bedews my face from
brush-drops thick and thin.
腰缩向腹部的位置，
My loins into my paunch like levers
臀部变做秤星，
grind:
维持我全身重量的均衡。
My buttock like a crupper bears my
weight;
我再也看不清楚了，
My feet unguided wander to and fro;
走路也徒然摸索几步。
In front my skin grows loose and long
behind,
我的皮肉，在前身拉长了，
By bending it becomes more taut and
在后背缩短了，
strait;
Crosswise I strain me like a Syrian bow 仿佛是一张叙利亚的弓。
• 被缚的奴隶、垂死的奴隶 Slaves 1513
• 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，希望求得解脱内在精神。
• 昼、夜、晨、昏
Day/Night/Dawn/Dusk (1519～1534)
• 乔凡尼斯特罗齐看到这可惊的《夜》时，写了
下列一首诗：“夜，为你所看到妩媚地睡着的
夜，却是由一个天使在这块岩石中雕成的；她
睡着，故她生存着。如你不信，使她醒来罢，
她将与你说话。”
• 米开朗琪罗答道： “睡眠是甜蜜的。成为顽
石更是幸福，只要世上还有罪恶与耻辱的时候。
不见不闻，无知无觉，于我是最大的欢乐：因
此，不要惊醒我，啊！讲得轻些吧！”
• 屈服的翡冷翠来呼应他的呻吟了：“在你
圣洁的思想中不要惶惑。相信把我从你那
里剥夺了的人不会长久享受他的罪恶的，
因为他中心惴惴，不能无惧。些许的欢乐，
对于爱人们是一种丰满的享乐，会把他们
的欲念熄灭，不像苦难会因了希望而使欲
愿增长。”
• 在此，我们应得想一想当罗马被掠与翡冷
翠陷落时的心灵状态：理智的破产与崩溃。
许多人的精神从此便堕入哀苦的深渊中，
一蹶不振。
• In his poem “L‘Idéal“《理想》 from Les
Fleurs du Mal, French Romantic poet Charles
Baudelaire references the statue: 这颗心深似渊谷，
Or you, great Night,
daughter of Michelangelo,
Who calmly contort,
reclining in a strange pose
Your charms molded
by the mouths of Titans!
它需要的是你呀，
罪恶的强魂，
迎风怒放的埃斯库罗斯的梦，
或伟大的《夜》，
米开朗琪罗之女，
你坦然地摆出了奇特的姿势，
那魅力正与泰坦的口味相应。
• 诗人追求美，试图在美的世界中实现自己
的理想，然而美却像一个“石头的梦”，
冰冷、奇幻、神秘、不哭、不笑、不动如
一尊古代的雕像，多少诗人丧生在她的胸
脯上，耗尽毕生的精力而终不得接近 。
• 他却毫无惧色，仍旧锲而不舍，努力在巨
大、强劲、极端、奇特的事物中实现那种
“苍白的玫瑰花”满足不了的“红色的理
想”
• 最后的审判 The Last Judgment (1536-1542)
• It is a depiction of the Second Coming of
Christ and the final and eternal judgment by
God of all humanity. The souls of humans rise
and descend to their fates, as judged by Christ
surrounded by prominent(卓越的) saints
• "it was mostly disgraceful that in so sacred a
place there should have been depicted all
those nude figures, exposing themselves so
shamefully," and that it was no work for a
chapel but rather "for the public"
• It is said that when Cesena complained to the
Pope, the pope joked that his jurisdiction(管
辖权) did not extend to hell, so the portrait
would have to remain.
• 米开朗基罗独自一人顽强地工作了将近 6
年，在 220 平方米的画面上绘出约四百个
人物。在画中央，基督正气凛然，高举右
手，即将发出最后的判决。米开朗基罗还
把一位教皇画到将被判罪去接受地狱煎熬
的一群人中。基督左脚下一个圣徒右手持
刀，左手提着一张人皮，而这张人皮的面
孔正是画家本人的脸，其表情痛苦、愤怒，
表现了米开兰基罗正经历着精神与信仰危
机的折磨和对现实社会的不满，并借《末
日审判》痛快淋漓地发泄了对人间丑恶的
鞭挞。
• 《末日审判》引起的轰动可想而知。然而，
巨作中的裸体人物却引起争议，一些人认
为猥亵了神灵。在米开朗基罗去世不久，
新教皇庇护四世就下令给所有裸体人物画
上遮羞布或衣饰。后来，人们将受命的画
家们谑称为“内裤制造商”。
作为诗人的米开朗琪罗
• 蒙塔莱：米开朗琪罗把无法表达的思想与
岩石般粗粝朴实的技巧结合起来，他的诗
是那种不需要记忆就能被记住的诗，是米
开朗琪罗式的庄严与崇高的最佳典范。
• 华兹华斯，朗费罗，爱默生，里尔克
• 托马索·卡瓦利里，维多利亚
心是硫磺
肉是火种
骨头是引火物
这一切之上是灵魂
漫无方向，毫无控制
渴望每一个冲动
每一件美好的事物
那是他的过失
他宣告了：火是我的劫数