The Tomb of Philip the Bold is a funerary monument commissioned by the Duke of Burgundy Philip the Bold (d. 1404) for his burial at Chartreuse de Champmol. The monument was primarily built by Claus Sluter, with contributions by Jean de Marville and Claus de Werve. Jean Malouel, official painter to the duke, is responsible design aspets. Today it is housed in the Musée des Beaux-Arts de Dijon. The tomb was influential; Jean, Duke of Berry commissioned a similar work for his own burial, and it inspired the well known Mourners of Dijon, crafted a generation later.
The monument is made from alabaster, marble, gilt and paint. It shows Philip's sarcophagus effigy in repose with his hands upright and clasped in prayer. An angel with gilded wings holds a cushion for his head. He rests on a black marble slab, with a lion at his feet. Below him are 41 pleurants standing in pairs in Gothic niches, arranged in a mourning procession.
Philip acquired the domain of Champmol, near Dijon, in 1378 to build the Carthusian monastery Chartreuse de Champmol, which he intended to house the tombs of his dynasty. He was buried in its choir on 16 June 1404, with his organs sent to the church of Saint Martin at Halle. In 1792, his body was re-interred at Dijon Cathedral. The following year his tomb was damaged by revolutionaries and looters. It was restored in the first half of the 19th century. (en.wikipedia.org/Tomb of Philip the Bold) 作者: ngsunyu 时间: 2019-11-16 00:01
菲利普三世为勃艮第公爵无畏的约翰之子，生于第戎。他的母亲是巴伐利亚公主玛格丽特。在父亲于1419年与阿马尼亚克派谈判时遇刺后，菲利普三世继承了勃艮第公国。
大胆查理（法語：Charles le Téméraire，荷蘭語：Karel de Stoute，1433年11月10日－1477年1月5日），是瓦卢瓦勃艮第王朝的末代勃艮第公爵，也可译作「莽撞查理」、「勇士夏爾」，以評價他在1477年魯莽戰死的遺憾。大胆查理是勃艮第公爵好人菲利普（腓力三世）与葡萄牙的伊莎贝拉（英语：Isabella of Portugal (1397–1471)）之子，1433年生于勃艮第公国首都第戎。1467年大胆查理的父亲好人菲利普过世后，大胆查理继承勃艮第公爵爵位。
根特祭坛画（Ghent Altarpiece），又名神秘羔羊之爱（Adoration of the Mystic Lamb），是现存最早的带有签名的尼德兰绘画作品，是一种多翼式“开闭形”的祭坛组画，外面9幅。闭合的祭坛内12幅。只有当节日的礼拜盛会，祭坛的两翼伴随着音乐打开时，人们才得以见到内层的12幅杰作。
The altarpiece measures 375 x 260 cm when the shutters are closed. The upper panels contain lunettes showing prophets and Sibyls looking down on the annunciation; the lower tier shows the donors on the far left and right panels flanked by saints. The exterior panels are executed with relative sparseness in comparison to the often fantastical colour and abundance of the interior scenes. Their settings are earthly, pared down and relatively simple. Yet there is the same striking use of illusionism which also characterises the inner panels; this is especially true of the faux stone grisaille statues of the saints. Lighting is used to great effect to create the impression of depth; van Eyck handles the fall of light and casting of shadow to make the viewer feel as if the pictorial space is influenced or lit by light entering from the chapel in which he stands. (en.wikipedia.org/Ghent altarpiece)作者: ngsunyu 时间: 2019-11-23 23:55 本帖最后由 ngsunyu 于 2019-11-24 00:14 编辑
根特祭坛画關閉時的外層畫作中之天使加百列报喜。
Beneath the lunettes are the four panels of the upper register. The two outer panels of the middle register show the Annunciation to Mary, with the Archangel Gabriel on the left and the Virgin Mary on the right. Both are dressed in white robes, and occupy what appear to be the opposite ends of the same room. Gabriel and Mary's panels are separated by two much narrower images showing unoccupied domestic interior scenes. The back wall in the left-hand image has a window opening onto a view of street and city square, while that in the right-hand image has a niche. Some art historians have attempted to associate the street with an actual location in Ghent, but it is generally accepted that it is not modeled on any specific place. The sparseness of these narrow panels seem anomalous in the overall context of the altarpiece; a number of art historians have suggested that they were compromises worked out by Jan as he struggled to accommodate his design within the original framework set out by Hubert.
Gabriel has blond hair and multicoloured wings. His right hand is raised and in his left he holds lilies, traditionally found in paintings of the annunciation as symbols of Mary's virginity. His words to Mary are written alongside him in Latin: AVE GRACIA PLENA D(OMI)N(U)S TECU(M) ("Hail who art full of grace, the Lord is with you"). The horizontal inscription extends out the panel and halfway across the neighbouring image. As in van Eyck's Washington Annunciation of c. 1434–6, the letters of Mary's reply are inscribed in reverse and upside-down; as if for God to read from heaven, or for the holy spirit, as represented by the dove, to read as he hovers directly above her. She answers ECCE ANCILLA D(OMI)NI ("Behold the handmaiden of the Lord"). (en.wikipedia.org/Ghent altarpiece)作者: ngsunyu 时间: 2019-11-24 00:18 本帖最后由 ngsunyu 于 2019-11-24 00:24 编辑
根特祭坛画内层的十二幅杰作。
The altarpiece was opened on feast days, when the richness, colour and complexity of inner view was intended to contrast with the relative austerity of the outer panels. As viewed when open, the panels are organised along two registers (levels), and contain depictions of hundreds of figures. The upper level consists of seven monumental panels, each almost six feet high, and includes a large central image of Christ flanked by frames showing Mary (left) and John the Baptist (right), which contain over twenty inscriptions each referring to the figures in the central Deësis panels.
These panels are flanked by two pairs of images on the folding wings. The two panel closest to the Deësis show singers in heaven; the outermost pair show Adam and Eve, naked save for strategically placed fig leaves. The lower register has a panoramic landscape stretching continuously across five panels. While the individual panels of the upper tier clearly contain separate—albeit paired—pictorial spaces, the lower tier is presented as a unified Mise en scène. Of the 12 panels, eight have paintings on their reverse visible when the altarpiece is closed. (en.wikipedia.org/Ghent altarpiece)作者: ngsunyu 时间: 2019-11-24 00:28 本帖最后由 ngsunyu 于 2019-11-24 00:29 编辑
The three central upper panels show a Deësis of monumental and enthroned figures, each with a halo. They are the Virgin Mary to the left, John the Baptist to the right, and a central figure who may be either God or Christ – a distinction much debated amongst art historians. Theories include that the panel shows Christ in Majesty dressed as in a priest's vestments, God the Father, or the Holy Trinity amalgamated into a single person. The figure looks towards the viewer with his hand raised in blessing, in a panel filled with inscriptions and symbols. There are Greek inscriptions decorated with pearls on the hem of his robe or mantle, which, taken from Revelation, read REX REGUM ET DOMINUS DOMINANTIUM ("King of Kings, and Lord of Lords"). (en.wikipedia.org/Ghent altarpiece)作者: ngsunyu 时间: 2019-11-24 00:32 本帖最后由 ngsunyu 于 2019-11-24 00:33 编辑
Mary reads from a girdle book draped with a green cloth. The book is a usual attribute for Mary, as she is the "seat of wisdom" and this book might be based the figure on Robert Campin's Virgin Annunciate. She wears a crown adorned with flowers and stars, and is dressed as a bride. The inscription on the arched throne above reads: "She is more beautiful than the sun and the army of the stars; compared to the light she is superior. She is truly the reflection of eternal light and a spotless mirror of God". (en.wikipedia.org/Ghent altarpiece)作者: ngsunyu 时间: 2019-11-25 00:04
Like Mary, John the Baptist holds a holy book – an unusual attribute, and one of 18 books in the set of panels. He wears a green mantle over a cilice of camel-hair. He looks towards the Almighty in the center panel, with his hand also raised in blessing, uttering the words most typically associated with him, ECCE AGNUS DEI ("Behold the Lamb of God"). (en.wikipedia.org/Ghent altarpiece)作者: ngsunyu 时间: 2019-11-25 00:12 本帖最后由 ngsunyu 于 2019-11-25 01:06 编辑
The two musical panels are commonly known by variants of the titles Singing Angels and Music-making Angels, and are both 161 cm x 69.3 cm. Each features a choir; on the left angels gather behind a wooden carved music stand positioned on a swivel. The presence of the two groups on either side of the Deësis reflects a by then well-established motif in representations of the heavens opening; that of musical accompaniment provided by celestial beings.
The left hand panel's frame is inscribed with the words MELOS DEO LAUS ("Music in Praise of God").
The left-hand group shows eight fair haired angels wearing crowns and gathered in front of a music stand singing, although none of them looks towards the score on the stand. As in a number of the other panels, here van Eyck used the device of the open mouth to give a sense of life and motion to his figures.
at the start of another invasion by Germany in 1940, a decision was made in Belgium to send the altarpiece to the Vatican to keep it safe. The painting was in France, en route to the Vatican, when Italy declared war as an Axis power alongside Germany. The painting was stored in a museum in Pau, and French, Belgian and German military representatives signed an agreement which required the consent of all three before the masterpiece could be moved. In 1942, Adolf Hitler ordered the painting to be seized from a museum in Pau and brought to Germany to be stored in the Schloss Neuschwanstein castle in Bavaria. The seizure, led by senior museum administrator Ernst Buchner and aided by officials in France, was ostensibly to protect the altarpiece from war. After Allied air raids made the castle too dangerous for the painting, it was stored in the Altaussee salt mines. Belgian and French authorities protested against the seizing of the painting, and the head of the German army's Art Protection Unit was dismissed after he disagreed with the seizure.
The altarpiece was recovered by the Allied group Monuments, Fine Arts, and Archives program after the war and returned to Belgium in a ceremony presided over by Belgian royalty at the Royal Palace of Brussels, where the 17 panels were displayed for the press. French officials were not invited as the Vichy government had allowed the Germans to remove the painting. (en.wikipedia.org/Ghent altarpiece)作者: ngsunyu 时间: 2019-11-25 00:40 本帖最后由 ngsunyu 于 2019-11-25 01:05 编辑
在二战期间《根特祭坛画》是纳粹窃取的最为重要的艺术作品，因为希特勒觊觎《根特祭坛画》, 纳粹将画移到了德国新天鹅堡。德国邮票柏林首日戳刻有被视为上世紀最偉大的指揮大師之一的 威廉·富特文格勒（德語：Wilhelm Furtwängler，1886年1月25日－1954年11月30日）在泰坦尼娅宫（Titania-Palast）舉行音樂會，指揮柏林爱乐乐团（德語：Berliner Philharmoniker，簡稱柏林愛樂）。作者: 张福魁 时间: 2019-11-25 18:40
欣赏，资料很详实，长见识作者: ngsunyu 时间: 2019-11-26 00:06
The two musical panels are commonly known by variants of the titles Singing Angels and Music-making Angels, and are both 161 cm x 69.3 cm. Each features a choir; on the right a group with stringed instruments gather around a pipe organ, played by a seated angel, shown full-length. The presence of the two groups on either side of the Deësis reflects a by then well-established motif in representations of the heavens opening; that of musical accompaniment provided by celestial beings.
The right hand panel's frame is inscribed with the words LAUDATE EUM IN CORDIS ET ORGANO ("Praise him with stringed instruments and organs").
In the right-hand panel, the only angel fully visible is the organist around whom the others gather. Although a larger group is suggested, only another four angel's faces can be seen in the closely cropped huddle. These other angels carry stringed instruments, including a small harp and a type of viol. Their instruments are shown in remarkable detail. The organ at which Saint Cecilia sits is detailed with such precision that in places its metal surfaces show reflections of light. (en.wikipedia.org/Ghent altarpiece)作者: ngsunyu 时间: 2019-11-27 00:43 本帖最后由 ngsunyu 于 2019-11-27 06:02 编辑
Measuring 134.3 x 237.5 cm, the center panel has as its centerpiece an altar on which the Lamb of God is positioned, standing in a verdant meadow, while the foreground shows a fountain. Five distinct groups of figures surround altar and fountain. In the mid-ground two further groups figures are seen gathering; the dove of the Holy Spirit is above. The meadow is framed by trees and bushes; with the spires of Jerusalem visible in the background. Dhanens says the panel shows "a magnificent display of unequaled color, a rich panorama of late medieval art and the contemporary world-view." The iconography, suggested by the groupings of the figures, appears to follow the liturgy of All Saints' Day. (en.wikipedia.org/Ghent altarpiece) 作者: ngsunyu 时间: 2019-11-27 06:05
The lamb stands on an altar, and is surrounded by 14 angels arranged in a circle, some holding symbols of Christ's Passion, and two swing censers. The lamb[B] has a wound on its breast from which blood gushes into a golden chalice, yet it shows no outward expression of pain, a reference to Christ's sacrifice. The angels have multicolored wings and hold instruments of Christ's passion, including the cross and the crown of thorns. The antependium on the upper portion of the front of the altar is inscribed with the words taken from John 1:29; ECCE AGNUS DEI QUI TOLLIT PECCATA MUNDI ("Behold the Lamb of God who takes away the sins of the world"). The lappets bear the phrases IHESUS VIA ("Jesus the Way") and VERITAS VITA ("the Truth, the Life"). (en.wikipedia.org/Ghent altarpiece)作者: ngsunyu 时间: 2019-11-27 09:15 本帖最后由 ngsunyu 于 2019-11-27 23:02 编辑
在我们访问期间根特祭坛画内层上半部在圣巴夫大教堂（荷兰语：Sint Baafskathedraal）內的 Joost Vijd 小堂。根特祭坛画内层下半部副本也在圣巴夫大教堂。
根特祭坛画内层下半部正本在根特美術館（荷蘭語：Museum voor Schone Kunsten）。
要再次经过多年彻底修缮后才会重新回到圣巴夫大教堂中。