标题: 梵諦岡宮簽字大廳(Stanza della Segnatura)拉斐爾(Raffaello Sanzio)壁畫 [打印本页] 作者: ngsunyu 时间: 2010-1-23 14:10 标题: 梵諦岡宮簽字大廳(Stanza della Segnatura)拉斐爾(Raffaello Sanzio)壁畫 The Room of the Segnatura contains Raphael's most famous frescoes. Besides being the first work executed by the great artist in the Vatican they mark the beginning of the high Renaissance. The room takes its name from the highest court of the Holy See, the "Segnatura Gratiae et Iustitiae", which was presided over by the pontiff and used to meet in this room around the middle of the 16th century. Originally the room was used by Julius II (pontiff from 1503 to 1513) as a library and private office. The iconographic programme of the frescoes, which were painted between 1508 and 1511, is related to this function. It was certainly established by a theologian and meant to represent the three greatest categories of the human spirit: Truth, Good and Beauty. Supernatural Truth is illustrated in the Disputation of the Most Holy Sacrament (theology), while rational Truth is illustrated in the School of Athens (philosophy). (http://mv.vatican.va/3_EN/pages/SDR/SDR_03_SalaSegn.html)作者: ngsunyu 时间: 2010-1-23 14:21
拉斐爾 Disputa del Sacramento 壁畫
On the wall opposite the School of Athens, corresponding to Theology, is the fresco of the so-called Disputation of the Most Holy Sacrament, the title of which should more rightly be that of the Triumph of Religion. At the sides of the Most Holy Trinity (with God the Father, Christ between the Virgin and St John the Baptist, and the Holy Spirit in the centre) is the Triumphant Church, with patriarchs and prophets of the Old Testament alternated with apostles and martyrs, seated in a hemicycle on the clouds. The personages are (from left to right for the viewer). St Peter, Adam, St John the Evangelist, David, St Laurence, Judas Maccabees, St Stephen, Moses, St James the elder, Abraham, St Paul. On the ground, at the sides of the altar on which the Most Holy Sacrament dominates, is the Militant Church. On the marble thrones closest to the altar sit four Fathers of the Latin Church: St Gregory the Great (a portrait of Julius II), St Jerome, St Ambrose and St Augustine. Some other figures have the physiognomy of historical personages. We recognize the portrait of Sixtus IV (Julius II's uncle) in the pontiff furthest to the right, of Dante Alighieri behind him and of Beato Angelico in the monk on the extreme left. (http://mv.vatican.va/3_EN/pages/x-Schede/SDRs/SDRs_03_01_019.html)作者: ngsunyu 时间: 2010-1-25 13:58 本帖最后由 ngsunyu 于 2010-3-29 06:37 编辑
《聖禮的辯論》在布局上與《雅典學派》迥然不同。《雅典學派》的結構採用了真正的建築學的配置，高挑的拱門形成了開闊的空間，人物的活動便在這個空間中進行；而在《聖禮的辯論》中，這一「建築」是由一組井然有序的人物來表示的，人物的對稱排列精確而又富於象徵意義，力圖表現作為精神世界象徵的空間性。《聖禮的辯論》的結構中那些平行的同心圓便是天國的象徵。作品既體現了結構、概念的統一，又不忽略細節的描繪。(http://vr.theatre.ntu.edu.tw/fin ... hael/raphael-04.htm)作者: ngsunyu 时间: 2010-1-26 11:05
拉斐爾 La scuola di Atene 《雅典學院》壁畫
The most famous philosophers of ancient times move within an imposing Renaissance architecture which is inspired by Bramante's project for the renewal of the early Christian basilica of St Peter. Some of these are easily recognizable. In the centre Plato points upwards with a finger and holds his book Timeus in his hand, flanked by Aristotle with Ethics; Pythagoras is shown in the foreground intent on explaining the diatesseron. Diogenes is lying on the stairs with a dish, while the pessimist philosopher, Heracleitus, a portrait of Michelangelo, is leaning against a block of marble, writing on a sheet of paper. Michelangelo was in those years executing the paintings in the nearby Sistine Chapel. On the right we see Euclid, who is teaching geometry to his pupils, Zoroaster holding the heavenly sphere and Ptolemy holding the earthly sphere. The personage on the extreme right with the black beret is a self-portrait of Raphael. (http://mv.vatican.va/3_EN/pages/x-Schede/SDRs/SDRs_03_02_020.html)作者: ngsunyu 时间: 2010-1-26 11:20 本帖最后由 ngsunyu 于 2010-3-26 05:09 编辑