标题: 卡拉瓦乔 (Michelangelo Merisi detto il Caravaggio) 的 《 埋葬基督 》 [打印本页] 作者: ngsunyu 时间: 2010-10-5 18:16 标题: 卡拉瓦乔 (Michelangelo Merisi detto il Caravaggio) 的 《 埋葬基督 》 本帖最后由 ngsunyu 于 2010-10-5 18:31 编辑
米开朗基罗·梅里西·达·卡拉瓦乔 (Michelangelo Merisi detto il Caravaggio, 1571年9月29日—1610年7月18日) 对巴洛克画派的形成有重要影响。
在1599年,卡拉瓦乔取得装饰 圣路易吉·迪·弗朗西斯教堂 (Chiesa di San Luigi dei Francesi) 的肯塔瑞里礼拜堂 (Cappella Contarelli) 的合同。 这一委托包括两件作品,《圣马太殉难》和《圣马太蒙召》(La vocazione di san Matteo), 1600年完成后立刻引起轰动。 卡拉瓦乔增强的明暗对照法使得主题极富戏剧性, 同时精确观察带来的写实把情感的强度提高到了一个新的水平。现在人们把这种明暗对着法的增强形式称作暗色调主义, 其兴起归功于卡拉瓦乔。
(http://zh.wikipedia.org/zh/卡拉瓦乔)作者: ngsunyu 时间: 2010-10-5 18:16 本帖最后由 ngsunyu 于 2010-10-5 18:40 编辑
由於垂落在墓地長條石上的布單的柔軟的褶皺, 顯得十分突出, 順著從右上往下的弧線, 似乎要伸出畫面之外。 從右邊高處向左邊低處下降的對角線和向下的節奏被基督呈弧形的身體打斷, 使我們從上而下的注意力和悲哀完全集中在上帝之子為救贖人類罪過而亡的痛 苦但無怨無尤的臉上。(http://vr.theatre.ntu.edu.tw/fin ... o/caravaggio-08.htm)作者: ngsunyu 时间: 2010-10-6 11:05
The Entombment of Christ (La Deposizione, 1602–1603) is a painting by Michelangelo Merisi da Caravaggio. It was painted for Santa Maria in Vallicella, a church built for the Oratory of Saint Philip Neri, and adjacent to the buildings of the order. A copy of the painting is now in the chapel. The painting was originally commissioned by Alessandro Vittrice in 1601, and completed by two years later. Now it is among the treasures of the Vatican Pinacoteca.
While there is much in this representation that was revolutionary for Caravaggio's time, it is not clear that the highly naturalistic reconstruction of a gospel event in this painting would have been antithetical to the vividly faithful Oratorians, who sought to relive experiences through prayer. Even near contemporary critics of Caravaggio and his style, such as Baglione and Bellori, admired this painting.
This counter-reformation painting – with a diagonal cascade of mourners and cadaver-bearers descending to the limp, dead Christ and the bare stone – is not a moment of transfiguration, but of mourning. As the viewer's eye descends from the gloom there is, too, a descent from the hysteria of Mary of Cleophas through subdued emotion to death as the final emotional silencing. Unlike the gored post-crucifixion Jesus in morbid Spanish displays, Italian Christs die generally bloodlessly, and slump in a geometrically challenging display. As if emphasizing the dead Christ's inability to feel pain, a hand enters the wound at his side. His body is one of a muscled, veined, thick-limbed laborer rather than the usual, bony-thin depiction.
While faces are important in painting generally, in Caravaggio it is important always to note where the arms are pointing. Skyward in The Conversion of Saint Paul on the Road to Damascus, towards Levi in The Calling of Saint Matthew. Here, the dead God's fallen arm and immaculate shroud touch stone; the grieving Mary Magdalene gesticulates to Heaven. In some ways, that was the message of Christ: God come to earth, and mankind reconciled with the heavens. As usual, even with his works of highest devotion, Caravaggio never fails to ground himself. Tradition held that the Virgin Mary be depicted as eternally young, but here Caravaggio paints the Virgin as an old woman. The figure of the Virgin Mary is also partially obscured; we see her in the blue robe and her arms are held out to her side, imitating the line of the stone they stand upon. Her right hand hovers above his head as if she is reaching out to touch him. (http://en.wikipedia.org/wiki/The ... ion_from_the_Cross_(Caravaggio)