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在古希腊漫长而复杂的历史变迁中,对武力的崇尚和对英雄的赞美始终是希腊文化中的一个核心问题。作为半神的英雄是人的世界与神的世界的交会点,而英雄的坟墓则是人实现身份转换的重要场所。坟冢之上耸立的坟墓标识物/陵墓纪念碑是葬礼中物质性的一部分,在仪式结束后仍会留存下来供后人顶礼膜拜,成为永恒精神的象征。尽管古希腊各时期、各地区、各阶层在葬仪和坟墓样式上不尽相同,但献给英雄的丧葬纪念物却拥有相对稳定的发展线索:公元前8世纪坟墓标识物首次出现,经过陶制容器、浮雕墓碑,逐渐发展为华丽的建筑式陵墓,以致一千多年后,当陵墓纪念碑再次成为艺术赞助的焦点时,希腊英雄祠的身影在米开朗基罗为尤利乌斯二世设计的教皇陵上重现。
In the long and complicated history of ancient Greece, the advocacy of force and the praise of heroes are always a core issue in Greek culture. Heroes as demigods are the meeting point of the human world and the divine world, while the hero’s grave is an important place for people to change their status. The grave marker / mausoleum monument rising above the grave mound is a material part of the funeral. It remains as a symbol of the eternal spirit after the ceremonies have been preserved for later generations to worship. Although the ancient Greek various periods, all regions and all walks of life in the funeral and grave styles vary, but dedicated to the heroic funerary memorial has a relatively stable development clue: The 8th century BC grave marker first appeared, after Tao Container, relief tombstone, and gradually developed into a gorgeous architectural mausoleum, so that a thousand years later, when the mausoleum monument once again become the focus of artistic sponsorship, the figure of the Greek hero temple in Michelangelo for Julius II Designed to reproduce the papal mausoleum.