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沃尔特·佩特在发表关于文艺复兴代表人物研究论文中的“莱奥纳多·达芬奇”篇时,对《蒙娜丽萨》(原文以“乔康达”命名)有一段精彩绝伦的描述。让无数世人倾倒的蒙娜丽萨的微笑,几乎已经成为了无法用笔墨形容的无与伦比的巨大魔力的存在,但更有趣的是他认为“在引发联想方面,只有丢勒的《苦闷》可与之比肩,而且没有粗糙的象征主义来搅乱其柔和、雅致的神秘意味所显示出的效果。”无论是温柔、哀伤、讥嘲的转瞬即逝的微笑,还是忧郁、沉思或困惑的状态,都是过分熟悉到难以再产生新鲜感的世界名画,但反复研磨醉心于此却依然每有新得,其中奥妙只可意会,或许是所有伟大作品之间的共同点。当然,《忧郁Ⅰ》的魅力还不限于此,如果以这幅版画为坐标,整个忧郁的图像历史几乎可以
When Walter Petter published Leonardo da Vinci in his research paper on the Renaissance representative, there was a wonderful moment for Mona Lisa Exquisite description. Mona Lisa’s smile, which has drowned countless lives, has almost become the immense magical power that can not be described in words, but what is even more interesting is that in his opinion, “only Dürer’s” depression “can lead to the association With no rough symbolism to disrupt its subtle, elegant mystical meaning. ”Whether it is gentle, sad, ridiculous fleeting smiles, melancholy, contemplative or perplexed, Are all too familiar with the world famous paintings that are hard to produce freshness again. However, it is still possible to grind each repetition of the new world with the grind, but the mystery can only be met and may be the common ground among all the great works. Of course, the charm of “Melancholy I” is not limited to this. If this print is taken as a coordinate, the entire melancholic image history can be almost