论文部分内容阅读
新圣器厅(New Sacristy,1519-1534)既是米开朗基罗最早的建筑设计之一,也是他唯一集建筑设计与雕塑艺术于一体的作品,体现了其对这两种艺术形式之边界的深刻探讨。新圣器厅向来是米开朗基罗研究的焦点,与之相关的学术论文和专著可谓汗牛充栋,但是对米氏整个计划背后的创作理念,学界尚乏深入的剖析。在维尔德、托内和奈高等学者的研究基础上,本文以文艺复兴盛期的“比较论”为大背景,对米氏的新圣器厅进行重新审视和研究,通过对陵墓雕塑与建筑空间之间关系的仔细观察,并结合相关的草图和文献记载,透析米氏对绘画、雕塑、建筑等艺术形式之边界的探索,并试图揭示他跨界的选择背后所蕴含的创作意念。
New Sacristy (1519-1534) is both one of the earliest architectural designs of Michelangelo and his only work that incorporates architectural design and sculpture, embodies its boundaries with these two forms of art Deep discussion. The new Hall of Sacrifice has always been the focus of Michelangelo’s research. The related academic papers and monographs are full of sweat, but there is no deep analysis of the creative ideas behind Mie’s entire plan. On the basis of the studies of Wilde, Taunes and Nephews, this paper re-examines and studies the new Hall of Mirrors, based on the comparative theory of the Renaissance, With careful observation of the relationship between the architectural space and the relevant sketches and documentation, he explores Mie’s exploration of the boundaries of art forms such as painting, sculpture and architecture and attempts to reveal the creative ideas behind his choice of cross-border .