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文艺复兴时期艺术家的教育状况的变化是与艺术家在公众心目中地位的转变直接相关的。本文在对时代背景粗略叙述之后,通过对塞尼尼、阿尔伯蒂和列奥纳多三篇文献的重点探讨,通过对文艺复兴初期行会里艺术家的地位、作坊中艺人的培养过程,和从作坊训练中走出来后职业艺术家在学院体制下所受的教育状况进行比较,试图揭示这其中所发生的变化。 阿尔布雷希特·丢勒在1514年创制了一幅铜版画名为《忧郁》,画中一带翼的精灵被指南针、书本、墨水瓶、圆规、魔方、沙漏、尺子、钉子、锯子等杂物包围着,这些已有的技术和科学知识仍然无法解答太多的宇宙奥秘,那精灵陷入了深深的苦恼之中,他仿佛代表了16世纪早期的艺术家或者即丢勒本人。也就在这一作品诞生的时代,社会上已有了一个具有革新性的观念,即认为艺术家应该既有技能又有知识。以往人们只把艺术看作一门手艺,艺术家不过如同为他们的生活锁事服务的鞋匠、杂货商一样,是
Changes in the educational status of Renaissance artists are directly related to the artist’s shift in public opinion. After the rough description of the background of the times, this article focuses on the three documents of Seinini, Alberti and Leonardo, through the analysis of the artist status in the guild in the early Renaissance, A comparison of the educational status of professional artists as they emerged from the workshop training in trying to reveal the changes that took place within the college system. In 1514, Albrecht Durer created a copperplate print called Melancholy, with a winged elf surrounded by sundries, books, ink bottles, compasses, magic squares, hourglasses, rulers, nails, saws, etc. With these existing technical and scientific knowledge still unable to answer too many mysteries of the universe, the elf was deeply distressed as if he represented the artist of the early 16th century or Dürer himself. Also in the era of the birth of this work, there was an innovative concept in society that artists should have both skills and knowledge. In the past, people regarded art as a craft, but artists like Shoemakers and Grocers who serve their life lock.