世俗与永恒美第奇时代的陵墓纪念碑

【作者】 沈莹；

【导师】 易英；

【作者基本信息】 中央美术学院 ， 美术学， 2012， 博士

【摘要】 文艺复兴时期的璀璨图景一直吸引着人类的好奇之心和景仰之情,然而,长期以来,人们习惯性地将“人文主义”作为该时期宏大的时代精神与基督教信仰对立起来。实际上,世俗政权的扩张、新大陆的发现、自然科学的发展,以及教会内部滋生的腐败现象对教皇制和宗教信仰的冲击远比书斋中的学术研究来得更加猛烈；相反,人文主义成果却成为教会自我修正、巩固教权、重塑威严形象的工具,教会和高级神职人员同世俗王公贵族一样,成为最伟大的艺术赞助人。无论人文主义有多少张面孔,“复兴”都是她的基本特征,此时,“复兴”的实质是一种基于调和的再创造,在“复兴”表象下掩盖着精神层面上的自我炫耀。奢华的陵墓纪念碑在这样的背景中浮现出来,其委托和生产过程既反映了艺术在社会文化生活中的作用,又反映出艺术世界内部的变化,并最终凝结在天才米开朗基罗的艺术实践中。米开朗基罗成长于15世纪末,继承了“国父”科西莫点亮的智性之光,接受了“豪华者”洛伦佐播撒的自由之种,将强烈的精英意识与艺术实践相结合；强化了艺术生产过程中创作者的主体性,使创作主体最大限度地从赞助关系中解放出来,并最终以独立的人格和自由意志在绘画、雕塑、建筑三门视觉艺术领域树立了不可逾越的丰碑,加速并最终完成了社会结构和文化结构的变化。然而,没有伟大的艺术家这一变革无法实现,没有伟大的赞助人这一变革同样无法实现。美第奇作为先后影响佛罗伦萨、罗马教廷,甚至整个意大利经济政治格局的重要家族,其在文化上的影响力被视为一个时代的标志,而陵墓纪念碑以其固有的纪念性、公共性和艺术性之特征成为那个激荡多变时代最完美的象征。据此,本文尝试以社会文化史的方法将陵墓纪念碑纳入“美第奇时代”广阔的社会文化背景中进行考察。更多还原

【Abstract】 Renaissance, just like a beautiful picture, absorbs the curiosity and the admiration of human being for a long time. Humanism has been seen as the Zeitgeist of this period opposing to Christian faith. In fact, various corruptions rising from Christian Church are more danger than the arising of Secular regimes, the discovery of New World, and the development of physical science, on the contrary, Church makes use of achievements of Humanism to consolidate government, improve self image. Like the king and the rich, Church became one of the most important patrons.Returning to the acient is the fundamental features of Humanism, and in essence is the recreation based on the integration. What behind it is self-display on the spirit level. Emerging from such background, luxurious tomb monuments not only show that art take a importance role in the social-cultural life, but also reflect the changes in the art world, and culminate in the art practice of genius Michelangelo Buonarotti. Michelangelo grow up during the late of fifteen century, received the light of intelligence inspired by Cosimo de’Medici (the elder) and the seed of liberty planted by the Magnificent Lorenzo de’ Medici. He poured the elite consciousness into art practice, enhanced the subject in the art production, liberated the subject from patronage relations, obtained splendid achievements in three visual arts, painting, sculpture, architecture, and at lat accomplished the change of social and cultural structure.There is no great art patron, there is no great artist. The Medici controlled the political and economical events in Florence and Rome, even the whole Italy, and its cultural actions marked an age. Tomb monuments become the symbol of Medici Age because its monumental, public, and artistic characters. Therefore, I shall use the method of social-culture history, study the tomb monuments in the age of Medici in wider historical context.更多还原