趣味的力量

【作者】 高萌萌；

【导师】 易英；

【作者基本信息】 中央美术学院 ， 美术学， 2014， 博士

【摘要】 本文关注十六世纪从弗朗索瓦一世到亨利四世期间(1515-1598)法国文艺复兴艺术中的宫廷风格的形成与流行的过程,试图说明所谓的“枫丹白露派”的活动与法国宫廷风格形成之间的共生关系,探讨作为法国文艺复兴典型风格的宫廷风格作为中世纪艺术与巴洛克、洛可可艺术过渡期的构成、特征与形式,以此为切入点,让我们得以更深入和全面的理解法国文艺复兴以及17、18世纪的艺术之间的关联性。枫丹白露宫的整体建设见证了瓦卢瓦王朝到波旁王朝的朝代更替,在此期间,法国君主凭借王权,利用文化不断提升其在欧洲的权势和名望,王权思想、人文主义与宗教改革共同演化了法国文艺复兴时期的思想发展。在法国的文艺复兴时期,外来文化与本土民族文化交融发展,持续几十年的一种不断调整与增殖的趣味,在个体与集团之间不断转译碰撞。艺术与文化实践的参与者,包括国王、贵族、艺术家和工匠,都在有意识地贯彻逐渐取得共识并且形成特定的艺术风格与样式,渗透于生活环境、礼仪、习惯和日常用品等诸多方面。意大利样式主义、法国本土的宫廷趣味以及北方风格的因素共同铸造了当时以枫丹白露为中心的宫廷艺术风格。“枫丹白露派”与法国的宫廷艺术二者之间是交互影响,互为基础的关系。返回到艺术创作之初的历史情境之中,探讨艺术与趣味的相互支撑与重构。来自于时代召唤的王权趣味支撑起一种模糊的艺术风格,这种艺术风格的演变又成为一种日常习惯与教育,从而总括出一个时间段落的主流趣味。本文在第一部分考察了法国文艺复兴时期集中于弗朗索瓦一世前后的思想文化流变,后分别以枫丹白露宫的建设、法国宫廷风格的确立(以肖像画的流变为例)、法国宫廷趣味的拓展和流散(以日常用品、装饰和版画为例)三个部分来阐述法国宫廷风格的形成与“枫丹白露派”活动之间的关联性,立足于艺术本体发展进行分析和论述,探讨趣味流变背后政治力量、文化力量与艺术力量之间的角逐所显现出来的风格问题。参考图像同时代的经济、政治、文化、等级等社会因素,以期最大程度的接近逝去的时代与时代精神。更多还原

【Abstract】 This article focuses on the sixteenth century (1515-1598) in France, from Francois I to Henry IV ruled period, during which the French palace art style formed and get popular, trying to explain the symbiotic relationship between the palace style and the so-called "Fontainebleau School" activities in France. As the typical French Renaissance-style, palace style period is the transition period between medieval art and Baroque and Rococo art, to understand its constructions、formations and features is the key point for us to understand the relevance of the French Renaissance and the seventeenth and eighteenth-century art.Italian Mannerism, French local royal taste, as well as northern-styles, they formed the Fontainebleau style together."Fontainebleau School" and French palace style interacted each other, and based on each other. Returning to the historical context of those arts, I am trying to explore the mutual support and reconstruction of arts and tastes. Royal summons from the era supported a vague artistic style, and the evolution of art styles had become a daily habit and education so as to form the mainstream taste.In the first part of this dissertation, I examined the ideological and cultural rheological during French Renaissance (Francois I) period; and then focus on the construction of the Fontainebleau Palace, the French royal style establishment (portrait rheological for example) and French royal style popularization(daily necessities, decorations and print for example) in the next3parts to explain the relevance between the French royal style formation and "Fontainebleau School" activities. Based on the analysis and discussion on the development of art, I am trying to explore the political forces, art and cultural forces behind the taste rheological, which appeared as the style of arts. Reference to the economic, political, and cultural factors at that time, I hope to close to spirit of the times to the greatest extent.更多还原