曼坦尼亚《博士来拜》(1495~1505年)青花瓷杯图像问题研究  

Case Study of the Image of the Blue and White Porcelain Cup in Andrea Mantegna’s Adoration of the Magi(1495~1505)

作　　者：李璠 Li Fan(不详)

机构地区：[1]中央美术学院人文学院

出　　处：《艺术设计研究》2021年第1期93-103,共11页Art & Design Research

基　　金：国家社科基金艺术学项目“德语世界中国艺术的收藏、展览与研究(1860~1949)”(项目编号:19BF090)的阶段性成果。

摘　　要：本文从对曼坦尼亚在1495~1505年绘制的《博士来拜》中青花瓷杯图像与永乐青花压手杯实物之间的种种疑窦展开。通过追踪明初青花瓷制作与外销情境、伊斯兰世界和地中海世界对青花器物的转译以及文艺复兴艺术思潮,对图像产生的可能性来源以及其与器物之间的互动关系进行了深入的探究。本研究指出,这一图像很可能并非对明永乐青花压手杯实物的描绘,而是在借鉴了欧亚大陆上众多青花模本的基础上,曼坦尼亚在主观上编造的一个东亚文明的象征之物。同时,亦有曼坦尼亚在装饰艺术方面的积淀、对古物研究特别的兴趣爱好、文艺复兴艺术争论及基督教图像传统等因素的综合参与。This paper starts with various doubts between the blue-and-white porcelain cup image painted by Mantegna from 1495 to 1505 and the actual object of the Yongle Yashou cup.By tracing the production and export situation of blue-and-white porcelain in the early Ming Dynasty,the translation in the Islamic world and the Mediterranean world,and the Renaissance artistic trend,the source of image generation and the interactive relationship with objects have been deeply explored.This study points out that this image is probably not a physical depiction of the Ming Yongle YaShou cup,but a symbol of East Asian civilization made up by Mantegna,which is based on many blue and white models on the Eurasian continent.And there was also a comprehensive participation of Mantegna's accumulation in decorative arts,special interest in antiquities research,Renaissance art disputes,and Christian image traditions.

关 键 词：青花 曼坦尼亚 博士来拜 跨文化 

分 类 号：J18[艺术—艺术理论]