用优雅之光照亮艺术——帕米贾尼诺与德累斯顿历代大师画廊里的样式主义绘画  

Illuminate Art with the Light of Grace: Parmigianino and Mannerist Paintings in the Gem?ldegalerie Alte Meister Dresden

作　　者：Andreas Henning 陈芸(译)[2] 许查礼(译) Andreas HENNING;CHEN Yun;XU Chali(Museum Wiesbaden-Hessisches Landesmuseum fiir Kunst und Natur,Wiesbaden 65185;School of Art and Design,Zhejiang Sci-Tech University,Hangzhou 310018;Institut fur Kunstgeschichte und Archaologien Europas,Philosophische Fakultat I,Martin-Luther-Universitat,Halle 06099)

机构地区：[1]德国黑森州威斯巴登博物馆,威斯巴登65185 [2]浙江理工大学艺术与设计学院,杭州310018 [3]德国马丁·路德大学哲学Ⅰ系欧洲艺术史与考古研究所,哈雷06099

出　　处：《文化艺术研究》2021年第6期103-110,116,共9页Studies in Culture and Art

摘　　要：在16世纪20年代的意大利,拉斐尔去世后不久,新一代的艺术家如柯雷乔、帕米贾尼诺、蓬托尔莫等人尝试寻找新的艺术表达方式。他们通过创作主题和表现手法上的变革与创新,试图超越文艺复兴艺术的和谐法则,并使该时期的作品成为样式主义早期的艺术典范。本文以帕米贾尼诺与德累斯顿历代大师画廊的样式主义绘画为线索,分别阐述帕尔马、佛罗伦萨、博洛尼亚、威尼斯和费拉拉的艺术家及其样式主义绘画的历史语境与发展脉络,为艺术史研究提供可借鉴的思路和方法。In the 1520 s’ Italy, shortly after Raphael’s death, a new generation of artists such as Correggio, Parmigianino, Pontormo, and others tried to find new artistic methods. They tried to surpass the canon of art and laws of harmony of the Renaissance and made the works of that period a model of early Mannerism through the transformation of and innovation in artistic themes and expression techniques. This article focuses on Parmigianino and his paintings to iunstrate the development of Mannerism in Parma, Florence, Bologna, Venice, and Ferrara respectively, and explores Mannerist paintings in the Gem?ldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden.

关 键 词：样式主义 优雅 帕米贾尼诺 瓦萨里 绘画 德累斯顿历代大师画廊 

分 类 号：J209[艺术—美术]