图像的表征——安吉利科《圣母领报图》中的情感表达  

Representation of Images:Expression of Emotions in Angelico’s Annunciation

作　　者：高妍 Gao Yan(Philosophy of Renmin University of China;Digital Humanities Research Center of Renmin University of China;Li Keran Young Academy of Painting)

机构地区：[1]中国人民大学哲学院 [2]中国人民大学数字人文研究中心 [3]李可染画院青年画院

出　　处：《中世纪与文艺复兴研究》2023年第1期70-82,共13页Medieval and Renaissance Studies

摘　　要：对“圣母领报”较为完整的描述出自《新约·路加福音》,此后,艺术家借助图像的力量,将作为经文“叙述者”的“圣母领报”中可读、可想、可看之间的张力表达出来,进而起到更为广泛且直接的流传效果。其中,15世纪意大利文艺复兴时期的修士画家弗拉·安吉利科创作的《圣母领报图》就是众多宗教题材绘画中的杰作。安吉利科的《圣母领报图》作为“象征者”,看似对《圣经》文本做出的可视化处理,但通过分析文本叙述情节向图像转换的细微差别、创作时所处语境下的图像内涵,可以发现图像更深层的表征含义,即除了对“圣母领报”这一场景的描绘以外,《圣母领报图》用可见的图像表现出十分复杂且不可见的“道成肉身”时刻,进而通过图像表现出修士画家安吉利科的崇敬之情。此外,图像作为观看运作的“行为者”,引导着看与被看的交替互动。A more complete description of the“Annunciation”narrative comes from Luke of the New Testament;after that,the artists use images to express the tension between the readable,the thinkable,and the visible in the“Annunciation”as the“narrator”of the scriptures,thus producing a wider and more direct effect on the circulation.Among these,the fifteenth-century Italian Renaissance friar painter Fra Angelico’s Annunciation is a masterpiece among many paintings of religious subjects.Angelico’s Annunciation as a“Symbolist,”appears to be a visualization of the Biblical text,but by analyzing the nuances of the transformation of the narrative into an image and the connotation of the image in the context of its creation,a deeper representational meaning of the image can be discovered:in addition to the scene of the Annunciation,the painter uses visible images with reverence to express through symbols the very complex and invisible moment of the“Incarnation”.Besides,the“actor”that operates through the image leads to the interaction of seeing and being seen.

关 键 词：弗拉·安吉利科 意大利文艺复兴 绘画 《圣母领报图》 图像表征 道成肉身 行为者 

分 类 号：J205[艺术—美术]