身体的发现——伦勃朗、狄安娜与女性裸体画  

Retrieving Body:Rembrandt,Diana and Female Nude Paintings

作　　者：吴忌 Wu Ji(the School of Literature,Capital Normal University)

机构地区：[1]首都师范大学文学院

出　　处：《美术》2023年第9期118-131,共14页Art Magazine

基　　金：文化和旅游部文化艺术研究项目《当代英美艺术理论中的视觉性问题研究》(项目批准号:2022DA001)的阶段性研究成果。

摘　　要：伦勃朗的自然主义风格在古今艺术批评中始终是争论的焦点,尤其是他在裸体画中对女性人体采取的非传统的表现方式。伦勃朗曾以“沐浴的狄安娜”为主题创作单人画和群像画,二者在形式和内容上有不同的侧重点。狄安娜单人画和伦勃朗的其他单个女性裸体画类似,去除主题的限制,突出人体本身的敞开姿态和回视目光,为观者带来了奇异甚至不悦的观看体验。由狄安娜、阿克泰翁、卡利斯托和宁芙等组成的群像画模式以提香作品为代表,而伦勃朗将其中的叙事张力进一步强化为戏剧性冲突,强调多个人物在动作和情感上的互动,为艺术作品、艺术家和观者以身体经验为基础的视觉统合提供了新的可能性。Rembrandt’s naturalistic style,in particular his non-conventional way of depicting nude females,has always attracted the attention of critics.Rembrandt created single-person and group paintings with the theme of“Diana Bathing”,which were different in form and content.Specifically,the sing-person painting of Diana,similar to the artist’s other single female nude paintings,is free from the limitation of theme and highlights natural postures such as opened arms and looking backward,offering a strange and even unpleasant viewing experience.Group painting is a model represented by Titian’s7 works,whereas Rembrandt’s group painting of Diana,Actaeon,Callisto and Nymphs focuses more on dramatic conflicts than narrative and emphasizes the interaction of multiple figures in action and emotion,providing new possibilities for the unification of the artwork,the artist,and the viewer on the basis of physical experience.

关 键 词：伦勃朗 沐浴的狄安娜 裸体画 自然主义 

分 类 号：J205[艺术—美术]