维纳斯的“忧郁”--论波提切利神话主题绘画中的新柏拉图主义意蕴  

Venus'Melancholy--On the Neoplatonic Implications in Botticelli's Mythological Theme Paintings

作　　者：王迪[1,2] Wang Di

机构地区：[1]武汉理工大学 [2]河南师范大学美术学院

出　　处：《美术观察》2024年第10期91-93,共3页Art Observation

摘　　要：15世纪60年代,在佛罗伦萨的“柏拉图学园”里逐渐兴起一种后来被命名为“新柏拉图主义”的哲学思想。画家波提切利曾与学园里的这群人文主义者们有过一段密切的交往,并在其15世纪80年代的神话题材画作中显示出受到新柏拉图主义的影响,尤其反映在他对女神维纳斯形象的表现上。他创作的维纳斯形象与其早期的圣母形象有着高度相似的“忧郁”神情。维纳斯的“忧郁”实际上是一种沉思神情,配合着优美的线条造型,呈现出一个和谐而优美的女神形象。在表达自己对美的形式的理解之外,波提切利也在努力刻画新柏拉图主义所说的那种能够引导人从感性到知性、从对可见之美的“俗爱”上升到对普遍之美的“圣爱”的美的化身。In the 1560s,a philosophical idea later named"Neo-Platonism"gradually emerged in the"Platonic Academy"in Florence.The painter Boticelli once had a close relationship with this group of humanists in the school,and his mythological paintings in the 1580s showed that he was influenced by Neoplatonism,especially in his performance of the image of the goddess Venus.The image of Venus he created has a highly similar"melancholy"look to that of the early image of the Virgin Mary.Venus's"melancholy"is actually a kind of contemplative look,with a beautiful line shape,presenting a harmonious and beautiful goddess image.In addition to expressing his understanding of the form of beauty,Botticelli is also trying to portray the embodiment of the beauty described by Neoplatonism that can guide people from sensibility to intelligence,from the"vagal love"of visible beauty to the"saint love"of universal beauty.

关 键 词：波提切利 神话题材绘画 新柏拉图主义 维纳斯 

分 类 号：J205[艺术—美术]