重识分离派展览馆和《贝多芬横饰带》的壁画语义  

Reinterpreting the Semantics of the Vienna Secession Building and the Beethoven Frieze Mural

作　　者：唐诚 Tang Cheng

机构地区：[1]中央美术学院

出　　处：《美术观察》2024年第11期114-117,共4页Art Observation

摘　　要：奥布里希为分离派展览馆设计的建筑与克里姆特为该建筑创作的壁画,在理念、空间和语义上有千丝万缕的联系。《贝多芬横式带》壁画游离了八十多年后又回到该馆,安置于独立的空间展陈,其前世今生,唯有建筑与壁画形同神似,却不曾有人论及。本文作者以壁画创作者的视角,查阅国内外各种版本的画册和文献,从网络上观览壁画相关的图像和视频,对克里姆特利用“U”形三面墙中两个内转角,以及由内转角和空白转换产生出壁画的语义与贝多芬音乐中的变奏进行分析。其中还有诸多曾被忽视并未展开的研究,现场解读分离派展览馆以及壁画的语义,对研究重识两者间的艺术精神具有重要意义。The architecture of the Vienna Secession Building designed by Olbrich and the murals created by Klimt for the building are intricately connected in terms of concept,space,and semantics.The Beethoven Frieze mural,after being away for over 80 years,has returned to the building and is now displayed in an independent space.Its past and present resonate with the building,yet this connection has seldom been discussed.From the perspective of the mural's creator,the author has reviewed numerous domestic and international publications and documents,and explored related images and videos online.Through a unique analysis of Klimt's use of the two inner corners of the"U"-shaped three walls,the semantics of the mural and the variations in Beethoven's music emerge from the interplay of inner corners and blank spaces.There are many aspects yet to be explored that have been overlooked.An on-site interpretation of the semantics of the Secession Building and the mural is crucial for a deeper understanding of the artistic spirit shared between them.

关 键 词：重识 展览馆 壁画 空白墙 内转角 

分 类 号：J218.6[艺术—美术]