告别欧洲中心主义视野——提埃波罗《四大洲》中的装饰与全球化  

A Farewell to the Eurocentric Vision--Ornament and Globalism in Tiepolo's Four Continents

作　　者： 李昂(译) Damian Dombrowski

机构地区：[1]德国维尔茨堡大学哲学学院艺术史系 [2]中国美术学院

出　　处：《美术观察》2025年第3期26-35,共10页Art Observation

摘　　要：在德国维尔茨堡宫的天顶画《四大洲》中,提埃波罗的艺术方法没有建立在透视法的理性之上,预示着他告别了传统的欧洲中心主义视野。基于巴洛克艺术的典型特点,他创造了一件包容世界的艺术作品,并通过三个不同层面实现并可视化了对全球性的渴望。在图像志层面,天地两个世界被清晰地展现出来,延续了描绘四大洲和神话人物的传统方式。在自我指涉层面,宇宙视角和艺术创作紧密结合,这在提埃波罗的自画像和绘画的寓言中体现得淋漓尽致。在设计形式层面,装饰的秩序决定天顶画的构图设计,它将再现和抽象因素调和在一起。In the ceiling frescoes of Four Continents in Würzburg,Tiepolo's artistic solutions are not based on the rationality of perspective,thus bidding farewell to the Eurocentric view handed down by traditions.Based on the typical characteristics of Baroque standard,he instead created a work of art that contains the world,and he achieves and visualises the longed-for globality on three different levels.On the iconography level,both the terrestrial and celestial worlds are presented clearly,referring to the traditions for depicting the four continents and mythological figures.On the level of self-reference,the cosmic vision and the artistic creation are in a close relationship,embodied in Tiepolo's self-portrait and the allegory of painting.The formal design of the fresco is determined by an ornamental order which mediates between representational and abstract elements.

关 键 词：提埃波罗 天顶画 全球性 图像志 自我指涉 装饰 

分 类 号：G63[文化科学—教育学]