Wins the palm 哪一位是你認爲最優秀的"文藝復興時期"藝術家？為什麼？

哪一位是你認爲最優秀的"文藝復興時期"藝術家？為什麼？

 

文藝復興盛期的傑出三巨頭達文西、米開朗基羅、拉斐爾，以及被譽為「小星星中的太陽」的威尼斯文藝復興畫家提香，不用說，每個人都有自己獨特的優勢和對未來的貢獻幾代。 在歷史學家瓦薩裡看來，「拉斐爾是「所有人中最優雅的」（sprezzatura這個詞，意思是「毫不費力的優雅」），並且最善於吸收「古代和現代大師的努力」和他的作品。「色彩戰勝了自然本身。」此外，他認為達文西「真正讓他的人物移動和呼吸（憑藉他們的有機敏感性）」。最後，他似乎暗示“米開朗基羅贏得了最傑出的讚譽，因為他憑藉在雕塑、繪畫和建築（更不用說詩歌）方面的普遍能力“超越並超越了所有人“。本文將嘗試重點觀察和分析米開朗基羅的知識、人文和技能，以支持他如何地實現了約1480年至約1520年文藝復興盛期的目標,成為最優秀的一位藝術家。

 

米開朗基羅是他那個時代（以及許多世紀以來）受過最好教育的藝術家，他曾在美第奇家族學習，並與菲西諾、皮科、波利齊亞諾和宮廷中其他博學的人經常接觸。 他精通拉丁語和希臘語，最終，他成為義大利最優秀的詩人之一，甚至可能與彼特拉克和但丁並駕齊驅。”他是一位新柏拉圖主義思想家，試圖「在他的藝術和設計中超越自然，這說明了他對超越凡人、短暫的人類經驗的興趣，因為它渴望探尋其神聖的泉源；” 這是新柏拉圖主義的核心。”不難發現，他的大部分造像傑作，在技術和美學層面上都力求精益求精、盡善盡美。尤其是他的後期作品，《垂死的奴隸》，1513-1516年和《叛逆的奴隸》，1513年和《勝利》，1527年，被認為與“figura serpentinata”（超越單純的對立，在扭曲的身體中創造動態扭轉）相關，象徵著靈魂的鬥爭反對物質的束縛（靈魂告知物質，但對於新柏拉圖主義者來說，最終物質可能是邪惡的根源）以回歸“一”。 根據菲西諾的說法，靈魂與身體不斷發生衝突。

除了新柏拉圖主義的影響之外，我認為米開朗基羅的藝術成就比其他人稍顯突出，教皇特別是尤利烏斯二世的贊助起著關鍵作用。 他的宏偉野心包括內部教會改革、奪回羅馬以外的教皇領土以及對羅馬貴族的政治控制。 他取名為尤利烏斯，以表示他對凱撒的認同，這也符合他復興古代的人文主義興趣。 」教皇和米開朗基羅的野心，他們是著名的 terribilità 人物，“將火熱、強大的脾氣與高智商和天才結合在一起。”共同創作了西斯汀教堂宏偉的羅馬梵蒂岡天花板壁畫，於 1541 年竣工。這幅大型拱形天花板壁畫幾乎是米開朗基羅一人完成的。 在教宗的敦促和權威的關注下，歷時近4年才完成。 米開朗基羅的壁畫計劃不同於基於預言和應驗的傳統類型學，而是代表了上帝對人類救贖計劃的啟示。 」憑藉驚人的想像和創造力以及對美學元素的尊重，例如Psychomachia（對立的決鬥力量之間的戰鬥）、亞里斯多德的宏偉（良性目標）、阿爾伯特的Isotria（歷史繪畫）以及藝術家的作為新柏拉圖主義最深的信仰，米開朗基羅虔誠地描繪了《創世記》中的九個敘事場景，“他以相反的時間順序繪畫，從諾亞的醉酒（以及他如何因裸體而蒙羞）和洪水（或諾亞時代的大洪水）開始，接著是諾亞的犧牲、亞當和夏娃的誘惑（以及他們的驅逐）。 中央面板（一個小面板）是創造夏娃，然後是創造亞當，然後是三個創造場景。

 

據瓦薩裡說，「這些壁畫是在非常不舒服的情況下完成的，因為他必須站在那裡工作，頭向後傾斜，這嚴重損害了他的視力，如果他的頭不傾斜，他就無法再閱讀或觀看圖畫。」向後; 令人難以置信的是，隨著他的進步和改善，米開朗基羅竟然容忍了不感到疲勞，也不擔心不符合人體工學的繪畫方法帶來的所有不適。 儘管由於時間限制，他不得不簡化構圖和表現，但總體而言，大膽而多樣的裸體人物、姿勢以及色彩和圖案的豐富運用，贏得了瓦薩裡的讚譽，「這幅作品確實是它是我們藝術的燈塔，它為繪畫藝術帶來瞭如此大的裨益和啟示，足以照亮一個數百年來一直處於黑暗狀態的世界。 而且，說實話，任何一個畫家都不再需要關心米開朗基羅的創新和發明、繪畫姿勢的新方法、人物的服裝以及各種令人驚嘆的細節」。

 

總之，米開朗基羅嚴謹熱情的態度和傑出的藝術成就，留下了大量不朽的雕塑、繪畫和建築作品，成為後世優秀藝術家的典範。 尤其是非凡的西斯汀天花板壁畫，“米開朗基羅在極其困難的天花板工程上創造了令人驚嘆的新傑作，以其想像力、奇觀和戲劇性的廣度奪走了羅馬的集體氣息。” （Mod12，第13 頁）如果說哲學家普羅提諾的一生是「擺脫物質束縛並實現合一願景」（黛博拉·維斯博士）的最佳嘗試，那麼米開朗基羅就是「擺脫物質束縛並實現合一願景」的最佳嘗試。一生熱忱地致力於達到藝術創作的極限，以實現「一」的回歸。

 

Wins the palm 

 

The outstanding triumvirate of the High Renaissance, Leonardo da Vinci, Michelangelo and Raphael, and the Venetian Renaissance painter Titian who was recognized as ”The Sun Amidst Small Stars” , needless to say, each one has their own unique strengths and contribution for the future generations. From the historian Vasari’s viewpoints, ”Raphael was "the most graceful of all” (sprezzatura being the word used, which means having an ”effortless grace”) and was the best at assimilating the ”efforts of the ancient and modern masters" and his ”colours triumphed over Nature herself."( Mod 11, page6) Furthermore, he sees Leonardo da Vinci as ”truly made his figures move and breathe (with their organic sensibility).” ( Mod 12, page6) Finally, he appears to insinuate that ”Michelangelo wins the palm because he ”transcends and surpasses them all” due to his universal abilities in sculpture, painting, and architecture (not to mention poetry).” ( Mod 12, page6) This article will try to focus on the observation and analysis of Michelangelo’s intellectual, humanistic and skill set, to support that he best fulfills the goals of the High Renaissance from about c.1480 to c.1520. 

Among of all, ”Michelangelo was the best educated artist of his day (and for many centuries), having studied in the Medici household and having had regular contact with Ficino, Pico, Poliziano, and other learned men of the court. He became literate in Latin and Greek, and eventually, he was one of the finest poets Italy would produce, perhaps even in company with Petrarch and Dante.” (Mod 10, Page5) He was a Neoplatonic thinker, attempted to ” transcend nature in his art and design, which speaks to his interest perceiving beyond mortal, transient, human experience, as it aspires to its divine source; this is central to Neoplatonism.” ( Mod12,Page22) It is not difficult to find that most his master pieces of statues, strive for refinement and perfection on the technical and aesthetic levels. Especially his later works, Dying Slave,1513–1516 and Rebellious Slave, 1513 and Victory,1527, are thought related with ” figura serpentinata (which goes beyond mere contrapposto to create a dynamic torsion in twisting bodies) are that this symbolizes the soul's struggle against the bonds of matter (soul informs matter, but ultimately matter may be the source of evil, to the Neoplatonists) to return to the One. Per Ficino, soul is in constant conflict with the body. ” (Mod12,Page22)

In addition to the influence of Neoplatonism, I believe that Michelangelo's artistic achievements are slightly highlighted than the others, the patronage of Popes, especially Julius II, plays a key role. ” His vast ambitions included internal Church reform, the recapture of papal territory outside Rome, and political control of the nobility in Rome itself. He took the name Julius to show his identification with the Caesars, which also conformed to his humanist interest in the revival of antiquity. ” (LSA, p. 332) The ambition of the Pope and Michelangelo, the well-known characters of terribilità ” that combined a fiery, powerful temper with high intelligence and genius.” (LSA, p. 336), together contribute to the magnificent Roman Vatican’s ceiling frescoes of Sistine Chapel, completed in 1541. 

This large vaulted ceiling fresco was almost completed by Michelangelo alone. It took nearly 4 years to finish it under the Pope’s urging and authoritative attention. ”Michelangelo's program for the frescoes differed from traditional typology based on prophecy and fulfillment, and represented instead the revelation of God's plan for human redemption. ” ( LSA,p.338) With amazing imagination and creativity and the respect to aesthetic elements such as the Psychomachia ( a battle between opposite dueling forces), Aristotle’s Magnificence (a virtuous goal ), Albert’s Isotria(history painting), and the artist’s deepest faith of Neoplatonism, Michelangelo devotionly depicted nine narrative scenes from Genesis, “Painting in reverse chronological order he began with the Drunkenness of Noah (and how he was disgraced by his nudity) and the Deluge (or Great Flood of Noah's time), followed by a Sacrifice of Noah, the Temptation of Adam and Eve (and their Expulsion). The central panel (a small one) is the Creation of Eve, followed by the Creation of Adam, then three Creation scenes. ( Mod12, Page 14) 

According to Vasari, ”these frescos were done with the greatest discomfort, for he had to stand there working with his head tilted backwards, and it damaged his eyesight so much that he could no longer read or look at drawings if his head was not tilted backwards; his condition lasted for several months afterwards”.（Vasari, Page443）It is unbelievable that with the progress and improvement he made, Michelangelo tolerated and neither felt fatigue nor worried about all the discomfort of unergonomic painting method. Although he had to simplify the composition and presentation due to time constraints, on the whole, the bold and various nude figures, the postures and the rich use of colorito and disegno, won the Vasari’s praise, ”This work has been and truly is the beacon of our art, and it has brought such benefit and enlightenment to the art of painting that it was sufficient to illuminate a world which for so many hundreds of years had remained in the state of darkness. And, to tell the truth, anyone who is a painter no longer needs to concern himself about seeing innovations and inventions, new ways of painting poses, clothing on figures, and various awe-inspiring details, for Michelangelo”（Vasari, Page 443）

In short, Michelangelo’s rigorous and enthusiastic attitude and outstanding achievements in art have left a large number of immortal sculptures, paintings and architectural works, which have become a model of an excellent artist for later generations. Especially the extraordinary Sistine ceiling frescoes, ”Michelangelo had created a stunning new masterpiece on an extremely difficult ceiling project that took away the collective breath of Rome for the sheer breadth of its imagination, spectacle, and drama.” ( Mod12, Page 13) If the life of the philosopher of Plotinus, was the best attempt to ”free oneself from the bonds of matter and achieve a vision of the One” (Dr. Deborah Vess), then Michelangelo was the best attempt to passionately devote all his life to reach the limitation of artistic creation to achieve the return of the One. 

 

 

 

Works Cited

David Riffert, GLA 601-OL1: Classical Aesthetics and the Renaissance:

Module 10, 11, 12, 2020

Dr. Deborah Vess, The Influence of Neoplatonism on Michelangelo, The World,    Civilization Virtual Library, 2007

Giorgio Vasari, The Lives of the Artists, (GLA601_v4_Reading_PDF), 2020 

Laurie Schneider Adams, Italian Renaissance Art, 2014 

 

備註

Palm 棕櫚葉在西方被看做勝利的象徵，古羅馬以棕櫚枝獎賞勝利的鬥士


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