摘要
将达·芬奇名画《哺乳圣母》(1490)和安布罗吉奥·洛伦泽蒂《圣桑的圣母像》(1330)加以认真对比,就会发现前者应是后者的模仿之作。同时,由于达·芬奇高超、纯熟的人体描绘技巧,他的这幅画实际上成了继承、创新的一个优秀典范。不论是在基督教题材的艺术中还是佛教艺术中,模仿都是其发展过程中极为重要的驱动力。模仿在宗教艺术发展中的普遍存在,不仅由于宗教艺术本身的创作动机、创作目的均不排斥模仿,也因为那个时代的美术理论对临摹和模仿均持宽容甚至鼓励的态度。对于敦煌佛教艺术来说,大量的模仿既有利于佛教弘扬,也有利于佛教艺术的保存,还为佛教艺术的进一步创新创造了条件。这些道理,对于我们理解《哺乳圣母》对《圣桑的圣母像》的模仿也同样适用。
A careful comparison between Da Vinci＇s Mary Breastfeeding Jesus（ 1490 ） and Ambrosio Lorenzete＇s ＂ Madonna of Saint-Sang＂ （ 1330 ） reveals the former to be an imitation of the latter. Due to Leonardo da Vinci＇s superb skills in paint- ing the human body, his Mary Breastfeeding Jesus has actually become a prototype in inheritance and innovation. In both Christian and Buddhist art, imitation is an extremely important driving force in their development. The ubiquitous presence of imitation in the development of religious art is explained not only by the fact that the origins and goals of religious art do not preclude imitation but also that the art theories of that epoch were tolerant and even encouraging of imitation. For Dunhuang Buddhist art, imitations are conducive not only to the promotion of Buddhism, but also to the preservation of Buddhist art and the creation of conditions for the further innovation of Buddhist art. These reasons also apply in understand- ing why ＂ Mary Breastfeeding Jesus＂ is an imitation of ＂Madonna of Saint-Sang＂.
作者
胡同庆
HU Tong-qing(Editorial Board of Dunhuang Research, Dunhuang Research Institute, Lanzhou 730030, Chin)
出处
《美育学刊》
2017年第5期97-104,共8页
Journal of Aesthetic Education
