摘要
马奈的《奥林匹亚》所参考的图像材料中,《乌尔比诺的维纳斯》可能并非最重要的,提香的《达娜厄》与它之间的图式关系更值得关注。在达娜厄的故事中,金雨是宙斯的化身,代表了情欲力量,正逐渐聚集在女仆的布袋中。奥林匹亚的鲜花已经被送到床边,落在女仆的手中。这两个"袋子"之间的联系是颇有意味的。《奥林匹亚》消除线性透视和色调纵深,消除近大远小,消除来自上方的光线,这样做就是消除权力化的阿尔贝蒂式"窗口"比喻。该画所经营的空间不再向内部延伸,而是向四周拓展,绘画成为现场。观众置身于新的空间之中,其私密的欲望身体被"公示"在大众面前。
Among the image materials referred to in Manet's Olympia,Venus of Urbino may not be the most important one.And the schematic relationship between it and Titian's Danae is worthier of attention.In Danae's story,golden rain is the incarnation of Zeus,which represents the power of lust,is gradually gathering in the housemaid's bag.Olympia s flowers have been delivered to the bedside and fell into the hands of the housemaid.The connection between these two"bags"is quite interesting.Olympia eliminates linear perspective and tonal depth,eliminates foreshortening,and eliminates light from above.This is to eliminate the power of Alberti's"window"metaphor.The painting becomes the scene whose space no longer extends to the inside,but expands to the surroundings.The audience is in a new space,and their private body with desire is"publicized"in front of the public.
出处
《艺术探索》
CSSCI
2021年第2期18-30,共13页
Arts Exploration
