摘要
作为文艺复兴艺术集大成者的米开朗基罗,在将西方艺术引领到前所未有的高峰的同时,也留下了大量的未竟之作。不仅米氏传世的未竟之作总量超过其成品,他耗时最久、费心最深的尤利乌斯二世陵和美第奇礼拜堂均是以简化的未完成式告终的。为了解释这一看似矛盾的悖论,应认识到米开朗基罗的未竟之作,其实是另类的自洽的杰作。米开朗基罗的未竟杰作,迫使我们修正以往那种过于简单化的文艺复兴艺术史观,从未完成的视角重新评估盛期文艺复兴艺术的复杂性。
Michelangelo,a master of Renaissance art in Italy,made extraordinary achievements in sculpture,painting and architecture and exerted an unparalleled influence on the development of Western art.However,he also left a large number of un⁃finished works.His unfinished marble sculptures outnumbered his finished statues.Furthermore,his most ambitious projects,such as Tomb of Pope Julius II and the Medici Chapel,ended in a simplified unfinished style.In order to interpret this seemingly contradictory paradox,it is necessary to realize that Michelangelo’s unfinished works are actually unusual self-consistent master⁃pieces.Michelangelo’s unfinished masterpieces force us to revise the past overly simplistic view of Renaissance art history,and reassess the complexity of Renaissance art in its heyday from an incomplete perspective.
出处
《上海师范大学学报（哲学社会科学版）》
CSSCI
北大核心
2021年第6期132-142,共11页
Journal of Shanghai Normal University(Philosophy & Social Sciences Edition)
基金
国家社科基金项目“思想史视野下的政治图像学研究”(21BZZ097)阶段性成果。
