英国曼彻斯特代写Essay:黑死病的破坏

2019-02-08 14:14

辩论的第二个内容涉及由于黑死病的破坏而发生的宗教思想的变化。诺曼评论了描绘圣塞巴斯蒂安的祭坛的受欢迎程度，以及他的痛苦与瘟疫受害者的痛苦之间公开的联系(诺曼，1995,I, 187-195)，但在风格上也有一个微妙的变化，斯特罗齐祭坛(1357)就是一个代表。梅斯认为，14世纪早期绘画的典型特征是“熟悉而普遍的人类经验”(梅斯，1951年，28)，之后的绘画更加强调宗教生活的等级和教条的表达，教堂的提升和神的神秘化。乔托开创了一种艺术风格，其特点是对三维空间的写实描绘，色彩的和谐运用，以及在观者中产生共鸣。这些特性是早期十四绘画的特点,然而,诗装饰画拒绝具体空间的描述,“徘徊”,数据显示一个缺乏准确的空间位置,颜色“脱节和不安”,这幅画创建一个距离的敬畏感和神秘感,科尔将其形容为“奇怪”,“怪异”,“斯特恩和无情的”和“冷漠”(科尔,1976,134 - 6)。梅斯认为，这种风格是对上个世纪拜占庭艺术的自觉回归(梅斯，1951,10)，它反映了宗教对黑死病的一种反应，强调有罪和赎罪。我们也可以注意到，在乔凡尼·德尔·比昂多的《施洗者圣约翰祭坛》(1370/80)中，人们对人物的象征性而非现实性的表现感兴趣。约翰也有同样的严肃的表情，也有同样的心理退缩感，就像在斯特罗齐祭坛上看到的基督一样。
英国曼彻斯特代写Essay:黑死病的破坏
The second element of the debate concerns the change in religious thought that occurred as a result of the devastation of the Black Death. Norman comments on the popularity of altarpieces depicting Saint Sebastian and the overt association of his sufferings with those of the victims of plague (Norman, 1995, I, 187-195), but there is also a subtler change in style represented by the Strozzi Altarpiece (1357). Meiss argued that painting typical of the early fourteenth century dwelt on ‘familiar and universal human experience‘ (Meiss, 1951, 28) and that it had been succeeded by a greater emphasis upon the hierarchical and dogmatic expressions of religious life, an elevation of the church and a mystification of the deity. Giotto had pioneered an artistic style that was marked by its realistic depiction of three-dimensional space, harmonious use of colour and the creation of a sympathetic response in the viewer. These features came to be characteristic of early fourteenth painting, yet the Strozzi Altarpiece rejects the depiction of concrete space, the figures ‘hover’ and show a ‘lack of exact spatial placement‘, the colours are ‘disjointed and uneasy‘ and the painting creates a distancing sense of awe and mystery, which Cole describes as ‘strange‘, ‘eerie‘, ‘stern and unforgiving‘ and ‘aloof’ (Cole, 1976, 134-6). Meiss argued that this style was a conscious return to the Byzantine influenced art of the previous century (Meiss, 1951, 10) and that it is a reflection of the religious emphasis upon guilt and atonement that was a reaction to the Black Death. We may also notice an interest in the symbolic rather than realistic representation of figures in the St John the Baptist Altarpiece (1370/80) by Giovanni del Biondo, where John tramples his enemy, Herod, underfoot. John has the same austere look and there is the same sense of psychological withdrawal that has been observed in the face of Christ in the Strozzi Altarpiece.

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