布鲁内莱斯基的窥视孔

发布时间：2018-01-16 17:32

本文关键词：布鲁内莱斯基的窥视孔　出处：《南京艺术学院学报(美术与设计版)》2014年02期 　论文类型：期刊论文

【摘要】：从马内蒂的记录来看,布鲁内莱斯基窥视孔故事里面有一些令人费解的地方,尤其是呈正面的洗礼堂并不适合作为表现中心透视的例子。但一系列的实物证据表明在十五世纪二十年代,呈正面的洗礼堂确实已经出现在画家笔下中,其中的一位正与布鲁内莱斯基关系密切,而稍后阿尔贝蒂在意大利文版的《论绘画》序言里表示,这本书是献给布鲁内莱斯基的,所以我们有理由相信布鲁内莱斯基就是透视学的发明人。布鲁内莱斯基时代的画家对透视感兴趣并不是出于对视错觉的迷恋,而是基督教信仰,这可以解释为何从公元前六世纪希腊人发明短缩法发展到十五世纪意大利人建立透视理论,其间竟然隔了近两千年。或许,西方艺术完成质的一跃要归功于那些中世纪的神父,而并非贡布里希说的开创艺术史"震撼人心时刻"的古希腊人。
[Abstract]:From Manette's record, Brunelleschi peephole story with some puzzling place, especially a positive Baptistery is not suitable as a performance center perspective example. But a series of physical evidence shows that in 1420s, a Baptistery positive has indeed appeared in the painters, one of them is close to Brunelleschi, and later Alberti in the Italian version of the "painting > preface said, this book is dedicated to Brunelleschi, so we have reason to believe that Brune Eli is the inventor based perspective. The Brunelleschi era painter of perspective and not in the interest of visual illusion fascination, but the Christian faith, which can be explained why from sixth Century BC the Greeks invented shortening method to establish fifteenth Century Italian perspective The theory has been separated for nearly two thousand years. Perhaps, the western art's qualitative leap is due to those medieval priests rather than Gombrich's ancient Greek who initiated the art history "stirring moments".

【作者单位】：复旦大学文史研究院;
【分类号】：J110.9
【正文快照】： 关于布鲁内莱斯基[Filippo Brunelleschi,1377—1446]窥视孔的故事最早由马内蒂[Antonio di TuccioManetti,1423—1491]提到。据说前者在自己两块绘有佛罗伦萨广场的画板上设置了一个窥视孔,通过它可以看到里面画作的镜像,然后再看看真实的景物,它们居然一模一样[1]。故事中的

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