一个神奇形象的起源:佛罗伦萨SS. Annunziata报喜壁画注解

IF 0.2 2区 艺术学 0 ART
Maria Ma
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引用次数: 5

摘要

在艺术史学科中,最近对早期现代邪教形象的兴趣出现了相当多的争论和困惑,关于如何对待这幅曾经或现在被誉为奇迹的图像。有几幅在文艺复兴时期受到崇拜的邪教图像引起了艺术史学家的兴趣,今天它们仍然是宗教虔诚的主题。事实上,这些图像并没有为艺术观众所接受,而是在其传统的教会背景下被一堵虔诚的象征所封闭,这经常被艺术史学家视为一个问题,他们试图抓住这些图像作为邪教图像的潜在意义。艺术史学家对其研究对象的年代和归属的特别关注使情况进一步复杂化。对于那些仍然受到崇拜的邪教形象,通常不可能仔细检查它们,最终,这些检查很少能提供关于邪教形象本身的任何信息。其中一个主要原因是,在崇拜图像的历史虔诚背景下,流行的起源概念与我们今天对人工制品起源的看法完全不同。在本文中,我将提出另一种方法来研究早期现代邪教图像,特别是关于起源和真实性等概念,这将被视为理解这些图像的意义以及文艺复兴时期他们的观察者的潜在图像概念的基础。因此,这篇文章是关于“艺术时代”的邪教形象,引用汉斯·贝尔廷的话,当宗教实践和绘画实践都在经历变化的时候。这篇文章特别集中在报喜壁画在Servite教堂,SS. Annunziata,在佛罗伦萨。这是一个神奇的形象,在14世纪到16世纪之间非常受欢迎,在某种程度上,今天仍然如此。在过去的十年里,这幅壁画和它的崇拜受到了艺术史学家的一些关注,崇拜的许多方面及其在佛罗伦萨社会中的意义已经浮出水面。然而,人们对这幅画的兴趣主要与它的起源和崇拜的早期发展有关,而试图确定它的画家和它的创作时刻,却没有考虑到那些崇拜这幅壁画的人的传说中所反映的信仰。在这里我提出,实际生产的图像被视为偶然在其范围内
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Origins of a Miraculous Image: Notes on the Annunciation Fresco in SS. Annunziata in Florence
I N C O N N E C T I O N W I T H the recent interest in the early modern cult image within the discipline of art history there have been considerable debates and confusion on how to treat the image, which was, or still is, honored as miraculous. Several cult images that have captured the interest of art historians because they were venerated during the Renaissance are still the subject of religious devotion today. The fact that the images have not been made accessible for the art viewer but remain closed off by a wall of devotional tokens within its traditional ecclesiastic context has often been treated as a problem by art historians who seek to grasp the underlying meaning of these images as cult images. The special attentiveness of art historians to the dating and attribution of their objects of research has further complicated the situation. In the case of the cult images that are still venerated it is often impossible to inspect them closely and, in the end, these examinations would seldom offer any information on the cult image as such. One of the main reasons for this is that the prevalent conception of origin within the historical devotional contexts of the cult images was completely different from our idea of the origin of an artifact today. In the present article, I will propose an alternative approach to the study of early modern cult images, in particular regarding concepts such as origin and authenticity, which will be treated as fundamental for an understanding of the significance of these images as well as the underlying pictorial conception of their beholders in the Renaissance. This article is therefore about the cult image in the »Era of Art«, to quote Hans Belting, when devotional practices as well as pictorial practices were undergoing change. The article focuses in particular on the Annunciation fresco in the Servite church, SS. Annunziata, in Florence. This was a miraculous image that enjoyed great popularity between the fourteenth and sixteenth centuries and, to a certain extent, still does today. The fresco and its cult have received some attention from art historians during the last decade, and many aspects of the cult and its significance in Florentine society have come to light. However, interest in the image has mainly concerned its origin and the early development of the cult, and attempts to identify its painter and the moment of its production have been made without consideration of the beliefs reflected in the legends of those who venerated the fresco. Here I propose that the actual production of the image was treated as accidental within its
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来源期刊
CiteScore
0.30
自引率
0.00%
发文量
17
期刊介绍: Konsthistorisk tidskrift/Journal of Art History includes investigations on art, architecture, and visual culture. We welcome articles on works, creators, and specific themes, as well as on theory and historiography. Accepted articles can be thorough explorations of a topic in accordance with a standard academic genre. We also welcome texts in a shorter, less finished format, functioning as openings to discussions.
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