意大利文艺复兴时期画面边框的功能与意义——以安吉利科修士《天使报喜》壁画为例

The Function and Meaning of Picture Frame in Renaissance Italy: A Case Study of Fra Angelico's fresco of Annunciation at San Marco

本文基于对安吉利科修士在圣马可修道院的《天使报喜》壁画中的边缘部分—作为绘画表现的边框的观察,提出的问题涉及到画面与边框的关系,以及边框的表现在形态和观念上的来源。结合绘画(尤其是壁画)所处的实际空间,以及文艺复兴早期佛罗伦萨的文化及宗教背景,我们发现这一类边框指向了三种功能性的载体。它们在当时各种新观念的交汇之中生成,也深刻地影响了后世的绘画;这种在绘画的"边缘"上蕴含的观念和表现方式,往往不易被人察觉,画家和时代的诸多秘密便隐藏其中。

This essay based on the observation of the edge—the frame as pictorial representation—of the fresco of Annunciation at San Marco by Fra Angelico, which poses the question that involve the relationship between picture and its frame, and the origin of this painted frame at the formal and conceptual level. To Combine with the painting（fresco） of the original space, and the cultural and religious background of early Renaissance Florence, We can find that this kind of frame points to three kinds of functional carriers. They come into being in the intersection of various new concepts, and impacting the paintings afterwards; These concepts and expressions on the ＂edge＂ of the painting, which is hard to be perceived, and many secrets of the painter and time often hidden among them.