圆形图像与世界视野——博洛尼亚圣雅各伯圣殿洛伦佐·科斯塔壁画新解

Between the Circular Image and the World View: A New Look on the Frescoes in San Giacomo Maggiore, Bologna, by Lorenzo Costa

1490年,来自费拉拉的画家洛伦佐·科斯塔在博洛尼亚圣雅各伯圣殿中完成了《名誉的胜利》与《死亡的胜利》壁画创作,在本蒂沃利奥礼拜堂中形成了一个图像奇观。其中《名誉的胜利》上方圆形图像被部分学者指出与中世纪世界地图有着紧密关联,但在15世纪的制图学背景中,科斯塔的这一图像创造是否有着多重源头?其中带有强烈地区指向性的图像表现又是何用意?本文在以往图像研究史的基础上,对《名誉的胜利》图像中的地理特征进行重新审视,解读其中隐含的关键地理信息,呈现出科斯塔利用"罗马地图"和家族现实营造的种种"在地化"表现,进而在文艺复兴时期的相关背景中,论述地理图像的发展演变,最终结合家族背景延伸出科斯塔构建的完整图像逻辑。

1490, Lorenzo Costa, painter from Ferrara, completed a group of ＂Triumph＂ themed frescoes in the Basilica di San Giacomo Maggiore in Bologna： ＂The Triumph of Fame＂ and ＂The Triumph of Death＂. The circular composition and the complex performance manifested a wonder of image in the Bentivoglio Chapel. Some scholars pointed out the close relationship between the circular image and medieval maps. However, as the continuous development of the cartography in Quattrocento, is the world map the only inspiration of Costa＇s creation？ What is the intention of this expression with its strong regional directivity？On the basis of the previous research, in this paper, the author revisits the geographic features of ＂The Triumph of Fame＂, to interpret the key geographic information contained in the image, and ultimately shows Costa＇s localizations through the idea of ＂Roman map＂ and family＇s reality. The final chapter deals with the development of geographical images in the Renaissance, and finally presents Costa＇ s pictural program in combination with family background.