正面像的新美学:达·芬奇绘画作品《救世主》再研究

New Aesthetics of the Full-Frontal Portrait:A Re-study of Leonardo da Vinci’s Salvator Mundi

尽管尚存在争议,但今天大多数专家均认可《救世主》一画为达·芬奇真迹的地位。随之,它于2017年在纽约佳士得拍卖会上拍出了四亿五千万美元的天价,成为有史以来单价最高的艺术作品。作为作者关于达·芬奇和文艺复兴艺术的系列研究之四,本文希望透过事件表面的商业操作和新闻效应的泡沫,看到有关达·芬奇艺术的历史真实。即,为什么绝大多数专家都认可这幅画的魅力?这种魅力究竟存在于什么地方?是什么构成了这幅画独特的意蕴、主题和形式创新,即它新的美学诉求?本文将以自己的方式对以上问题一一作出回答。在具体展开中,本文还期望能够为该画的真伪鉴定,提供基于图像和文本双重证据的新的论证;并在西方学者研究的基础上,为理解以达·芬奇为杰出代表的文艺复兴艺术,提供新的阐释路径。

Although still controversial,most experts today agree that the painting Salvator Mundi is an authentic work by Leonardo da Vinci.Subsequently,it fetched a whopping$450 million at Christie's in New York in 2017,making it the highest-priced work of art ever sold in the world.As the fourth of the author's series of studies on Leonardo da Vinci and Renaissance art,this article hopes to see the historical reality of Leonardo da Vinci's art through the business operations and news as bubbles on the surface.Namely,why do the vast majority of experts recognize the charm of this painting?Where does this charm exist?What constitutes the unique meaning,theme and formal innovation of this painting,namely,his new aesthetic appeal?This article will answer these questions one by one in its own way.In the following,the article also hopes to provide a new argument based on the dual evidence of images and texts for the authenticity of the painting;and it is expected also to provide a new interpretation approach,based on the research of Western scholars,to the understanding of the Renaissance art,with Leonardo da Vinci as its most excellent representative.