虚拟与真实:意大利文艺复兴绘画边框的空间化

Virtuality and Reality:The Spatialization of Picture Frames in Italian Renaissance Paintings

本文聚焦中世纪晚期至文艺复兴盛期意大利艺术中“空间化”的绘画边框:从契马布埃、乔托等大师在阿西西圣方济各上教堂为壁画边框赋予虚拟焦点的处理,到帕多瓦斯克罗维尼礼拜堂,通过边框将真实的建筑结构与画面空间相联通的做法,共同开启了达·芬奇等后世画家对乔托以来几何化绘画空间的探索,逐步将虚拟的绘画空间和真实的建筑结构统一起来。在这个过程中,透视法逐步由一种经验知识转化为科学的理论体系,而“空间化”的画面边框则扮演着沟通虚拟与真实的重要角色。最终,阿尔伯蒂式的画面内外一体化的空间,也即理想中的文艺复兴绘画空间得以确立。

This paper focuses on the "spatial effect" of frames in Italian art during the late Middle Ages and the peak of Renaissance:given the way of masters such as Giovanni Cimabue and Giotto di Bondone of giving frames virtual focus in their creation of frescoes for the Basilica of Saint Francis of Assisi,and their way of connecting real buildings with frescoes through frames in Cappella Scrovegni,Padua,artists of later generations,including Leonardo da Vinci,explored the spacial effect of paintings created since Giotto and gradually combined virtual space in paintings with the structure of real buildings.In this process,perspective was transformed from a kind of experience and knowledge into a theoretical system,and frames with special effects played an important role in connecting virtuality and reality.Later,the Leon Battista Alberti-style of integrating space inside and outside of a painting,namely an ideal painting space of Renaissance,was established.