【摘要】：在中世紀(jì)時期,西方的繪畫和雕塑藝術(shù)基本上表現(xiàn)的都是宗教題材。正如《舊約》中所提到的,人的形象就是神的形象,宗教的形象就是一切的形象,一切藝術(shù)都是為了表達基督教的威嚴(yán),對基督的信仰籠罩著整個歐洲大陸�；降男蜗蟊M管依然是以人的形象為基礎(chǔ),但是不是鮮活的,而是僵硬的和缺乏生命感的。和中世紀(jì)的整個繪畫氣氛是一樣的,是嚴(yán)肅而缺乏熱情的,在技法上是單線條的,沒有明暗對比和比較平面的形象,這種形象給人以距離感與威嚴(yán)感。文藝復(fù)興的到來改變了這一切,文藝復(fù)興運動提倡“人性”,以人的本身的溫暖親切的形象來代替過去僵硬蒼白的宗教形象。所以不了解整個中世紀(jì)關(guān)于基督的也是關(guān)于人的繪畫形象,無論如何也不會了解整個文藝復(fù)興之所以輝煌的原因。中世紀(jì)的一千年,政教合一的專制成了它的代名詞,因為特殊的社會與文化環(huán)境,與前期的藝術(shù)如古希臘古羅馬藝術(shù)發(fā)展大相徑庭,表現(xiàn)宗教題材的繪畫,畫面呈現(xiàn)的是僵硬的藝術(shù)形式。而喬托(1266--1336)的出現(xiàn)開始逐步改變了這一切,直到文藝復(fù)興最輝煌的時期。他是杰出的雕刻家,畫家和建筑師,他在面對中世紀(jì)藝術(shù)長期遺留下來的公式化概念化的風(fēng)格單一與繪畫方式上做出了重要的革新,被認(rèn)定為是意大利文藝復(fù)興時期的開創(chuàng)者和先驅(qū)者,被譽為"歐洲繪畫之父"。喬托曾在佛羅倫薩、羅馬、巴多瓦、那不勒斯、米蘭、波倫亞、比薩、維羅納、費拉拉等地都制作過制作壁畫。本篇論文以宗教信仰下喬托畫面中的基督形象的描繪為主要切入點,結(jié)合其生活的時代背景,包括宗教、精神、社會、藝術(shù)、信仰等等環(huán)境的方方面面,來嘗試總結(jié)喬托的繪畫理念,或者說是他較之中世紀(jì)藝術(shù)的一些不同與發(fā)展。喬托的繪畫藝術(shù)價值與他對文藝復(fù)興甚至當(dāng)今藝術(shù)的啟發(fā)也是要本文重視的問題。
[Abstract]:In the Middle Ages, Western painting and sculpture were basically religious subjects. As mentioned in the Old Testament, the image of man is the image of God, the image of religion is the image of everything, all art is to express the majesty of Christianity, the faith in Christ enveloped the whole continent. The image of Christ, though still based on the image of man, is not alive, but rigid and lacking in a sense of life. The whole painting atmosphere of the Middle Ages is the same, is serious and lack of enthusiasm, in the technique is a single line, there is no contrast and comparison of the image of the plane, this image gives a sense of distance and majesty. The arrival of the Renaissance changed all this. The Renaissance advocated "humanity" and replaced the rigid and pale religious image with the warm and kind image of man itself. So it is impossible to understand why the Renaissance was glorious without knowing the whole medieval painting of Christ and the figure of man. In the thousand years of the Middle Ages, the despotism of the unity of politics and religion became its synonym. Because of its special social and cultural environment, it was quite different from the early art such as the art of ancient Greece and ancient Rome, and represented paintings of religious themes. The picture presents a rigid art form. And the appearance of Joto (1266-1336) began to change all this gradually until the most glorious period of the Renaissance. He was an outstanding sculptor, painter, and architect who made important innovations in the face of the stylized conceptualization and style of painting that had long been left over from medieval art. It is regarded as the pioneer and pioneer of the Italian Renaissance, and the father of European painting. Joto has made murals in Florence, Rome, Bardova, Naples, Milan, Bologna, Pisa, Verona, Ferrara and so on. This thesis takes the depiction of the image of Christ in the picture of Joto under religious belief as the main breakthrough point, combining with the background of his life, including religion, spirit, society, art, faith and other aspects of the environment, such as religion, spirit, society, art, faith and so on. To try to sum up the concept of Chouto painting, or he compared with medieval art some differences and development. Joto's artistic value of painting and his inspiration to the Renaissance and even the present art are also important issues in this paper.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J205

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