摘要
本文旨在对文艺复兴时期意大利湿壁画这一特殊画种的色彩绘制方法进行研究。文章首先概述了壁画的绘制环境、材料和其特有的质地与色彩效果以及壁画创作中从设计到着色的大致制作流程,然后根据琴尼尼(Cennino Cennini)和阿尔贝蒂(Battista Alberti)的著作中对壁画绘制方法的记录,结合具体的画作,阐述了壁画中几种绘制色彩的具体方法,最后总结了壁画中色彩绘制的思路与局限。得出了湿壁画中通过色彩程式获得的效果是一种合理性而非视错觉的结论。
This paper aims to study the coloring methods of Italian frescoes during the Renaissance.The paper first outlines the painting environment,materials,and unique texture and color effects of frescoes,as well as the general production process from design to coloring in fresco creation.Then,based on the records of fresco painting methods in the works of Cennino Cennini and Battista Alberti,combined with specific paintings,several specific methods of coloring in frescoes are explained.Finally,the ideas and limitations of coloring methods in frescoes are summarized.The conclusion is that the effect achieved by coloring methods in frescoes looks reasonable rather than realistic.
作者
甘晟
Gan Sheng(School of Painting,China Academy of Art)
出处
《色彩》
2025年第2期91-93,共3页
Color
