In 1555,the Florentine Mannerist painter Giorgio Vasari(1511-1574)created two significant oil panels,the Chariot of the Sun and the Chariot of the Moon,on the ceiling of the Hall of the Elements in the Palazzo Vecchio...In 1555,the Florentine Mannerist painter Giorgio Vasari(1511-1574)created two significant oil panels,the Chariot of the Sun and the Chariot of the Moon,on the ceiling of the Hall of the Elements in the Palazzo Vecchio,Florence.1 Cosimo I de’Medici,Duke of Tuscany(1519-1574),commissioned Vasari to renovate his apartments in the Palazzo Vecchio.Vasari restructured and painted the ceiling and walls of the Hall of the Elements on the second floor,named for its depicted subjects.The walls were painted using the fresco technique,while the ceiling was executed in oil on panels.The walls depicted the elements of Fire,Earth,and Water,whereas the ceiling illustrated the element of Air,containing the panels of the Chariots.Vasari began his education in classical culture in Arezzo under the Latin grammarian Antonio da Saccone and the ancient historian and literary scholar Giovanni Pollio Lappoli,known as Pollastra(1465-1540).He continued his studies within the Medici household under the humanist and hieroglyphologist Pierio Valeriano(1477-1558).In 1539,he met the Milanese law professor and emblematist Andrea Alciato(1492-1550)in Bologna,from whom he learned about the moral aspects of emblems.Through their historical,philosophical,mythographic,and emblematic symbolism,Vasari skillfully synthesize d knowledge to construct intellectual programs that encompass the concepts of ekphrasis and history paintings in his decorative cycles,as revealed in the Chariots.In depicting the cosmic movement of stars and time in the Chariots,Vasari integrated the idea of the chariot illustrated in Baccio Baldini’s astrological engravings and the mythographic account of Apollo and Diana’s chariots in Vincenzo Cartari’s Le Imagini degli dei degli antichi(1547 and 1571).In the discourse regarding the physical and metaphysical movements of the cosmos,Vasari underscores the influence of Italian Neoplatonism,with particular emphasis on insights derived from Marsilio Ficino’s exploration of alchemical colors in nature,as articulated in Liber de Arte Chemica(Books 14 and 15),while also elucidating the importance of Plato’s Chariot of the Soul or Allegory of the Chariot(Jones,Litt,&Ormerod,1918,p.246).展开更多
This essay is twofold： the first part focuses on the interpretation of the concept of Hell in Dante＇s Inferno and Italian culture as depicted in Last Judgment scenes such as Giotto＇s in the Arena Chapel of Padua; S...This essay is twofold： the first part focuses on the interpretation of the concept of Hell in Dante＇s Inferno and Italian culture as depicted in Last Judgment scenes such as Giotto＇s in the Arena Chapel of Padua; Signorelli＇s in the Orvieto Cathedral; and Michelangelo＇s in the Sistine Chapel in Rome. The second part deals with the drawing illustrations for the text of Dante＇s Divine Comedy composed by the Florentine painters Sandro Botticelli, Giovanni Stradano, and Federico Zuccaro. Here the emphasis is on Dante＇s Inferno, which comments upon Neoplatonic personalities, Florentine politics, and current popular art. Comparisons with some of Botticelli＇s, Stradano＇s, and Zuccaro＇s drawing illustrations indicate the assimilation of classical artistic concepts such as Horace＇s ut pictura poesis [as is painting so is poetry] as well as Plato＇sfurorpoeticus [poetical inspiration] promoted in the writings of Marsilio Ficino, a Renaissance Neoplatonic philosopher.展开更多
Giorgio Vasari’s conception of artistic creativity is related to his theory of painting. He proposes two alternatives in a painter’s development or achievement of artistic creativity: imitation (imitazione) and inve...Giorgio Vasari’s conception of artistic creativity is related to his theory of painting. He proposes two alternatives in a painter’s development or achievement of artistic creativity: imitation (imitazione) and invention (invenzione).Imitation is the copying of art as a method of learning, whereas invention is independent of imitation and constitutes the means for conceiving artistic ideas. Imitation serves to guide and teach the artist in composing and creating perfection. Vasari maintains that artists must study antiquity and the masters, so that they may learn how others acquired the experience of imitating nature. For Vasari, imitation draws upon three different sources: the first two are copying from nature (copia dal vero) and the third one is selecting from one’s work (imitare se stessi). He emphasizes that copying from nature is important for the artist so that he may learn to create forms that are alive as visualized in the Fine Arts.展开更多
文摘In 1555,the Florentine Mannerist painter Giorgio Vasari(1511-1574)created two significant oil panels,the Chariot of the Sun and the Chariot of the Moon,on the ceiling of the Hall of the Elements in the Palazzo Vecchio,Florence.1 Cosimo I de’Medici,Duke of Tuscany(1519-1574),commissioned Vasari to renovate his apartments in the Palazzo Vecchio.Vasari restructured and painted the ceiling and walls of the Hall of the Elements on the second floor,named for its depicted subjects.The walls were painted using the fresco technique,while the ceiling was executed in oil on panels.The walls depicted the elements of Fire,Earth,and Water,whereas the ceiling illustrated the element of Air,containing the panels of the Chariots.Vasari began his education in classical culture in Arezzo under the Latin grammarian Antonio da Saccone and the ancient historian and literary scholar Giovanni Pollio Lappoli,known as Pollastra(1465-1540).He continued his studies within the Medici household under the humanist and hieroglyphologist Pierio Valeriano(1477-1558).In 1539,he met the Milanese law professor and emblematist Andrea Alciato(1492-1550)in Bologna,from whom he learned about the moral aspects of emblems.Through their historical,philosophical,mythographic,and emblematic symbolism,Vasari skillfully synthesize d knowledge to construct intellectual programs that encompass the concepts of ekphrasis and history paintings in his decorative cycles,as revealed in the Chariots.In depicting the cosmic movement of stars and time in the Chariots,Vasari integrated the idea of the chariot illustrated in Baccio Baldini’s astrological engravings and the mythographic account of Apollo and Diana’s chariots in Vincenzo Cartari’s Le Imagini degli dei degli antichi(1547 and 1571).In the discourse regarding the physical and metaphysical movements of the cosmos,Vasari underscores the influence of Italian Neoplatonism,with particular emphasis on insights derived from Marsilio Ficino’s exploration of alchemical colors in nature,as articulated in Liber de Arte Chemica(Books 14 and 15),while also elucidating the importance of Plato’s Chariot of the Soul or Allegory of the Chariot(Jones,Litt,&Ormerod,1918,p.246).
文摘This essay is twofold： the first part focuses on the interpretation of the concept of Hell in Dante＇s Inferno and Italian culture as depicted in Last Judgment scenes such as Giotto＇s in the Arena Chapel of Padua; Signorelli＇s in the Orvieto Cathedral; and Michelangelo＇s in the Sistine Chapel in Rome. The second part deals with the drawing illustrations for the text of Dante＇s Divine Comedy composed by the Florentine painters Sandro Botticelli, Giovanni Stradano, and Federico Zuccaro. Here the emphasis is on Dante＇s Inferno, which comments upon Neoplatonic personalities, Florentine politics, and current popular art. Comparisons with some of Botticelli＇s, Stradano＇s, and Zuccaro＇s drawing illustrations indicate the assimilation of classical artistic concepts such as Horace＇s ut pictura poesis [as is painting so is poetry] as well as Plato＇sfurorpoeticus [poetical inspiration] promoted in the writings of Marsilio Ficino, a Renaissance Neoplatonic philosopher.
文摘Giorgio Vasari’s conception of artistic creativity is related to his theory of painting. He proposes two alternatives in a painter’s development or achievement of artistic creativity: imitation (imitazione) and invention (invenzione).Imitation is the copying of art as a method of learning, whereas invention is independent of imitation and constitutes the means for conceiving artistic ideas. Imitation serves to guide and teach the artist in composing and creating perfection. Vasari maintains that artists must study antiquity and the masters, so that they may learn how others acquired the experience of imitating nature. For Vasari, imitation draws upon three different sources: the first two are copying from nature (copia dal vero) and the third one is selecting from one’s work (imitare se stessi). He emphasizes that copying from nature is important for the artist so that he may learn to create forms that are alive as visualized in the Fine Arts.
