古典裸像形式的闡譯與變革：多納太羅《青銅大衛》之研究
| dc.contributor | 楊永源 | zh_TW |
| dc.contributor | Yang, Yung-Yuan | en_US |
| dc.contributor.author | 趙可卿 | zh_TW |
| dc.contributor.author | Chao, Ko-Ching | en_US |
| dc.date.accessioned | 2020-12-10T05:26:03Z | |
| dc.date.available | 2010-7-13 | |
| dc.date.available | 2020-12-10T05:26:03Z | |
| dc.date.issued | 2010 | |
| dc.description.abstract | 多納太羅(Donatello，1388-1466)，全名為多那托‧迪‧尼科羅‧迪‧貝托‧巴蒂(Donato di Niccolò di Betto Bardi)，是十五世紀文藝復興初期最富盛名的雕塑家。綜觀他將近八十年的創作生涯，從早期、成熟期到晚年的作品皆表現出不同的特質，其中包含歌德、自然寫實、古典…等不同風格典範；創作的媒材與類型更幾乎囊括所有雕塑的種類。豐富的創作產量和多元的創造力，不僅為他奠定全方位雕塑大師的地位，多變且富含創意的巧思與創新，更是帶領十五世紀初期佛羅倫斯雕塑不斷向前邁步的能量來源。 《青銅大衛》在文藝復興初期雕塑史中有著重要的指標意義。多納太羅精確地表現出一位等身比例的裸體少年，並呈現完整的觀賞視角。其中裸像的形式以及獨立式的構造，皆是古代希臘羅馬時期人物雕像的重要特徵。因此，這尊獨立式的裸像，不僅象徵文藝復興時期雕塑作品首度脫離次要於建築物附屬地位；裸體人物的形式更是十五世紀仿古風格雕塑的代表作。為了探究多納太羅創作《青銅大衛》時所受的刺激與靈感來源，本論文首先將從義大利人文學興起後，影響佛羅倫斯人崇尚古代文化的背景架構，探討古典文化的精神從文學蔓延至藝術風格的影響。接續則是以多納太羅在十五世紀上半葉創作的等身壁龕人像，與《青銅大衛》進行比較，以了解多納太羅在不同時代背景下，重新詮釋古典裸像的形式特質。 由於裸像在西方藝術中有著淵遠流長的歷史，多納太羅《青銅大衛》仿古風格人體形式的背後，正反映出古代希臘羅馬的文化思想與藝術品味在十五世紀初期重生後的樣貌。在針對《青銅大衛》進行風格分析之後，本論文還將深入探究《青銅大衛》人體比例和動勢中所涉及古代的哲學思想，以論證《青銅大衛》結合古典與十五世紀自然主義的理論，對同時代其它藝術家展現的示範性質，以及對佛羅倫斯仿古藝術理論之影響。 | zh_TW |
| dc.description.abstract | Donato di Niccolò di Betto Bardi, called Donatello, was one of the most famous sculptors in Quattrocento. Surveying the whole works in Donatello’s eighty years in career, the various styles include the Gothic, Naturalism and the Classical, the characteristics of different stages between the early time, the mature period and the work. When he was old, they were obvious different. Furthermore, his creation of materials and types are nearly included all kinds of sculptures. With his abundant works and endless creativities, the art of Quattrocento sculpture was born anew and kept a step forward. With Bronze David, Donatello created a new sculpture landmark in the earlier Renaissance. This free-standing nude represented that the statue was independent for the architecture or decoration; the form of nude was the demonstration of all’antica style in Quattrocento. In order to understand the stimulation and the inspiration of Donatello’s originality; firstly, this essay will talk about the influence on culture of Humanismus in Italy on both literature and the visual art. Next, it will focus on the niche statues of Donatello during the first half of 15th century, and will compare these works with Bronze David and discuss the special features of Donatello’s new interpretation of classical forms of nude in his era. The art of nude has a long history in Western art. The form of nude in Donatello’s Bronze David reflected a new appearance of Greece and Rome’s ancient culture and thoughts in 15th century. After the form analysis of our statue, this essay concerns with the human proportion and movement of the statue, and then with the theories of classical and Naturalism involved in it. In the end, author will concentrate on Donatello’s influence upon other artists, and the all’antica style of Florence Renaissance art which was affected by Bronze David. | en_US |
| dc.description.sponsorship | 美術學系 | zh_TW |
| dc.identifier | GN0696600107 | |
| dc.identifier.uri | http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0696600107%22.& | |
| dc.identifier.uri | http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115379 | |
| dc.language | 中文 | |
| dc.subject | 多納太羅 | zh_TW |
| dc.subject | 青銅大衛 | zh_TW |
| dc.subject | 裸像 | zh_TW |
| dc.subject | 形式主義 | zh_TW |
| dc.subject | 十五世紀義大利文藝復興 | zh_TW |
| dc.subject | Donatello | en_US |
| dc.subject | Bronze David | en_US |
| dc.subject | Nude | en_US |
| dc.subject | Formalism | en_US |
| dc.subject | Quattrocento | en_US |
| dc.title | 古典裸像形式的闡譯與變革：多納太羅《青銅大衛》之研究 | zh_TW |
| dc.title | The Interpretation and Transformation of the Form in Classical Nude: A Case Study of Donatello’s Bronze David | en_US |