The Portrayal of Love: Botticelli's Primavera and Humanist Culture at the Time of Lorenzo the Magnificent
The Portrayal of Love: Botticelli's Primavera and Humanist Culture at the Time of Lorenzo the Magnificent
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爱情的写照：波提切利的《春》与洛伦佐大帝时代的人文主义文化
DOI：
10.5860/choice.30-4195
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发表时间：
1992
影响因子：
1.8
通讯作者：
C. Dempsey
中科院分区：
文献类型：
--
作者：
C. Dempsey
波提切利的《春》被公认为是洛伦佐·德·美第奇领导下佛罗伦萨人文主义文化的主要表现形式，如果不考虑表达劳伦特文化计划的诗学，以及文艺复兴本身，就不能充分解释这部作品。在这篇分析中，查尔斯·邓普西考察了洛伦佐及其文学客户所写的诗歌，以界定“春”的文化背景。这幅画是对爱的颂扬，它融合了公共和私人的想象领域，同时也拥抱了当下的理想和现实体验。《春》将维纳斯描绘成爱的灵魂和春天，既古老又现代，植根于国际风格的本土习俗，并展示了一个新生的古典词汇。在描述了“春”的发明的深刻的人文主义古典基础，邓普西确定其体裁与乡村歌曲，然后将绘画与白话爱情诗的惯例。仔细阅读这幅画与洛伦佐，波利先，普尔奇和其他诗人的作品有关，这些诗人致力于通过将托斯卡纳本地的拉丁形式注入本地来提升本地表达，这表明波提切利以维纳斯的形式描绘的爱情概念不仅包含了古代春天的“世界革新”，而且还包含了由洛伦佐想象和赞助的实际文化革新-文艺复兴。
Widely acknowledged as a prime manifestation of Florentine humanist culture under Lorenzo de'Medici, Botticelli's "Primavera" cannot be fully interpreted without considering the poetics that expressed the Laurentian cultural program and, in turn, the Renaissance itself. In this analysis Charles Dempsey examines the poetry written by Lorenzo and his literary clients in order to give definition to the cultural context in which the "Primavera" was created. A celebration of Love, the painting is shown to incorporate both public and private imaginative realms while embracing the ideal and the actual experiences of the present.The "Primavera," depicting Venus as the spirit of Love and springtime, is simultaneously old-fashioned and modern, rooted in International-Style vernacular conventions and evincing a nascent classical vocabulary. After describing the profoundly humanist classical foundation of the invention of the "Primavera," Dempsey identifies its genre with rustic song, then relates the painting to the conventions of vernacular love poetry. A close reading of the painting in relation to works by Lorenzo, Politian, Pulci, and other poets working to elevate vernacular expression by infusing native Tuscan with Latin forms suggests how the idea of Love portrayed by Botticelli in the form of Venus incorporates not only the ancient springtime "renovatio mundi" but also the actual cultural renovation--the Renaissance--imagined and sponsored by Lorenzo the Magnificent.