A Study of the Relations between Albrecht Durer's Art Theory and his Works of Art

丢勒把自然看作艺术家的榜样。他推崇自然主义表现，认为这是一种理想的艺术创作方式。意大利文艺复兴时期的艺术家为了达到审美效果，对物体进行了大量的简化和缩写。丢勒对这种创作方法提出了警告。意大利术语“便利”或“和谐”的不同含义意味着形成的和谐和丢勒的德语“vergleichlich”也容易受到艺术创作方式的影响。我们可以将Durer的术语解释为自然法则的纯粹反映，最终是j.e kkhart的“Vorbild”，而意大利人的术语则是各部分的和谐和谐。丢勒作品中引人注目的细节源于他对自然的神圣化和他将艺术视为上帝“Vorbild”的反映的观点。至于人体比例理论，我们可以发现类似的差异。意大利人认为美存在于各部分的和谐比例中。他们追求的是人体的感官美，而丢勒追求的是个性的表现，而不是美的方面。丢勒更多地研究了各种类型的量器和量器的精确值。他作品中的许多人物形象印证了这一特点。最后，丢勒强调了转换的重要性，通过这种转换，他可以从基本形式中创造出许多形式。通过这种转变，艺术家在自然法则的基础上创造了他的形成世界。

Durer thinks nature as a model of an artist. He esteems naturalistic representation as an ideal of making art. Italian Renaissance artists made works with much simplification and abbreviation of the objects in the interest of aesthetic effects. Durer warns against these method of making works. The different implication of italian terms "convenienza" or "armonia" which mean formative harmony and Durer's german "vergleichlich" is susceptible also in the manner of art making. We can interpret Durer's term as pure reflection of natulal law, ultimately of J.Eckhart's "Vorbild" , and Italians' as the harmonious concord of the parts. The conspicuous details represented in Durer's works originates from his sanctifying of nature and his view of art as reflection of "Vorbild" of God.As to theory of human proportion , we can find a similar difference. Italians hold that beauty exists in the harmonious proportion of the parts. They seek for sensuous beauty of human body, while Durer seeks for representation of individual character rather than beautiful aspects. Durer studies much more about various types and exact values of measurers. Many human figurers of his works verify this characterization. Ultimately Durer accentuates the importance of transformation, by which he can make many forms out of elementary form. With this transformation, artist creates his formative worlds on the basis of natural law.