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

阿尔布莱希特·丢勒的艺术理论与其艺术作品的关系研究

基本信息

批准号：
62510033
负责人：
SHIMOMURA Koji
金额：
$ 0.96万
依托单位：
KYUSHU SANGYO UNIVERSITY
依托单位国家：
日本
项目类别：
Grant-in-Aid for General Scientific Research (C)
财政年份：
1987
资助国家：
日本
起止时间：
1987 至 1988
项目状态：
已结题

项目摘要

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.

丢勒认为自然是艺术家的典范。他将自然主义表现视为艺术创作的理想。意大利文艺复兴时期的艺术家为了达到审美效果，对物体进行了极大的简化和缩写。丢勒警告不要使用这些创作方法。意大利术语“convenienza”或“armonia”（意为“形成的和谐”）与丢勒的德语“vergleichlich”的不同含义也影响到艺术创作的方式。我们可以将丢勒的术语解释为自然法则的纯粹反映，最终是J.Eckhart的“Vorbild”，而意大利人的术语则解释为各个部分的和谐一致。丢勒作品中所表现的引人注目的细节源于他对自然的神圣化以及他将艺术视为上帝“Vorbild”的反映。至于人体比例理论，我们也能发现类似的差异。意大利人认为美存在于各部分的和谐比例。他们追求人体的感性美，而丢勒则追求个性的表现而不是美丽的方面。丢勒对测量器的各种类型和精确值进行了更多研究。他作品中的许多人物形象都证实了这一特征。最终，丢勒强调了变换的重要性，通过变换，他可以从基本形式中创造出多种形式。通过这种转变，艺术家在自然法则的基础上创造了他的造型世界。