Research on the Sistine Chapel Ceiling Painting of Michelangelo

米开朗琪罗最近修复的西斯廷教堂天花板绘画让我们从美学和技术的角度发现了壁画的新方面。梵蒂冈当局允许学者们在高高的脚手架上仔细观察他的湿壁画表面，这使我们能够就图像学和技术问题展开新的讨论。特别是修复后的颜色发生了显着变化。重新焕发的色彩促使我们重新思考米开朗琪罗原本想要表达的意义。例如，修复，第一次清楚地表明，以下四种颜色的布代表那些四重元素，这些颜色是相同的拉斐尔在四个元素的颜色中使用的寓言人物的哲学在Stanza della Segnatura。在检查了这些天花板画的所有人物之后，人们得出结论，它们主要表现了人格化 关于我们 四代人，四种气质，或四个时代作为基本结构以下的圣经故事。使用漫画，有两种技术准备壁画;“spolvero”与点，和“incisione”与线。在西斯廷教堂的天花板壁画中，米开朗琪罗也在卢内托使用了直接触摸。但这次的新观察表明，他的创作手法与一般的壁画有所不同。他的技巧不是“spolvero”而是“punteggiato”。从这一点来看，在中心场景中，在“亚当的创造”和“天空和水的分离”之间，可以检查技术上的相同变化。前一个场景显示了上帝的“punteggiato”和亚当的“incisione”，但在后一个场景中，我们只能“incisione”，就像在其他两个场景中一样。我们也可以认识到亚当和夏娃的三个场景和上帝的创造之间的风格差异。因此，我们可以区分场景之间的不同风格。少

The recent restoration of the Sistine Chapel ceiling paintings by Michelangelo allows us to discover a new aspect of frescoes from both esthetic and a technical point of view. The close observation of the surface of his fresco paintings, permitted by Vatican authorities to scholers allowed on the high scaffoldings, permit us to open a new discussion about iconographocal and technical problems. In particular the colors are remarkably changed after the restoration. The refreshed colors solicite us now to reconsider the meanings, which Michelangelo originally intended to express. For example, the restoration, for the first time clearly that the following four colors of cloth represent those of Fourfold Elements, these colors are identical to those used by Raphael in the Four Elements colors in the allegorical figures of Philosophy in the Stanza della Segnatura. After examination of all of the figures of these ceiling paintings, one concludes that they mainly represent the personification … More of four generations, of four temperaments, or of four times as the basic structures following the biblical story.Using the cartoon, there are two techniques for the preparation of fresco painting ; "spolvero" with dots, and "incisione" with lines. In the case of the Sistine Chapel ceiling fresco, Michelangelo also used direct touch in the Lunetto. But the mew observations on this occasion revealed that the techniqueused by him is different from ordinary fresoes. His technique was not "spolvero" but "punteggiato" . From this point of view in the central scenes, between the "Creation of Adam" and the "Separation of sky and Water", it is possible to examine the same changes in technique.The former scenes shows the "punteggiato" for God and "incisione" for Adam, but in the latter scene we can only "incisione", as in the two other scenes. We can also recognize the difference of style between the three Adam and Eve scenes and the creations of God. Consequently we can distinguish the different styles between the scenes. Less