Research on the Sistine Chapel Ceiling Painting of Michelangelo

最近修复了米开朗基罗的西斯廷教堂天花板绘画，让我们从审美和技术角度发现了壁画的一个新方面。梵蒂冈当局允许学者在高高的脚手架上对他的壁画表面进行近距离观察，这允许我们开启一场关于肖像局部和技术问题的新讨论。特别是修复后的颜色发生了显着的变化。刷新的颜色现在恳请我们重新考虑米开朗基罗最初想要表达的含义。例如，修复，第一次清楚地表明，以下四种颜色的布料代表那些四重元素，这些颜色与拉斐尔在圣节哲学寓言人物中使用的四种元素的颜色相同。通过考察这些天花板画中的所有人物，我们可以得出结论，他们主要代表了拟人化的…四代以上、四种性情或四次以上作为圣经故事之后的基本结构。使用卡通画，有两种技法来准备壁画：带点的spolvero和带线的ancsione。在西斯廷教堂的天花板壁画中，米开朗基罗也在LUNETTO中使用了直接触摸。但这次的新观察表明，他所使用的技法与普通壁画不同。他的技巧不是“spolvero”，而是“puteggiato”。从这个角度来看，在中央场景中，在《创造亚当》和《天水分离》之间，有可能考察同样的技法变化。前一场戏表现了上帝的“双关语”，亚当的“切入”，但在后一场戏中，我们只能“切入”，就像在另外两个场景中一样。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。较少

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