Research on the Sistine Chapel Ceiling Painting of Michelangelo

米开朗基罗西斯廷教堂天顶画研究

• 批准号: 63041015
• 负责人: TANAKA Hidemichi
• 金额: $ 21.12万
• 依托单位: Tohoku University
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for international Scientific Research
• 财政年份: 1988
• 资助国家: 日本
• 起止时间: 1988 至 1990
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-63041015/
• 关键词: Refreshed colors; Fourfold Elements; "Philosophy" by Raphael; Punteggiato; Incisione; The three periods of the execution

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

最近米开朗基罗对西斯廷教堂天花板画的修复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在高高的脚手架上仔细观察他的壁画表面，这使我们能够就图像和技术问题展开新的讨论。特别是修复后颜色发生了显着变化。焕然一新的色彩让我们重新思考米开朗基罗最初想要表达的含义。例如，修复中首次明确以下四种布料颜色代表四元素颜色，这些颜色与拉斐尔在签名节中哲学寓言人物的四元素颜色中使用的颜色相同。在对这些天花板画的所有人物进行检查后，人们得出结论，它们主要代表了四代人、四种气质或四次的拟人化，作为圣经故事的基本结构。利用卡通，壁画的准备技术有两种：带点的“spolvero”和带线的“incisione”。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“punteggiato”。从这个角度来看，在中心场景中，在“创造亚当”和“天与水的分离”之间，可以考察同样的技术变化。前一个场景展示了上帝的“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。我们还可以认识到亚当和夏娃三个场景与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。较少的

项目成果

21Hidemichi TANAKA: "A New Observation on Sistine Chapel Paintings by Michelangelo After the Restration" Annuario. XXII. (1990)

21田中秀通：《恢复后米开朗基罗西斯廷教堂绘画的新观察》安努阿里奥。

Midori WAKAKUWA: "The Meaning of the <Cubic Stone> in the Works of Michelangelo" Bijutushi. vol. 38 No. 2. 202-216 (1989)

Midori WAKAKUWA：《米开朗基罗作品中〈立方石〉的意义》Bijutushi。

Hidemichi TANAKA: "Michelangelo in his Youth" Kodansha. (1980)

田中英通：《青年时期的米开朗基罗》讲谈社。

Hidemichi TANAKA: "A New Observation on Sistine Chapel Paintings by Michelangelo After the Restration" Annuario. XXII. (1990-1991)

田中秀通：《恢复后米开朗基罗西斯廷教堂绘画的新观察》安努阿里奥。

Hidemichi TANAKA: "II Giudizio Universale di Michelangelo e i design per Cavalieri" Annuario. XVII. (1980)

田中秀通：“II Giudizio Universale di Michelangelo e i design per Cavalieri”Annuario。