Armour as Animated Sculpture in sixteenth- century Germany

虽然使用火药的攻击性武器的发展逐渐使装甲在战斗中过时，但在16世纪的野外、比赛和仪式装甲中，审美的复杂性和功能的完美性达到了顶峰。我们该如何解释这种对盔甲制作艺术坚定不移的迷恋呢？这篇论文将为16世纪德国盔甲设计和生产的独创性和工艺背后的动机提供细致入微的解释。她将考虑这些物品的审美，以及盔甲制造商是他们那个时代最优秀的工匠和艺术家，在艺术和各种媒体中激发创造力的事实。她将重点关注德国和奥地利的生产中心和法院，偶尔也会提到波希米亚和波兰，她将考虑扩大哈布斯堡家族的赞助。对于现代早期的观察者来说，身披盔甲的身体就像移动的雕塑。即使在没有主动穿戴者的情况下，盔甲也不会固定和沉默。他们采用了不同的策略来赋予盔甲以生命，激发人们的想象力，并说服旁观者。超越目前文学中盔甲的孤立，她将分析盔甲和对它的审美欣赏如何有潜力塑造早期现代视觉文化，深入到骑士精神缓慢燃烧的更大问题，并最终探讨中世纪的理想如何继续影响艺术。

While the development of offensive weaponry using gunpowder gradually rendered armour obsolete in battle, aesthetic sophistication and functional perfection reached a highpoint in field, tournament and ceremonial armour of the sixteenth century. How do we explain this unwavering fascination with the art of armour making? The proposed thesis will provide nuanced explanations for the motivation that drove ingenuity and craftsmanship in the design and production of armour in sixteenth-century Germany. She will consider the aesthetic appreciation of these objects and the fact that armour makerswere among the finest craftsmen and artists of their time, inspiring ingenuity across the arts and in various media. Focusing on the production centres and courts of Germany and Austria with occasional reference to Bohemia and Poland, she will consider the patronage of the extended House of Habsburg. To the early modern beholder, the body clad with armour was something like moving sculpture. Even in the absence of an active wearer armour was not immobilised and silenced. Different tactics were employed to animate armour, prompting people's imagination and persuading beholders. Going beyond the current isolation of armour in the literature, she will analyse how armour and aesthetic appreciation for it had the potential to shape early modern visual culture, drilling down to the larger issue of the slow-burn of chivalry and ultimately to how medieval ideals continued to influence the arts.