"GNOTHI KAIRON: Experiencing Time in the Art of the Italian Renaissance"

凯罗斯融合了古希腊的概念，即决定性的，关键的和适当的时间适合人类的行动。经历了不同文化原型的智力融合，并在文艺复兴时期的图像学中作为不同哲学和语言传统的具体视觉而生存，Kairos在着名的16世纪世纪论文中流传，这些论文要么是摇摆一切的大师（pandamator），要么是一个长着翅膀的年轻女子（Occasio），她有着众所周知的额发，手里拿着剃刀，站在命运之轮上。本研究项目旨在通过构建一个功能模型来挑战传统的文艺复兴艺术和视觉文化的解释方法，该模型描绘了艺术生产环境中的时间定性概念，并突出了它们与人类经验各自模式的实质性类比。本文旨在探讨文艺复兴时期的艺术家们是如何通过文学和视觉两种手段来传达、感知和体验Kairos（gnothi kairon）的内在意义的--作为一种独特的时间概念，它可以被抓住，而不是毁灭和枯萎。这一方法将需要对文艺复兴时期意大利的视觉文化采取另一种方法，将后者作为一个共存的时间性的中心，每次都根据不同的制度框架;作为一个相互作用的领域，在叙述《圣经》事件时指向天堂的垂直时间，反映政治-王朝原则及其与艺术生产关系的水平时间，以及一种对角线的时间性，它将古典艺术的复兴与艺术家的个人存在及其工作室实践联系在一起。

Kairos incorporates the ancient Greek conception of the dicisive, critical and opportune time appropriate for human action. Experiencing an intellectual blending of diverse cultural archetypes and surviving as an embodied vision of different philosophical and linguistic traditions in Renaissance iconography, Kairos circulates among well-known 16th century treatises presented either as the master who sways over everything (pandamator), or as a winged-feet young woman (Occasio) with a proverbial forelock and a razor in her hand, standing upon the Wheel of Fortune. The present research project aims to challenge traditional approaches to the interpretation of Renaissance art and visual culture by constructing a functional model that portrays qualitative notions of Time within the milieu of artistic production and highlights their substantial analogies to respective patterns of human experience. With the purpose of examining how the intrinsic meaning of Kairos (gnothi kairon)- as a unique notion of Time that can be seized, rather than doom and wither- was conveyed, perceived and experienced by Renaissance artists by the means of both literary sources and visual representation, I intend to introduce an innovative method for the analysis of visual art -namely, temporal analysis. This method will entail an alternative approach to visual culture in Renaissance Italy, presenting the latter as a locus of co-existent temporalities, each time in accordance with a diverse institutional framework; as a field of interaction between a vertical time pointing heavenward while narrating the events of the Holy Scriptures, a horizontal time that reflects the political-dynastic principle and its relationship to artistic production, and a diagonal temporality that associates the revival of classical antiquity with the individual present of the artist and his/her workshop practice.