Armour as Animated Sculpture in sixteenth- century Germany

当使用火药的进攻性武器的发展逐渐使盔甲在战斗中过时时，审美的精致和功能的完善在16世纪的赛场、锦标赛和仪式盔甲中达到了顶峰。我们如何解释这种对盔甲制造艺术的坚定不移的迷恋？拟议的论文将对推动16世纪德国装甲设计和生产中的独创性和工艺的动机进行细致入微的解释。她将考虑这些物品的审美，以及盔甲制作者是他们那个时代最好的工匠和艺术家之一，在各种艺术和媒体中激发创造力。她将重点关注德国和奥地利的制作中心和法院，偶尔会提到波希米亚和波兰，她将考虑哈布斯堡扩展之家的赞助问题。对于早期的现代观察者来说，穿着盔甲的身体就像是移动的雕塑。即使在没有活跃的穿戴者的情况下，盔甲也没有被固定和沉默。不同的战术被用来激活盔甲，激发人们的想象力，说服旁观者。超越目前文学中对盔甲的孤立，她将分析盔甲和对盔甲的审美欣赏如何有可能塑造早期现代视觉文化，深入到骑士精神缓慢燃烧这一更大的问题，并最终分析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.