《死去的基督（基督的哀悼）》安德烈亚·曼特尼亚(Andrea Mantegna)高清作品欣赏

安德烈亚·曼特尼亚(Andrea Mantegna)高清作品《死去的基督（基督的哀悼）》

作品名：死去的基督（基督的哀悼）

艺术家：安德烈亚·曼特尼亚

年代：1475—1478

风格：早期文艺复兴

类型：宗教绘画

介质：油画,帆布,彩画

标签：基督教，Jesus Christ

尺寸：81 x 68 cm

收藏：Brera宫殿，米兰的意大利

《基督的哀歌》的主题在中世纪和文艺复兴时期的艺术中很常见，尽管这种处理，可以追溯到一个被称作“基督的涂鸦”的主题在这一时期并不常见。大多数哀悼者表现出更多的哀悼者和身体之间的联系。丰富的光影对比，充满了深沉的悲怆感。场景的真实感和悲剧性通过暴力的视角得到增强，它缩短和戏剧化了卧姿，强调了解剖细节：尤其是基督的胸部。在基督的手和脚上的洞，以及两个哀悼者的脸，描绘没有任何让步的理想主义或修辞。覆盖尸体的引人注目的帷幕有戏剧性的效果。这幅作品把形象的中心焦点放在了基督的生殖器上——这一重点经常出现在耶稣的形象中，尤其是婴儿时期，这一时期与利奥·斯坦伯格和其他人对耶稣人性的神学强调有关。研究一个强烈的缩短的尸体和对圣经悲剧的一种强烈的刻画。这幅画是艺术家洞察力的许多例子之一。乍一看，这幅画似乎是一个非常现实的前瞻性研究。然而，仔细观察发现，曼特尼亚缩小了身影的脚部尺寸，正如他一定知道的，如果适当地表现出来，足部将覆盖身体的大部分。

Title:The Dead Christ (Lamentation of Christ)

artist:Andrea Mantegna

Date:1475 - 1478

Style:Early Renaissance

Genre:religious painting

Media:oil,canvas,tempera

Tag:Christianity,Jesus-Christ

Dimensions:81 x 68 cm

Location:Palazzo Brera, Milan, Italy

The theme of the Lamentation of Christ is common in medieval and Renaissance art, although this treatment, dating back to a subject known as the Anointing of Christ is unusual for the period. Most Lamentations show much more contact between the mourners and the body. Rich contrasts of light and shadow abound, infused by a profound sense of pathos. The realism and tragedy of the scene are enhanced by the violent perspective, which foreshortens and dramatizes the recumbent figure, stressing the anatomical details: in particular, Christ's thorax. The holes in Christ's hands and feet, as well as the faces of the two mourners, are portrayed without any concession to idealism or rhetoric. The sharply drawn drapery which covers the corpse contributes to the dramatic effect. The composition places the central focus of the image on Christ's genitals - an emphasis often found in figures of Jesus, especially as an infant, in this period, which has been related to a theological emphasis on the Humanity of Jesus by Leo Steinberg and others.Mantegna presented both a harrowing study of a strongly foreshortened cadaver and an intensely poignant depiction of a biblical tragedy. This painting is one of many examples of the artist's mastery of perspective. At first glance, the painting seems to be a strikingly realistic study in foreshortening . However, careful scrutiny reveals that Mantegna reduced the size of the figure's feet, which, as he must have known, would cover much of the body if properly represented