评论
打印
Here I show you two rather blurred 16th century prints
现在我要向你们展示两个有些模糊不清的
that shows spinning as
16世纪的版画
a virtuous activity for women
其中表明了纺纱是女性的贤惠行为之一
even well-born women
即便是出生高贵的女性也是如此
On the left is Hans Spouden Grien's woodcut
左边的这个是汉斯·斯普登·葛莉安
of 1511
创作于1511年的木版画
on the right showing St. Elizabeth
右边显示的是圣·伊丽莎白
spinning with female companions
正在和女伴一起纺纱的画面
And on the left is
而左边这个约创作于1560年的
Luca Bertilli's print of around 1560
卢卡·拜帝力的版画
showing the ancient Roman matron, Lucretia
展示的是古罗马的主妇 卢克丽霞
who was considered an exemplar of female chastity and marriage
她被认为是女性贞操和婚姻的楷模
She is shown working at her embroidery
她正在绣花
while a widow spins behind her
而她旁边的那位寡妇正在纺纱
They're presented in a well to do domestic interior
她们正处在富裕家庭的室内
with a small child learning to walk in a baby walker to the left
旁边还有一个小孩正在学步车内学习走路
Such scenes indicate the way in which spinning and sewing
这些场景表明纺纱和缝纫
were seen as feminine accomplishments
是体现女性成就的方式
and their accessories as emblems of female virtue
她们所完成的配饰是女性美德的象征
These associations are taken even
这些联想在乔治·凡赛尔于1560-1561年间
further in the painted ceilings
在艾拉诺拉·德·美第奇位于佛罗伦萨的
executed in 1560-1 by Georgio Vesare in the apartments of
帕拉佐·德·赛诺利亚的寓所
Elanora de Medici in the Pallazo de Senoria in Florence
所完成的彩绘天花板中得到了更深刻的体现
Vesare described how in one of the rooms
凡赛尔描述了其中一间屋子的彩绘情况
"we painted a large roundel in the middle of the ceiling "
我们在天花板中央的大圆盘描绘的是
with the story of Penelope dealing with her domestic business
佩内洛普处理家务
weaving at her loom
在织布机上织布的场景
while her husband Ulysses
而她的丈夫尤利西斯
is away at the Trojan war"
则远在他乡参加特洛伊战争"
Penelope is shown virtuously weaving
图像所展示的佩内洛普
as a chaste and noble activity
将织布作为一种很纯洁很高贵的行为
surrounded by her handmaidens sewing and spinning
围绕在她周围的是正在缝纫和纺纱的侍女
The painting suggest the intellectual context
这幅画暗示了一种知识背景
within which such a mundane object as a spindle whorl
在这种背景下 像锭盘这样一个尘世的物品
can be viewed as a love token
可以视为是爱情信物
and be viewed as a woman's status in marriage
同时被看作是婚姻中女性的地位
I've taken you on a journey, exploring the various ways
我已经带你们探索了在意大利文艺复兴时期
in which maiolica paintings and painters used the imagery of
马爵利卡陶上的彩绘
desire and love and the symbols of marriage
和画师以不同的方式
on their wares during the Italian renaissance
体现欲望 爱情和婚姻象征的画面
In the case of noble patrons
在贵族主顾的例子中
I've looked at the heraldry of married couples and widows
我已经看过已婚夫妇和寡妇的文章
I've also examined inscriptions
我也查看了看起来能够
which appear to link a ceramic
将瓷器和某个特定的女性联系在一起的文字
to a particular woman, for whom it was intended as a gift
这些瓷器是作为赠送给相关女性的礼物
When we move to popular imagery and designed motifs
当我们转入比较流行的图画和设计的主题
we should of course remember that their use
我们当然应该牢记其用途
may only reflect workshop practice
只能反映作坊工作实践
depending on what kinds of visual sources were available
需由拥有视觉来源的类型来进行判断
or they could integrate crude marketing instincts
或者它们具有天生的市场直觉性
You only have to go shopping
你们必须和十多岁的小女孩一起购物
with a young teenage girl to see that
才能发现
any accessory decorated with a heart always seems to appeal
用心装饰的配件通常都很有吸引力
But this imagery can take us a lot further than that in what
但这幅图画能够让我们了解
it has to tell us about ideals of behavior
比图画本身所告诉我们的有关理想行为
and patterns of social interaction
和社会互动的形式更为深入的内容
I've stressed the social function of ceramics throughout my talk
我在讲话中强调了瓷器的社会功能
and with good reason
并给予了充分的理由
maiolica as a whole bridges the archeology
总的来说 马爵利卡陶瓷从某种程度上
material culture and art history of renaissance Italy
将意大利文艺复兴时期的考古学 物质文化
to a degree
和艺术史联系在一起
that no other art form can match
这是其他任何一种艺术形式都无法匹敌的
Echoes of great painting are everywhere on these ceramics
伟大的绘画作品的模仿在这些瓷器中无处不在
but the common inspiration is that of prints
但是其通常的灵感就是这些版画
through which the work of great painting was often mediated
通往伟大画作的灵感往往受到阻断
maiolica therefore gives us a unique insight into what
因此马爵利卡陶瓷为我们提供了
the renaissance
一个探索文艺复兴
meant to Italians
对意大利学术和艺术界精英们
both inside and outside the scholarly artistic elite
意味着什么的独特视角
This is what makes it one of the most vivid and characteristic
也正是这个使其成为意大利文艺复兴时期
arts of the Italian renaissance
最生动最具特色的艺术之一
Thank you
谢谢大家
