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Divine drawings and godly mothers: Raphael’s study of a Seated Woman with Child and verses on maiolica plates from Deruta
Word & Image Pub Date : 2019-01-02 , DOI: 10.1080/02666286.2018.1533352 Zuzanna Sarnecka
Word & Image Pub Date : 2019-01-02 , DOI: 10.1080/02666286.2018.1533352 Zuzanna Sarnecka
Abstract The silverpoint drawing of A Seated Woman Reading with Child (c.1512–13) at Chatsworth seems to be Raphael’s final word in his rethinking of the composition that would integrate a female figure with her child and a book. While the mother focuses her gaze on a book, the child’s upper body is twisted towards the viewer. This group certainly has a domestic quality to it, while it also formally partakes in compositions depicting the Virgin reading with Christ Child. This article suggests that it was this association between the domestic and the religious scene that Raphael wished to devise for printmaking purposes. Once engraved, the composition could circulate both as a print and as a design on maiolica piatti da pompa destined to decorate elite Italian Renaissance homes. Raphael developed a powerful and an intimate scene suitable to accompany various moralizing texts on these ornate, lustred plates. Both the image and the text guided young mothers in their daily activities and assisted the process of self-fashioning enabled by the ambiguity of Raphael’s design and written phrases, which allowed a more universal interpretation of the figures.
中文翻译:
神圣的图画和虔诚的母亲:拉斐尔研究德鲁塔(Deruta)maiolica板上的一个坐着的女人与孩子和经文
摘要查茨沃思(Chatsworth)的《坐着的女人和孩子一起读书》(约1512–13年)的银点画似乎是拉斐尔在重新思考将女性形象与孩子和一本书融为一体的构想中的最后一句话。当母亲将目光聚焦在书上时,孩子的上半身向观看者扭曲。这个团体当然具有家庭特质,同时也正式参与与基督之子一起描绘处女阅读的作品。本文认为,拉斐尔希望为家庭版画和宗教场景之间的这种联系而设计。一旦雕刻,该组合物既可以作为印刷品也可以作为设计用于装饰意大利文艺复兴时期精英住宅的maiolica piatti da pompa上的设计散发。拉斐尔发展了一个强大而亲密的场景,适合伴随这些华丽,沉闷的盘子上的各种道德文字。图像和文字都指导年轻母亲的日常活动,并通过拉斐尔(Raphael)的设计和书面短语的含糊之处帮助自我塑造的过程,从而对数字进行了更普遍的解释。
更新日期:2019-01-02
中文翻译:
神圣的图画和虔诚的母亲:拉斐尔研究德鲁塔(Deruta)maiolica板上的一个坐着的女人与孩子和经文
摘要查茨沃思(Chatsworth)的《坐着的女人和孩子一起读书》(约1512–13年)的银点画似乎是拉斐尔在重新思考将女性形象与孩子和一本书融为一体的构想中的最后一句话。当母亲将目光聚焦在书上时,孩子的上半身向观看者扭曲。这个团体当然具有家庭特质,同时也正式参与与基督之子一起描绘处女阅读的作品。本文认为,拉斐尔希望为家庭版画和宗教场景之间的这种联系而设计。一旦雕刻,该组合物既可以作为印刷品也可以作为设计用于装饰意大利文艺复兴时期精英住宅的maiolica piatti da pompa上的设计散发。拉斐尔发展了一个强大而亲密的场景,适合伴随这些华丽,沉闷的盘子上的各种道德文字。图像和文字都指导年轻母亲的日常活动,并通过拉斐尔(Raphael)的设计和书面短语的含糊之处帮助自我塑造的过程,从而对数字进行了更普遍的解释。