Distinguished from purely formalistic research methods,iconography pursues the interpretation of the hidden historical and humanistic connotations behind artworks,and is a discipline that combines visual text and cont...Distinguished from purely formalistic research methods,iconography pursues the interpretation of the hidden historical and humanistic connotations behind artworks,and is a discipline that combines visual text and content analysis methods.Combining the three stages of iconography proposed by Panofsky,the paper studies Shizeng Chen’s Viewing Paintings from the perspective of iconography,summarizing the formation and change of the images and contents of the artworks in the cultural system and civilization at that time,as well as their implied ideology,and analyzing the hidden spirit of the times and the historical significance behind them,so as to expound their iconographic significance.Through an in-depth discussion at three levels:pre-pictorial iconographic description,iconographic analysis,and iconographic interpretation,the facts and surface contents reproduced in the images,the traditional level of literary,artistic,and cultural knowledge,as well as the interpretation of the potential meanings are revealed.展开更多
Up to now,The Iconography of the Decorated Writing-Paper of the Ten Bamboo Studio(shortened as Iconography)is the first large-scale book to systematically study and interpret the notes and pictures of The Decorated Wr...Up to now,The Iconography of the Decorated Writing-Paper of the Ten Bamboo Studio(shortened as Iconography)is the first large-scale book to systematically study and interpret the notes and pictures of The Decorated Writing-Paper of the Ten Bamboo Studio(shortened as Ten Bamboo).The Iconography explains the sources and interpretations of 123 paintings in 15 groups.The content covers the celebrities and historical allusions of Tessa in the past dynasties,in which there are many nicknames that are full of Chinese characteristics.This paper takes the English translation of characters’nicknames in Iconography as the research object.Through the research,it is found that the translation of these characters’nicknames mainly adopts the methods of transliteration,explanation,literal translation with annotations and free translation.Through the analysis of specific cases,this paper tries to make the translation meet the reading expectation of the target readers to the maximum extent,and provide reference for the English translation of related classical works.展开更多
As an emerging discipline which interrelates with musicology and iconology, the Music Iconography in China is still at the beginning stage. In the past 30 years, its research methods have been the focus of debate in r...As an emerging discipline which interrelates with musicology and iconology, the Music Iconography in China is still at the beginning stage. In the past 30 years, its research methods have been the focus of debate in regard to its academic direction, academic position, and academic path. These three ＂academic problems＂ should be paid attention because they not only sustain our current research and construction of Music Iconography＇s future and destiny, but also become major theoretical and practical issues. The author advocates that the academic direction should maintain highly consistent with the reality of China, as well as the academic practice. In order to guarantee the academic direction and academic position, we should adopt the academic path from these two aspects： ＂the horizontal logic＂ and ＂the longitudinal logic＂展开更多
Based on the theory of translational action of the functionalism,this paper selects three aspects,translation as an inter-cultural and communicative action,a purposeful text-processing action and an inter-personal act...Based on the theory of translational action of the functionalism,this paper selects three aspects,translation as an inter-cultural and communicative action,a purposeful text-processing action and an inter-personal action,to analyze the important issues as well as the translation strategies,methods and techniques adopted in the translation of Chinese allusions.The study shows that the theory of translational action is important for the translation of allusions and that it helps to modify the target text.The translator,also the author of this paper,hopes that this study will be useful for the translation of allusions and the publicity of traditional Chinese culture across the world.展开更多
Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of im...Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of images as a compendium of iconography for a decorative program was in the vein of the literary practices of Andrea Alciato(1482-1550),Pierio Valeriano(1477-1558),and Vincenzo Cartari(1531-1590),and followed Paolo Giovio’s advice on how to depict an emblematic image or impresa1(Giovio,1559,p.9).For Giovio(1483-1552),an impresa or badge must contain a figure and motto,its meaning should be clear and precise,the imagery must be pleasant to look at,and the motto must be brief,inventive,and unambiguous.But sometimes Vasari did not follow his advice,relying more on the Renaissance Neoplatonic notion of a concept postulated by the Florentine philosopher Marsilio Ficino(1433-1499).In De vita coelitus comparanda(How Life Should Be Arranged According to the Heavens)2(Ficino,1489;1561-1563;1996,pp.7-19;Kerrigan&Braden,1989,pp.101-115).Ficino discusses the use and the magic potency of images by deliberating on the virtue of imagery,what power pertains to the figure in the Heavens and on Earth,which of the heavenly configurations are impressed on images by the ancients,and how the images are employed in antiquity3(Gombrich,1972,p.172;Chastel,1996,pp.81-89;Moore,1990,p.20,137,181;Bull,2006,pp.7-36).Vasari assimilated these concepts visually in the fresco painting of the Bride with a Rake(1548),located in one of the rooms in his house in Arezzo,the Chamber of Fortune(Chamber of Virtue),where he composed a paradoxical iconographic image-the subject of this essay.This essay is composed of two parts:an introduction to the location of the painting in the Casa Vasari in Arezzo and an iconographical and iconological interpretation of the imagery.展开更多
Giorgio Vasari(1511-74)as an artist and art historian of Italian Mannerism viewed himself as huomo buono et docto in buon letter(a fine and learned man).1 In choosing to practice various arts such as writing treatises...Giorgio Vasari(1511-74)as an artist and art historian of Italian Mannerism viewed himself as huomo buono et docto in buon letter(a fine and learned man).1 In choosing to practice various arts such as writing treatises,collecting drawings,painting decorative cycles,designing buildings,and decorating facades,Vasari was viewed by humanists as a virtuoso.This Tuscan painter,architect,art collector,writer,and art historian is best known for his Vite de’piùeccellenti architetti,pittori e scultori italiani,da Cimabue insino a’tempi nostri(Lives of the Most Excellent Architects,Painters and Sculptors of Italy,from Cimabue to the present time),which was first published in 1550,followed by an enlarged edition illustrated with woodcuts of artists’portraits in 1568.2 In 1960,Einar Rud(1892-1980),a Danish biographer and a scholar of Vasari,characterized him as the first art historian.3 By virtue of Rud’s text,Vasari is known as“the first art historian”-in particular,of Italian art-since Pliny the Elder wrote Book 35 on the History of Art in Ancient times in the Natural History,published posthumously in 79 CE.4 It is almost impossible to imagine the history of Italian art without Vasari,so fundamental is his Vite(Lives).This sixteenth-century Italian work is the first real and autonomous history of art because of its monumental encompassing of all of the following:(1)preambles for explanatory data on the function of the text;(2)integration of individual biographies(with anecdotal,gossipy,and amusing commentaries);(3)theory of art with articulations about artistic creativity and intentionality;and(4)inclusion of explanations of the function and types of artistic materials as well as their applications and techniques necessary for the productivity of art forms(that is,a formation of an instruction manual for artists and the manual’s application to material culture in the sixteenth century).In his coat of arms,Vasari visualized these creative activities and honored his Aretine artistic ancestry(Figure 1).This study consists of four parts:(1)a brief history of Vasari’s family;(2)a brief discussion of Vasari’s homes,Case Vasari;(3)a discussion on the location of his coat of arms(stemma)in the Case Vasari;and(4)and an interpretation of the meaning of Vasari’s coat of arms in his Aretine home.展开更多
This study aims to visualize Giorgio Vasari＇s statement in discussing Jacopo Tintoretto＇s Female Concert of 1576-86, now at the Gemaldegalerie Alte Meister in Dresden （see Figure 1）. Two conceits （concetti） are ...This study aims to visualize Giorgio Vasari＇s statement in discussing Jacopo Tintoretto＇s Female Concert of 1576-86, now at the Gemaldegalerie Alte Meister in Dresden （see Figure 1）. Two conceits （concetti） are considered in analyzing Tintoretto＇s female imagery： （1） a fanciful invention of musica extravaganza; and （2） a Venetian allegory of bellezza. The first part of the essay discusses the provenance of the painting and the second part presents an iconographical interpretation of the imagery. This essay also focuses on the iconography of the painting based on viewing the subject and does not postulate on its iconography based on disappeared paintings or on a speculative decorative cycle on the theme of Hercules. Relying on well-documented research on music in Venice, on Mannerist practices, and on art theories during Tintoretto＇s life, some intriguing observations are made about the painting.展开更多
Botticelli’s Minerva and the Centaur of 1482-1483,along with his other mythological paintings,the Primavera,the Birth of Venus,and Mars and Venus,remains an iconographical mystery.As such,it is particularly interesti...Botticelli’s Minerva and the Centaur of 1482-1483,along with his other mythological paintings,the Primavera,the Birth of Venus,and Mars and Venus,remains an iconographical mystery.As such,it is particularly interesting to analyze them.Now at the Galleria degli Uffizi in Florence and National Gallery in London,these paintings,executed between 1480 and 1490,were commissioned with specific aesthetic and intellectual aims and were intended to be hung in private rooms for personal viewing.Botticelli’s mythological paintings reflect the Renaissance humanistic body of thought:the study of antiquity and Neoplatonic philosophy.This essay focuses on one aspect:an interpretation of the influence of antiquity and humanism in Botticelli’s Minerva and the Centaur,a conflation of Minerva pacifica and Minerva pudica.展开更多
Giovanni Antonio Bazzi （1477-1549）, also known as I1 Sodoma, was a Milanese painter who developed his mature style in Siena during the early Cinquecento. Between 1505 and 1510, under the tutelage of the Chigi and Pe...Giovanni Antonio Bazzi （1477-1549）, also known as I1 Sodoma, was a Milanese painter who developed his mature style in Siena during the early Cinquecento. Between 1505 and 1510, under the tutelage of the Chigi and Petrucci families, Bazzi depicted mythological paintings focusing on the personifications of love both terrestrial and celestial. This paper looks at two such works. In one, there hangs on a sycamore tree a classical cartello with the Latin inscription Celestes, meaning celestial or heavenly, providing the title for the painting Amore Celeste （Celestial Love, Figure 3）. A woman, as the personification of love, stands in front of two altars. She ignites one urn with fire and at the same time pours water over another burning fire. In the second work, a tondo with the theme of Terrestrial Love and Celestial Love, Bazzi considered the mischievousness of Venus＇ children Eros and Anteros （Figure 12）. These paintings are mythological and poetical delights with complex symbolism, here analyzed in terms of their iconography in relation to classical influences and Renaissance Neoplatonic love or furor divinus. The paradoxical quest of Renaissance Neoplatonic love was to fuse pagan love with Christian love. For the humanists of the time （Bembo, Colonna, Poliziano, Ficino and Pico） this moral dilemma was a philosophical puzzle, but for artists （Botticelli, Nicoletto da Modena, Pinturicchio and Bazzi） the theme was a pictorial challenge.展开更多
This study examines the humanistic influence of ancient and Renaissance art in Camillo Camilli＇s Imprese of 1586. Camillo Camilli （ca. 1560-1615--his exact birth date is unknown） was an Italian poet of the sixteent...This study examines the humanistic influence of ancient and Renaissance art in Camillo Camilli＇s Imprese of 1586. Camillo Camilli （ca. 1560-1615--his exact birth date is unknown） was an Italian poet of the sixteenth-century. His family came from Monte San Savino, Siena, and records mention that he died on July 13, 1615, in Ragusa. While personal documentation on Camilli＇s life is scarce there are substantial sources about his literary career as a translator, compiler and poet. Camilli wrote extensively. There are the five canti on Erminia e Tancredi which were collated with Tarquo Tasso＇s （1544-1595） unfinished poems, and his commentaries for Ludovico Ariosto＇s Orlando Furioso in 1584 and for Tasso＇s Gerusalemme Liberata in 1585. Under the influence of Tasso＇s writings and his involvement in the commentary of Gerusalemme Liberata （1585）, Camilli started formulating his concetto （conceit） of what an impresa is （badge, device or insignia）. The focus of this essay is on Camilli＇s Imprese for the Academies. The whole collection of the lmprese consists of three volumes. The frontispiece to each volume depicts three different stage settings filled with classical ornamentation and bearing in the center of the lintel the impresa or insignia of Francesco Ziletti＇s printing company--a starfish surrounded by stars and bound by a ribbon. Camilli selected this image to announce through the imprese the significance of these famous men （uominifamosi） of the academy, granting them immortality and honor for their cultural and intellectual accomplishments.展开更多
The novelties in the representation of strongholds in Alentejo-southem Portugal, frontier with Spain, considered as a ＂theater of war＂ during the 17th and 18th centuries-followed European influences, which the theor...The novelties in the representation of strongholds in Alentejo-southem Portugal, frontier with Spain, considered as a ＂theater of war＂ during the 17th and 18th centuries-followed European influences, which the theorists responsible for training the engineers in active in the country at this time, Luis Serrao Pimentel and Manuel de Azevedo Fortes, intend to apply. Several drawings bring testimony to this, by showing different ways of representing natural or built elements, allowing for comparisons with other regions of the country or even Europe. The comparison with earlier projects, and given the information contained mainly in the works of Luis Serr^o Pimentel and Manuel de Azevedo Fortes, lead us not only to the conclusion of the acceptance of the proposed rules, in order to enrich the profile of military engineers in Portugal, but also to notice the changes that this acceptance signified, emphasizing especially the technical and artistic sensibility of the authors of these projects of military architecture.展开更多
In 1564,in honor of the death of Michelangelo Buonarroti(1475-1564),an artistic extravaganza was invented by the Benedictine monk Vincenzo Borghini(1515-1580)-prior of the hospital of the innocents,humanist,and admini...In 1564,in honor of the death of Michelangelo Buonarroti(1475-1564),an artistic extravaganza was invented by the Benedictine monk Vincenzo Borghini(1515-1580)-prior of the hospital of the innocents,humanist,and administrator of the Florentine Academy of Design(Accademia del Disegno or Florentine Academy)-and was implemented by Giorgio Vasari(1511-1574)-artist,writer,and artistic director of the Academy,who engaged his Florentine assistants to work on the execution of the tomb in the Basilica of Santa Croce in Florence(see Figure 1).The commission of Michelangelo’s tomb was prompted by his nephew,Lionardo[Leonardo]Simoni-Buonarroti(1522-1599),and the Grand Duke of Tuscany,Cosimo I de’Medici(1519-1574).The tomb was completed in 1578.Vasari designed the architectural monument,and his assistants,members of the Florentine Academy,collaborated in the following manner:The sculptures of the Fine Arts were carved by Giovanni Bandini(1540-1599),who represented the personification of architecture;Valerio di Simone Cioli(1529-1599),who represented the personification of Sculpture;and Battista Lorenzi(1527-1594),who represented the personification of Painting and the portrait bust of Michelangelo.Giovanni Battista Naldini(1537-1591)completed al fresco the burning urns,the purple-colored doorway of the tomb,the suspended canopy,and the Pietàin the center of the marble tabernacle.This latter artistic contribution is the topic of this essay.展开更多
Flowers are endowed with rich symbolic meanings.It uses unique attributes to express people's emotions,feelings,and desires.According to Joan Snyder's Symphony VII,not all flowers symbolize beauty and happines...Flowers are endowed with rich symbolic meanings.It uses unique attributes to express people's emotions,feelings,and desires.According to Joan Snyder's Symphony VII,not all flowers symbolize beauty and happiness.The artist uses unique painting techniques to paint beautiful roses as bloody female organs,showing the fragility and helplessness of women.The work gives a contrasting impact of beauty and despair.Applying Greenberg's abstract expressionism theory and Erwin Panofsky's iconography theory along with research,this paper explored how Joan Snyder uses flower elements to symbolize women's vulnerability in Symphony VII.Joan Snyder's Symphony VII is constantly discussing violence against women around the world to warn and showcase the problems of women around us.展开更多
Barbara Longhi of Ravenna(1552-1638)skillfully created small devotional altarpieces depicting holy saints with their respective attributes of martyrdom,seen in Saint Agnes of Rome(c.291-304)with an ewe,Saint Cecilia(c...Barbara Longhi of Ravenna(1552-1638)skillfully created small devotional altarpieces depicting holy saints with their respective attributes of martyrdom,seen in Saint Agnes of Rome(c.291-304)with an ewe,Saint Cecilia(c.200-235)with a portable organ,Saint Catherine of Alexandria(c.287-304)with a broken spiked wheel,and Saint Justina of Padua(c.3rd century)with a small sword in her chest.For their physical sacrifice,Heaven rewarded them with a palm frond as an honorific spiritual gift.Barbara included some of these saints in her paintings on the theme of holy conversation(sacra conversazione;a religious gathering with the Madonna and Child)and depicted the female saints as a single panel-solo image-for private devotion or supplicatory assistance.Most of the biographies and historicity about the lives of these saints are recounted by Jacobus de Voragine(1222-1298),Archbishop of Genoa,in his Golden Legend(Legenda Aurea,1275).This essay only comments on the iconography of one of Barbara’s female saints,Saint Justina of Padua.展开更多
This article investigates one of the earliest attempts to systematically construct a building tradition and incorporate it into modern Chinese architectural design.These efforts were put forth by Liang Sicheng(1901e19...This article investigates one of the earliest attempts to systematically construct a building tradition and incorporate it into modern Chinese architectural design.These efforts were put forth by Liang Sicheng(1901e1972),one of the most distinguished Chinese architects and architectural historians,in the 1920s and 1930s in China,informed by the strong collective intention to honour the Chinese past.This article provides a historical and critical reflection on this collective intention that is still shared nowadays by architects and architectural theorists.This article examines in depth the evolution of the different ways Liang used the building past and constructed the Chinese architectural traditions in different crucial stages of his architectural career in the 1920s and 1930s.It uses architectural drawing as both the research subject and the research method.Three of Liang’s representative drawings from these crucial professional stages are juxtaposed and investigated to reveal this evolution using the iconography and iconology method.展开更多
To describe the etiologies, clinical features and diagnosis of cerebral venous sinus thrombosis Methods We reviewed the records of 23 patients admitted with a documented diagnosis of cerebral venous sinus thrombosis...To describe the etiologies, clinical features and diagnosis of cerebral venous sinus thrombosis Methods We reviewed the records of 23 patients admitted with a documented diagnosis of cerebral venous sinus thrombosis from 1991 through 1999 in the Beijing Tiantan Hospital Results Infection was the major condition associated with cerebral venous sinus thrombosis Pseudotumor cerebri syndrome was the most common manifestation, while hemiplegia, seizure and unconsciousness may occur alone or in association The diagnostic sensitivity of computed tomography (CT), magnetic resonance imaging (MRI) and digital subtract angiography (DSA) were 59%, 86% and 100%, respectively The sensitivity of MRI with magnetic resonance angiography (MRA) reached 96% Conclusion As the clinical findings were found to be nonspecific, CT combined with DSA, or MRI with MRA turns out to be valuable for the early diagnosis of cerebral venous sinus thrombosis展开更多
文摘Distinguished from purely formalistic research methods,iconography pursues the interpretation of the hidden historical and humanistic connotations behind artworks,and is a discipline that combines visual text and content analysis methods.Combining the three stages of iconography proposed by Panofsky,the paper studies Shizeng Chen’s Viewing Paintings from the perspective of iconography,summarizing the formation and change of the images and contents of the artworks in the cultural system and civilization at that time,as well as their implied ideology,and analyzing the hidden spirit of the times and the historical significance behind them,so as to expound their iconographic significance.Through an in-depth discussion at three levels:pre-pictorial iconographic description,iconographic analysis,and iconographic interpretation,the facts and surface contents reproduced in the images,the traditional level of literary,artistic,and cultural knowledge,as well as the interpretation of the potential meanings are revealed.
基金Thanks to the committee of Jiangsu Social Science.This paper is funded by Jiangsu Social Science Fund:The Iconography of The Decorated Writing-Paper of the Ten Bamboo Studio,which number is 20YYB005This paper is also funded by Teaching Reform Project for Postgraduate Education(Construction of High-quality Teaching Resources):Translation Industry Training(No.:2023YJXGG-C25)which is organized by the Postgraduate College of NUAA.
文摘Up to now,The Iconography of the Decorated Writing-Paper of the Ten Bamboo Studio(shortened as Iconography)is the first large-scale book to systematically study and interpret the notes and pictures of The Decorated Writing-Paper of the Ten Bamboo Studio(shortened as Ten Bamboo).The Iconography explains the sources and interpretations of 123 paintings in 15 groups.The content covers the celebrities and historical allusions of Tessa in the past dynasties,in which there are many nicknames that are full of Chinese characteristics.This paper takes the English translation of characters’nicknames in Iconography as the research object.Through the research,it is found that the translation of these characters’nicknames mainly adopts the methods of transliteration,explanation,literal translation with annotations and free translation.Through the analysis of specific cases,this paper tries to make the translation meet the reading expectation of the target readers to the maximum extent,and provide reference for the English translation of related classical works.
文摘As an emerging discipline which interrelates with musicology and iconology, the Music Iconography in China is still at the beginning stage. In the past 30 years, its research methods have been the focus of debate in regard to its academic direction, academic position, and academic path. These three ＂academic problems＂ should be paid attention because they not only sustain our current research and construction of Music Iconography＇s future and destiny, but also become major theoretical and practical issues. The author advocates that the academic direction should maintain highly consistent with the reality of China, as well as the academic practice. In order to guarantee the academic direction and academic position, we should adopt the academic path from these two aspects： ＂the horizontal logic＂ and ＂the longitudinal logic＂
基金Thanks to the committee of Jiangsu Social Science.This paper is funded by Jiangsu Social Science Fund:The Iconography of The Decorated Writing-Paper of the Ten Bamboo Studio,which number is 20YYB005.Meanwhile,it is also the findings of Comparative Analysis of International Media Discourse on SARS and COVID-19 and Countermeasure Studies(No.:2020SJZDA013)Major Projects of Philosophy and Social Science Research in Colleges and Universities of Jiangsu ProvinceThis paper is also funded by the Education Science and Reform Special Project:A study on Curriculum Setting of Industry Translation Training for MTI(No.:2019JYKX-11),which is organized by the Center of Faculty Development and Teaching Evaluation of NUAA.
文摘Based on the theory of translational action of the functionalism,this paper selects three aspects,translation as an inter-cultural and communicative action,a purposeful text-processing action and an inter-personal action,to analyze the important issues as well as the translation strategies,methods and techniques adopted in the translation of Chinese allusions.The study shows that the theory of translational action is important for the translation of allusions and that it helps to modify the target text.The translator,also the author of this paper,hopes that this study will be useful for the translation of allusions and the publicity of traditional Chinese culture across the world.
文摘Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of images as a compendium of iconography for a decorative program was in the vein of the literary practices of Andrea Alciato(1482-1550),Pierio Valeriano(1477-1558),and Vincenzo Cartari(1531-1590),and followed Paolo Giovio’s advice on how to depict an emblematic image or impresa1(Giovio,1559,p.9).For Giovio(1483-1552),an impresa or badge must contain a figure and motto,its meaning should be clear and precise,the imagery must be pleasant to look at,and the motto must be brief,inventive,and unambiguous.But sometimes Vasari did not follow his advice,relying more on the Renaissance Neoplatonic notion of a concept postulated by the Florentine philosopher Marsilio Ficino(1433-1499).In De vita coelitus comparanda(How Life Should Be Arranged According to the Heavens)2(Ficino,1489;1561-1563;1996,pp.7-19;Kerrigan&Braden,1989,pp.101-115).Ficino discusses the use and the magic potency of images by deliberating on the virtue of imagery,what power pertains to the figure in the Heavens and on Earth,which of the heavenly configurations are impressed on images by the ancients,and how the images are employed in antiquity3(Gombrich,1972,p.172;Chastel,1996,pp.81-89;Moore,1990,p.20,137,181;Bull,2006,pp.7-36).Vasari assimilated these concepts visually in the fresco painting of the Bride with a Rake(1548),located in one of the rooms in his house in Arezzo,the Chamber of Fortune(Chamber of Virtue),where he composed a paradoxical iconographic image-the subject of this essay.This essay is composed of two parts:an introduction to the location of the painting in the Casa Vasari in Arezzo and an iconographical and iconological interpretation of the imagery.
文摘Giorgio Vasari(1511-74)as an artist and art historian of Italian Mannerism viewed himself as huomo buono et docto in buon letter(a fine and learned man).1 In choosing to practice various arts such as writing treatises,collecting drawings,painting decorative cycles,designing buildings,and decorating facades,Vasari was viewed by humanists as a virtuoso.This Tuscan painter,architect,art collector,writer,and art historian is best known for his Vite de’piùeccellenti architetti,pittori e scultori italiani,da Cimabue insino a’tempi nostri(Lives of the Most Excellent Architects,Painters and Sculptors of Italy,from Cimabue to the present time),which was first published in 1550,followed by an enlarged edition illustrated with woodcuts of artists’portraits in 1568.2 In 1960,Einar Rud(1892-1980),a Danish biographer and a scholar of Vasari,characterized him as the first art historian.3 By virtue of Rud’s text,Vasari is known as“the first art historian”-in particular,of Italian art-since Pliny the Elder wrote Book 35 on the History of Art in Ancient times in the Natural History,published posthumously in 79 CE.4 It is almost impossible to imagine the history of Italian art without Vasari,so fundamental is his Vite(Lives).This sixteenth-century Italian work is the first real and autonomous history of art because of its monumental encompassing of all of the following:(1)preambles for explanatory data on the function of the text;(2)integration of individual biographies(with anecdotal,gossipy,and amusing commentaries);(3)theory of art with articulations about artistic creativity and intentionality;and(4)inclusion of explanations of the function and types of artistic materials as well as their applications and techniques necessary for the productivity of art forms(that is,a formation of an instruction manual for artists and the manual’s application to material culture in the sixteenth century).In his coat of arms,Vasari visualized these creative activities and honored his Aretine artistic ancestry(Figure 1).This study consists of four parts:(1)a brief history of Vasari’s family;(2)a brief discussion of Vasari’s homes,Case Vasari;(3)a discussion on the location of his coat of arms(stemma)in the Case Vasari;and(4)and an interpretation of the meaning of Vasari’s coat of arms in his Aretine home.
文摘This study aims to visualize Giorgio Vasari＇s statement in discussing Jacopo Tintoretto＇s Female Concert of 1576-86, now at the Gemaldegalerie Alte Meister in Dresden （see Figure 1）. Two conceits （concetti） are considered in analyzing Tintoretto＇s female imagery： （1） a fanciful invention of musica extravaganza; and （2） a Venetian allegory of bellezza. The first part of the essay discusses the provenance of the painting and the second part presents an iconographical interpretation of the imagery. This essay also focuses on the iconography of the painting based on viewing the subject and does not postulate on its iconography based on disappeared paintings or on a speculative decorative cycle on the theme of Hercules. Relying on well-documented research on music in Venice, on Mannerist practices, and on art theories during Tintoretto＇s life, some intriguing observations are made about the painting.
文摘Botticelli’s Minerva and the Centaur of 1482-1483,along with his other mythological paintings,the Primavera,the Birth of Venus,and Mars and Venus,remains an iconographical mystery.As such,it is particularly interesting to analyze them.Now at the Galleria degli Uffizi in Florence and National Gallery in London,these paintings,executed between 1480 and 1490,were commissioned with specific aesthetic and intellectual aims and were intended to be hung in private rooms for personal viewing.Botticelli’s mythological paintings reflect the Renaissance humanistic body of thought:the study of antiquity and Neoplatonic philosophy.This essay focuses on one aspect:an interpretation of the influence of antiquity and humanism in Botticelli’s Minerva and the Centaur,a conflation of Minerva pacifica and Minerva pudica.
文摘Giovanni Antonio Bazzi （1477-1549）, also known as I1 Sodoma, was a Milanese painter who developed his mature style in Siena during the early Cinquecento. Between 1505 and 1510, under the tutelage of the Chigi and Petrucci families, Bazzi depicted mythological paintings focusing on the personifications of love both terrestrial and celestial. This paper looks at two such works. In one, there hangs on a sycamore tree a classical cartello with the Latin inscription Celestes, meaning celestial or heavenly, providing the title for the painting Amore Celeste （Celestial Love, Figure 3）. A woman, as the personification of love, stands in front of two altars. She ignites one urn with fire and at the same time pours water over another burning fire. In the second work, a tondo with the theme of Terrestrial Love and Celestial Love, Bazzi considered the mischievousness of Venus＇ children Eros and Anteros （Figure 12）. These paintings are mythological and poetical delights with complex symbolism, here analyzed in terms of their iconography in relation to classical influences and Renaissance Neoplatonic love or furor divinus. The paradoxical quest of Renaissance Neoplatonic love was to fuse pagan love with Christian love. For the humanists of the time （Bembo, Colonna, Poliziano, Ficino and Pico） this moral dilemma was a philosophical puzzle, but for artists （Botticelli, Nicoletto da Modena, Pinturicchio and Bazzi） the theme was a pictorial challenge.
文摘This study examines the humanistic influence of ancient and Renaissance art in Camillo Camilli＇s Imprese of 1586. Camillo Camilli （ca. 1560-1615--his exact birth date is unknown） was an Italian poet of the sixteenth-century. His family came from Monte San Savino, Siena, and records mention that he died on July 13, 1615, in Ragusa. While personal documentation on Camilli＇s life is scarce there are substantial sources about his literary career as a translator, compiler and poet. Camilli wrote extensively. There are the five canti on Erminia e Tancredi which were collated with Tarquo Tasso＇s （1544-1595） unfinished poems, and his commentaries for Ludovico Ariosto＇s Orlando Furioso in 1584 and for Tasso＇s Gerusalemme Liberata in 1585. Under the influence of Tasso＇s writings and his involvement in the commentary of Gerusalemme Liberata （1585）, Camilli started formulating his concetto （conceit） of what an impresa is （badge, device or insignia）. The focus of this essay is on Camilli＇s Imprese for the Academies. The whole collection of the lmprese consists of three volumes. The frontispiece to each volume depicts three different stage settings filled with classical ornamentation and bearing in the center of the lintel the impresa or insignia of Francesco Ziletti＇s printing company--a starfish surrounded by stars and bound by a ribbon. Camilli selected this image to announce through the imprese the significance of these famous men （uominifamosi） of the academy, granting them immortality and honor for their cultural and intellectual accomplishments.
文摘The novelties in the representation of strongholds in Alentejo-southem Portugal, frontier with Spain, considered as a ＂theater of war＂ during the 17th and 18th centuries-followed European influences, which the theorists responsible for training the engineers in active in the country at this time, Luis Serrao Pimentel and Manuel de Azevedo Fortes, intend to apply. Several drawings bring testimony to this, by showing different ways of representing natural or built elements, allowing for comparisons with other regions of the country or even Europe. The comparison with earlier projects, and given the information contained mainly in the works of Luis Serr^o Pimentel and Manuel de Azevedo Fortes, lead us not only to the conclusion of the acceptance of the proposed rules, in order to enrich the profile of military engineers in Portugal, but also to notice the changes that this acceptance signified, emphasizing especially the technical and artistic sensibility of the authors of these projects of military architecture.
文摘In 1564,in honor of the death of Michelangelo Buonarroti(1475-1564),an artistic extravaganza was invented by the Benedictine monk Vincenzo Borghini(1515-1580)-prior of the hospital of the innocents,humanist,and administrator of the Florentine Academy of Design(Accademia del Disegno or Florentine Academy)-and was implemented by Giorgio Vasari(1511-1574)-artist,writer,and artistic director of the Academy,who engaged his Florentine assistants to work on the execution of the tomb in the Basilica of Santa Croce in Florence(see Figure 1).The commission of Michelangelo’s tomb was prompted by his nephew,Lionardo[Leonardo]Simoni-Buonarroti(1522-1599),and the Grand Duke of Tuscany,Cosimo I de’Medici(1519-1574).The tomb was completed in 1578.Vasari designed the architectural monument,and his assistants,members of the Florentine Academy,collaborated in the following manner:The sculptures of the Fine Arts were carved by Giovanni Bandini(1540-1599),who represented the personification of architecture;Valerio di Simone Cioli(1529-1599),who represented the personification of Sculpture;and Battista Lorenzi(1527-1594),who represented the personification of Painting and the portrait bust of Michelangelo.Giovanni Battista Naldini(1537-1591)completed al fresco the burning urns,the purple-colored doorway of the tomb,the suspended canopy,and the Pietàin the center of the marble tabernacle.This latter artistic contribution is the topic of this essay.
文摘Flowers are endowed with rich symbolic meanings.It uses unique attributes to express people's emotions,feelings,and desires.According to Joan Snyder's Symphony VII,not all flowers symbolize beauty and happiness.The artist uses unique painting techniques to paint beautiful roses as bloody female organs,showing the fragility and helplessness of women.The work gives a contrasting impact of beauty and despair.Applying Greenberg's abstract expressionism theory and Erwin Panofsky's iconography theory along with research,this paper explored how Joan Snyder uses flower elements to symbolize women's vulnerability in Symphony VII.Joan Snyder's Symphony VII is constantly discussing violence against women around the world to warn and showcase the problems of women around us.
文摘Barbara Longhi of Ravenna(1552-1638)skillfully created small devotional altarpieces depicting holy saints with their respective attributes of martyrdom,seen in Saint Agnes of Rome(c.291-304)with an ewe,Saint Cecilia(c.200-235)with a portable organ,Saint Catherine of Alexandria(c.287-304)with a broken spiked wheel,and Saint Justina of Padua(c.3rd century)with a small sword in her chest.For their physical sacrifice,Heaven rewarded them with a palm frond as an honorific spiritual gift.Barbara included some of these saints in her paintings on the theme of holy conversation(sacra conversazione;a religious gathering with the Madonna and Child)and depicted the female saints as a single panel-solo image-for private devotion or supplicatory assistance.Most of the biographies and historicity about the lives of these saints are recounted by Jacobus de Voragine(1222-1298),Archbishop of Genoa,in his Golden Legend(Legenda Aurea,1275).This essay only comments on the iconography of one of Barbara’s female saints,Saint Justina of Padua.
基金sponsored by the Chinese Scholarship Council,The Bartlett Architecture Research Fund,and The Society of Architectural Historians of Great Britain(SAHGB)Research Grant.
文摘This article investigates one of the earliest attempts to systematically construct a building tradition and incorporate it into modern Chinese architectural design.These efforts were put forth by Liang Sicheng(1901e1972),one of the most distinguished Chinese architects and architectural historians,in the 1920s and 1930s in China,informed by the strong collective intention to honour the Chinese past.This article provides a historical and critical reflection on this collective intention that is still shared nowadays by architects and architectural theorists.This article examines in depth the evolution of the different ways Liang used the building past and constructed the Chinese architectural traditions in different crucial stages of his architectural career in the 1920s and 1930s.It uses architectural drawing as both the research subject and the research method.Three of Liang’s representative drawings from these crucial professional stages are juxtaposed and investigated to reveal this evolution using the iconography and iconology method.
文摘To describe the etiologies, clinical features and diagnosis of cerebral venous sinus thrombosis Methods We reviewed the records of 23 patients admitted with a documented diagnosis of cerebral venous sinus thrombosis from 1991 through 1999 in the Beijing Tiantan Hospital Results Infection was the major condition associated with cerebral venous sinus thrombosis Pseudotumor cerebri syndrome was the most common manifestation, while hemiplegia, seizure and unconsciousness may occur alone or in association The diagnostic sensitivity of computed tomography (CT), magnetic resonance imaging (MRI) and digital subtract angiography (DSA) were 59%, 86% and 100%, respectively The sensitivity of MRI with magnetic resonance angiography (MRA) reached 96% Conclusion As the clinical findings were found to be nonspecific, CT combined with DSA, or MRI with MRA turns out to be valuable for the early diagnosis of cerebral venous sinus thrombosis
