《雅典学院》是意大利画家拉斐尔·桑西于1510~1511年创作的一幅壁画作品。现收藏于意大利梵蒂冈博物馆。
该画以古希腊哲学家柏拉图举办雅典学院之逸事为题材,以极为兼容并蓄、自由开放的思想,打破时空界限,把代表着哲学、数学、音乐、天文等不同学科领域的文化名人会聚一堂,以回忆历史上黄金时代的形式,寄托了作者对美好未来的向往,表达了对人类中追求智慧和真理者的集中赞扬。
画作采用了拱形圆屋顶作为背景,以很高的透视法水平,增强了画面的空间立体感和深远感。整幅画气势恢宏、场面宏大。画中人物栩栩如生、活灵活现。
画作内容
《雅典学院》绘古希腊哲学家柏拉图举办雅典学院之逸事。整个画面以纵深展开的高大建筑拱门为背景,描画了共11群组的57个学者名人。画面的中心是柏拉图和亚里士多德,柏拉图指着天,亚里士多德指着地,他们边走边谈,引经据典的样子。
柏拉图和亚里斯多德两旁站着的人,个个怀着崇敬,正在聆听两位大师的辩论,在柏拉图左边,他的大恩师苏格拉底在用他习惯的方式,掰着手指和一群人讨论着什么问题,站在他对面那位戴盔披甲的年轻军人似乎并不是很专注地在听他讲话。有人说,他是亚里斯多德的学生,马其顿国王亚历山大大帝。
在阶梯下平台左侧的人群里,中心人物是古希腊哲学家、数学家毕达哥拉斯,他正坐在那里专注地演算着有关宇宙和谐的关键在于与音乐协调的数学比率。一个小孩为他支着一个琴板,上面的结构图表可能对毕达哥拉斯的数学演算有着重要的参照意义。一个老人在侧面偷偷地抄着他的公式,站在毕达哥拉斯背后包白头巾的是阿拉伯的伊斯兰学者伊本路西德阿维洛依,依着柱基戴着桂冠正在抄写着什么的是古希腊晚期的哲学家伊壁鸠鲁。站在毕达哥拉斯前面手指一本大书的是修辞学家圣诺克利特斯,不知道他想给毕达哥拉斯一个什么重要的提示。他身后穿白斗篷的,是未来的乌尔宾诺大公弗朗西斯科德拉罗斐尔。
在阶梯下平台右侧的群组中,秃顶的数学家阿基米德是中心人物,他俯身用圆规在石板上画着几何图;4个青年学生正在认真地围观他身后头戴桂冠持地球仪者是埃及主张地心说的大天文学家托勒密;而正面持天文仪者则是波斯预言家、拜火教主索罗亚斯德。最靠右边的一说是拉斐尔的老师佩罗吉诺,一说是拉斐尔的朋友画家索多玛;而紧挨着他的则是拉斐尔本人。
在柏拉图前方很显赫的位置上,斜坐着的沉思者是古希腊大哲学家赫拉克利特;在亚里斯多德脚前位置也相当醒目的台阶上斜卧着一位衣冠不整半裸其身,颇似乞丐的人物他就是古希腊犬儒派哲学家第欧根尼。他的外号画面上一位从第欧根尼身边走过去的人,摊开双手对他的行为表示无奈……总的说来,这些人物,或行走、或交谈、或争论、或计算、或深思,完全沉浸在浓厚的学术氛围和自由辩论的气氛中。
创作背景
1509年,罗马教皇尤利乌斯二世聘请年仅26岁的拉斐尔给自己的梵蒂冈宫作装饰壁画。壁画分列四室,第一室的画题是《神学》、《诗学》、《哲学》和《法学》四幅;第二室是关于教会的权力与荣誉;第三室画的是已故教皇利奥三世与四世的行迹;第四室内的四幅壁画,则由拉斐尔绘稿,由其学生具体绘成。而第一室内的《哲学》就是《雅典学院》,是这组壁画中最出色的一幅。此幅画作也即是拉斐尔在1510~1511年创作完成的。拉斐尔的画风吸收了达·芬奇和米开朗琪罗的因子,绘画创作趋于综合,这些也都在《雅典学院》中得到了体现。
《雅典学院》取材于公元前4世纪古希腊哲学家柏拉图举办雅典学院的逸事,通过追忆那个高度理想的古代黄金时代,借以表现文艺复兴时期与它的渊源关系和对它的崇尚之情。
艺术鉴赏
《雅典学院》的主题思想是预示着从古希腊、古罗马土壤中孕育出来的人类理性精神的复苏,也是艺术家对人类中追求智慧和真理者的集中赞扬。欣赏这幅画作,就如同进入人类文明博大精深的思想世界。
画面的中心人物柏拉图和亚里士多德处于众星捧月的焦点位置。围绕这两位大哲学家画了50多个学者名人,各具身份和个性特征。他们代表着古代文明中七种自由学术,即语法、修辞、逻辑、数学、几何、音乐、天文等。人物多而不乱,然而整个画面却很集中,这是因为所有的人物都朝向中央的柏拉图和亚里士多德,由一根为探索、追求科学真理的红线所贯穿。换言之,人物的多样性统一在追求真理这一主题之中。画家借以表彰人类对智慧和真理的追求,以及对过去文明的赞颂,对未来发展的向往,同时也是对历史上所谓“黄金时代”的回忆。它的主题,就是崇拜希腊精神,追求最高的生活理想,而这也正是人文主义艺术家自己的夙愿。
同时,《雅典学院》的整个画面充满着一种宽松的百家争鸣的民主气氛,各种不同哲学流派的代表人物在这里进行着一种平等而优雅的讨论,或者各行其是地进行着独自的思考,完全无拘无束,洋溢着浓厚的学术氛围和自由辩论的空气,凝聚着人类天才智慧的精华。人类的艺术永远在追求崇高的理性精神,永远在追求真善美统一的伟大审美理想。
《雅典学院》取材于柏拉图举办雅典学院的逸事。不过,当时柏拉图办的雅典学院是设置在户外的森林中,但是拉斐尔却把它移到高大恢弘的古典建筑里。毫无疑问,拉斐尔的意图是想凭借能够引起人们崇高感的古典建筑来营造环境的高贵氛围,以便更有利地来烘托这场古代圣贤盛会的伟大戏剧效果。
这幅底长7米多的大壁画,巧妙地利用了周边建筑结构的现有条件,把半圆形墙壁的外框画成一个巨大的拱门,而在壁画下方画出两层平台,形成纵深感,把画面的建筑和实际建筑融为一体,在视觉上使观看者分不出哪里是真建筑,哪里是画中的建筑,造成画中人物如同是生活在真实空间里一样的那种亲近感觉。
背景中的建筑,完全是画家根据构图需要而编造的,虽然含有他后来设计圣彼得大教堂的意图,有些地方在建筑学上来看恐怕并非合理。但拉斐尔所关心的,并不是建筑原理,而是画面主题的需要和画面效果。整个画面的建筑根据中心视点,像层层凯旋门一样向纵深推进,在精心描绘的六角形天花板和垂直单纯的多利克式的柱子上,借助光影的变化,引导人们的视线随着层层拱门进入画面的深处,给人们造成一种宏大而深远的感觉。拱形的自然画框,教堂装饰的背景,两边作对称呼应,画中人物好像是从长长的、高大过道廊走出来,透视又使画面呈现高大深远。建筑物的廊柱直线和人物动态的曲线相交融,产生画面情境柔中有刚,加之神像立两旁,使画中充满深层的古典文化气息。
在《雅典学院》的画面上,作者把古希腊以来的哲学家和思想家聚于一堂,其中包括亚里士多德、苏格拉底、柏拉图、毕达哥拉斯,还有艺术家自己。整个壁画洋溢着浓厚的学术研究和自由辩论的空气,所有的人们都是那样毫无拘束地按照自己的意志和个性在进行活动。他们或者在一起侃侃而谈,或者是独个儿在那里进行思考,人物或立,或坐,或缓步走动,人文主义的艺术家总是设法使画面上的人物享有充分的自由。
所有这些形态各异、栩栩如生的人物群像,填补了画面的空白,把整个画面有机地联系在一起。画家还极善于利用台阶,使众多人物组合主次前后有序、真实、生动、活泼,画面将观赏者带进先哲们的行列。这宏大的场面,众多的人物,生动的姿态表情,具有肖像性人物个性的刻画,布局的和谐、变化且统一的节奏,画家对其中每个人物的神情和动作都作了精细的思考和细致的安排,使他们符合各自的身份和学术特点,其阵容之宏伟,堪与米开朗基罗的天顶壁画一比高下。
《雅典学院》这幅画的色彩处理也很协调,乳黄色的大理石结构,与人物红、白、黄、紫、赭等色的衣饰相互交错,相映成趣。每个细微部分的用色都十分自然,合成像音乐般和谐,可以说是浑然天成,足以见得拉斐尔手法的娴熟。
研究价值
《雅典学院》是拉斐尔全部作品最壮丽辉煌的一幅,画中的人物形体比《圣典辩论》里的人物形体画得更加丰满魁梧,而《雅典学院》画面的雄浑史诗气势,也是在拉斐尔其它作品中所少见的。虽然整幅画面规模宏大、人物众多但是丝毫也不显得杂乱,拉斐尔充分发挥了他在绘制肖像画和对画面整体构图等方面的才能,使后人能在群贤盛会的场面中身临其境地体悟古代人文黄金时代的高贵理想,也为后人留下了一个记录历史上最辉煌的“黄金时代”的凭证。
后世影响
英国摄影师奥斯卡·古斯塔夫·雷兰德创作的、维多利亚时代的摄影作品《人生的两条路》,于1857年在“曼彻斯特艺术珍品展览会”上展览,其动用了16个以上的专业模特,30张底片,拼放叠印,耗时数周。这幅作品其实是以《雅典学院》为蓝本进行布局的,对应《雅典学院》的哲学道路选择,展示了人在十字路口的抉择,以黑白摄影呈现出文艺复兴时期的绘画风格。
作者简介
拉斐尔·桑西(1483—1520),原名拉法埃洛·圣乔奥,是意大利文艺复兴盛期画坛三杰中最年轻的一位。他出生于意大利东部的乌尔比诺,父亲是宫廷的二级画师,他从小跟随父亲学画。后来到佛罗伦萨后.更是积极吸取各派画家的优势和长处。形成了自己和谐明朗、优美典雅的艺术风格,在文艺复兴时期独树一帜。拉斐尔的重要作品有《雅典学院》、《西斯廷圣母》、《美丽的女园丁》、《椅中圣母》等
--------Introduction in English--------
Athens College is a fresco created by Italian painter Rafael Sansi from 1510 to 1511. It is now in the Vatican Museum in Italy.
The painting is based on the anecdote of Plato, an ancient Greek philosopher, holding the Athens Academy. It breaks the boundaries of time and space with an extremely inclusive and open mind. It brings together cultural celebrities representing different disciplines, such as philosophy, mathematics, music and astronomy, and places the author in the form of recalling the golden age in history. The yearning for a better future expresses a concentrated praise for those who pursue wisdom and truth in human beings.
The painting uses the arched dome as the background, with a high perspective level, which enhances the three-dimensional and far-reaching sense of the picture. The whole painting is magnificent and magnificent. The figures in the painting are vivid and vivid.
Content of the painting
The Academy of Athens draws the anecdote of Plato, an ancient Greek philosopher, holding the Academy of Athens. The whole picture depicts 57 scholars and celebrities in 11 groups, with the arch of tall buildings unfolding in depth as the background. Plato and Aristotle are at the center of the picture. Plato points to the sky and Aristotle points to the ground. They walk and talk, citing the classical style.
On Plato's left, Socrates, his great mentor, broke his fingers and discussed with a group of people in his customary way. The young soldier in armor opposite him seemed not very expert. Listen attentively to him. Some say he was a student of Aristotle, King Alexander the Great of Macedonia.
In the crowd on the left side of the platform beneath the stairs, the central figure is Pythagoras, an ancient Greek philosopher and mathematician, who is sitting there concentrating on calculating the mathematical ratio of harmony with music, the key to cosmic harmony. A child was supporting a piano board for him, and the structure chart above might have important reference significance for Pythagoras'mathematical calculus. An old man was stealthily copying his formula on the side, standing behind Pythagoras and wrapping a white headscarf. It was the Arab Islamic scholar Ibn Lucid Aviloy, who was copying something from the pillar base and wearing a laurel crown. It was Epicurus, the late Greek philosopher. Standing in front of Pythagoras and pointing to a big book was the rhetorician St. Nocritus, who did not know what important tips he wanted to give Pythagoras. Behind him was Francisco de la Roffel, the future Grand Duke of Urbino.
Among the groups on the right side of the platform beneath the stairs, the bald mathematician Archimedes was the central figure, bent over and drew geometric figures on the slate with a compass; four young students were carefully watching behind him, wearing a crown of laurel and holding a globe, the Egyptian great astronomer Ptolemy, who advocated the idea of the Earth's heart; and the positive astronomer was Persia. Soroyaste, a prophet and worshiper of Fire. On the far right is Rafael's teacher Perogino, Rafael's friend Sodom, and next to him is Rafael himself.
In a prominent position in front of Plato, the meditator sitting sideways was Heraclitus, the great Greek philosopher; on a rather striking step at Aristotle's feet lay a crowned, half-naked, beggar-like figure who was Diogenes, the ancient Greek cynical philosopher. In his nickname picture, a man passing by Diogenes, stretching out his hands to show his helplessness in his actions... Generally speaking, these characters, walking, talking, arguing, calculating or thinking, are completely immersed in a strong academic atmosphere and an atmosphere of free debate.
Creative Background
In 1509, Pope Julius II hired Raphael, who was only 26 years old, to decorate his Vatican Palace with murals. The frescoes are divided into four rooms. The first room is entitled "Theology", "Poetics", "Philosophy" and "Law". The second room is about the power and honor of the church. The third room is about the travels of the late Pope Leo III and IV. The fourth room is composed of four frescoes drawn by Rafael and specifically by his students. Philosophy in the first room is Athens College, which is the most outstanding mural in this group. This painting was created by Rafael in 1510-1511. Raphael's style of painting absorbed the factors of Leonardo Da Vinci and Michelangelo, and his paintings tended to be integrated, which were also reflected in Athens College.
The Athens Academy is based on the anecdote of Plato, an ancient Greek philosopher, holding the Academy of Athens in the 4th century BC. By recalling the highly ideal golden age of ancient times, it shows the relationship between the Renaissance period and its origin and the respect for it.