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将达·芬奇名画《哺乳圣母》(1490)和安布罗吉奥·洛伦泽蒂《圣桑的圣母像》(1330)加以认真对比,就会发现前者应是后者的模仿之作。同时,由于达·芬奇高超、纯熟的人体描绘技巧,他的这幅画实际上成了继承、创新的一个优秀典范。不论是在基督教题材的艺术中还是佛教艺术中,模仿都是其发展过程中极为重要的驱动力。模仿在宗教艺术发展中的普遍存在,不仅由于宗教艺术本身的创作动机、创作目的均不排斥模仿,也因为那个时代的美术理论对临摹和模仿均持宽容甚至鼓励的态度。对于敦煌佛教艺术来说,大量的模仿既有利于佛教弘扬,也有利于佛教艺术的保存,还为佛教艺术的进一步创新创造了条件。这些道理,对于我们理解《哺乳圣母》对《圣桑的圣母像》的模仿也同样适用。
A careful comparison of Leonardo da Vinci’s Notre Dame de Santa Maria (1490) and Ambolo de Lorenzo (1330) shows that the former should be an imitation of the latter . At the same time, his painting is in fact a good example of succession and innovation thanks to Leonardo da Vinci’s superb and skillful body painting skills. Imitation is an extremely important driving force in the development of both the art of Christianity and the art of Buddhism. Imitation in the development of religious art is ubiquitous, not only because of the creative motivation of religious art itself, but also because of the art of tolerance and even encouragement of copying and imitation. For Dunhuang Buddhist art, a large number of imitations not only help Buddhism promote, but also conducive to the preservation of Buddhist art, but also for the further creation of Buddhist art to create the conditions. These truths also apply to the imitation of “Madonna of Our Lady of Breastfeeding” to the “image of Holy Mother”.