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所在平台: Udemy |
课程主页: https://www.udemy.com/course/baroque-painting-and-the-counter-reformation/
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本课程聚焦于17世纪罗马的巴洛克绘画，探讨其如何服务于天主教会对抗北欧新教传播的“反宗教改革”议程。特伦特会议后，图像被确立为教会教义与民众沟通的主要渠道，绘画被赋予了新的维度，用以描绘简单宗教主题，但注入了极其复杂的情感。 教会委托创作的巴洛克绘画旨在激发观者的情感，无论是通过描绘极端苦难和血腥殉道的场景来激发同情，还是展示天堂的一瞥，抑或是在教堂和宫殿的天花板上创造无限深度的幻觉。17世纪艺术占据了中心舞台，投入了前所未有的资源用于创作旨在触及比以往任何大师级作品更广泛受众的艺术品。本课程不仅是巴洛克绘画的入门，也是现代大众传播史的第一章。 区分风格主义（Mannerism）与巴洛克（Baroque）的关键在于时代、风格和目标受众。风格主义作品主要面向受过教育的精英阶层，而巴洛克绘画则是特伦特会议后，天主教会用于向广大民众传播其信息的主要视觉语言。特伦特会议重申了图像在宗教仪式中的首要地位，尤其是在与那些未受教育、不识字的信徒建立直接情感联系方面。 这种对观者情感的“操纵”是巴洛克艺术的核心，可以追溯到风格主义对恐怖、敬畏和崇高等情感的激发，以及其错视和令人不安的艺术与建筑手法。然而，风格主义唤起这些情感主要局限于赞助人及其精英宾客在奢华宫殿和洞穴中的体验，而巴洛克艺术家则将前一时代对心理内容和情感联系的偏好，转化为面向大众消费的宗教艺术品，广泛用于天主教堂和小型礼拜堂。
This course looks at Baroque painting from seventeenth century Rome and how it advanced the agenda of the Roman Catholic Church's response to the spread of Protestantism in Northern Europe, a period called the Counter-Reformation. After the Council of Trent when images had been enshrined as a primary communications channel between the dogma of the Church and the minds of the masses across Europe, paintings were invested with a new dimension to depict simple religious subjects invested with extraordinarily complex emotional subjects. Baroque paintings commissioned by the Catholic Church were designed to play on the viewer's emotions- whether that was inspiring pity through scenes of extraordinary sufferings or gruesome martyrdoms or to reveal a glimpse of the heavens themselves, or at least how the best artists of the day were able to create the illusion of infinite depth on church and palace ceilings alike. In any case, art took center stage in the seventeenth century, and unparalleled resources were put into artworks which were intended to be seen by more people than any of the masterpieces of the former era had been; this course is not only an introduction to Baroque painting, it is also the first chapter in the modern history of mass communications. The key to differentiating the Mannerist from the Baroque in terms of period, style, and intended audience is that the former consisted of artworks produced for an elite audience of the educated and initiated, whereas the latter became visual language of choice used by the Catholic Church to disseminate its messages to the masses following the Council of Trent, an emergency summit of the Church of Rome which addressed the spreading threat of Protestantism. When we talk about the period after the Council of Trent, we commonly use the term "Post-Tridentine." This Council reaffirmed the primacy of images in worship, particularly for their function in creating an immediate emotional connection to the Church's messages among otherwise uneducated and illiterate laypeople. This manipulation of the viewer's emotions, which is an essential aspect of Baroque artworks, we can trace to the Mannerist flair for inspiring terror, awe, and sublime with illusionistic and unsettling artworks and architecture; however, whereas the provocation of these emotions in the Mannerist context was restricted essentially to the patrons and their elite guests of their lavish palaces and grottoes, Baroque artists channeled the former era's taste for psychological content and emotional connection into religious artworks intended for mass-consumption in Catholic churches and chapels.
