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所在平台: Udemy |
课程主页: https://www.udemy.com/course/the-art-of-the-late-roman-empire/
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课程名称：晚期罗马帝国的艺术 概述：本课程探讨了晚期罗马帝国艺术作品的内容和外观的变化。晚期罗马艺术历史展示了从以往希腊化的自然主义标准中衰退的过程，并为后来的拉丁基督教艺术，直到文艺复兴时期，奠定了基础。在罗马帝国时期，希腊化艺术标准已完全融入，我们可以看到艺术家关注表现人体形态，通过阴影来营造立体感。几乎所有的人物都以古典希腊以来普遍流传的反向姿势（contrapposto）站立，这些装饰在二维表面上的形象——不仅是墙壁，还有马赛克地面或低浮雕雕刻的大理石镶板——都展现了他们的真实重量和自然地表现出的视角。 本课程将详细探讨视觉艺术的演变以及艺术家在平面二维表面上传达意义和深度所用的不断演变（和在某些情况下，退化）的艺术手法。由此形成的风格在罗马庞大的帝国中广泛传播，当谈到晚期古代艺术时，我们为持续贯穿中世纪西方拉丁语地区的传统艺术形式设置了舞台。即使是遥远的南阿拉伯和东非的艺术，最终也会反映出在罗马艺术及后来的拜占庭艺术中所看到的广泛艺术历史潮流、宗教转变和风格化的传统。 从我们在讲座中所奠定的基础出发，我们还可以进一步探索晚期罗马艺术所具有的真正影响力，尽管其形式、透视法和景深上有所“去复杂化”。
This course covers the shifts in content and appearance which characterized artworks of the Late Roman Empire. This history sees its share of decline and de-volutions from the former Hellenistic standard of naturalism, and it sets the tone for much of the course of later Latin Christian artwork well through the Renaissance. By the time of the Roman Empire, Hellenistic standards in artwork were fully assimilated: we see the artist concerned with showing the human form, with shading to achieve the illusion of three-dimensionality. We see their forms almost without exception standing in the contrapposto pose we have seen diffused through Western art from the time of Classical Greece onwards; these figures which adorned two-dimensional surfaces- not only walls but also mosaic floors or marble paneling carved in low relief- were depicted with a sense for their real weight and how it would have been naturalistically carried in views of the figures not only from the front, but from 360 degrees and in the wide variety of poses the human body could assume. We'll look in detail at the evolution of the visual arts and the evolving (and in later cases, devolving) solutions artists used to convey meaning and depth on flat, two-dimensional surfaces. The resulting recognizable style spread throughout Rome's vast empire, and when we talk about the art of late antiquity, we set the stage for the conventional forms of artwork which would endure well through the Medieval period in Western, Latin-speaking Europe. Even the art of distant kingdoms of South Arabia and East Africa will eventually reflect these broad currents of art history, religious conversion, and stylized conventions seen in Roman and what would become Byzantine art. From the foundations we have laid in this lecture, we can now go further afield to appreciate just how influential late Roman artwork truly was, in spite of its "de-sophistication" of forms, perspective, and depth of field.
