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所在平台: Udemy |
课程主页: https://www.udemy.com/course/the-art-of-the-middle-and-late-byzantine-empire/
课程评论：没有评论
课程名称：《中晚期拜占庭帝国艺术》 课程概述：本课程探讨了早期拜占庭艺术与中期拜占庭艺术之间的差异，特别关注图像毁坏时期的影响。图像毁坏意味着对许多早期图标和艺术作品的损毁，这不只涉及物质上的破坏，更是对未来新艺术作品的禁止，尤其是那些延续早期拜占庭风格的作品。历史学家认为，七世纪时拜占庭帝国遭受外部力量的双重打击（首先是萨珊帝国的征服，然后是快速扩张的穆斯林哈里发帝国）导致了这一戏剧性的转变。这种心理上的清算，促使人们对圣像的认知进行根本性的重新思考，教会当局试图通过“偶像崇拜”的视角来解释帝国所遭受的多次失败。 最终，古典和希腊化艺术感性的复苏引发了被称为马其顿文艺复兴的艺术潮流，为数世纪后的意大利文艺复兴奠定了基础。课程还将探索来自不同地域的拜占庭艺术作品，包括世界最南端的六世纪萨那教堂，以及君士坦丁堡宫廷的移动宝座和自鸣钟。这一时期的拜占庭艺术展现出其作为桥梁的特性，连接了晚期罗马艺术和马其顿文艺复兴的古典与希腊化前辈，同时也向重塑中世纪和早期现代世界的力量（如西欧的“拉丁人”和成为拜占庭文化继承者的俄罗斯）传递其影响。此外，拜占庭艺术在伊斯兰帝国的艺术作品中也留下了深远的遗产，尤其是在单性论叙利亚教会装饰的非表现性美学中。 然而，中期和晚期拜占庭艺术的主要进展体现在对基督生活事件和圣经故事的描绘，这些作品多在地面场景中进行简化展示。这种艺术优先事项的转变，实质上为后来的西方艺术历史奠定了基础，包括欧洲及其他地区的艺术发展。
The gulf that separates Early Byzantine art from Middle Byzantine art is considered to be the period of iconoclasm, which generally means the destruction of images, but in the case of the Byzantine Empire, not only did this entail the destruction of many earlier icons and works of art, this also amounted to a prohibition on new art works, or at least art works which continued the representative style of Early Byzantine works. The causes for this dramatic shift in the relationship of Byzantine Christians to their holy images are generally rooted by historians in the dual blows the empire sustained from outside forces in the seventh century: first, the conquests of the Sassanian Persian Empire and then the rapidly expanding Muslim Caliphate. A psychological reckoning is considered to have prompted the removal and fundamental re-thinking of holy images themselves; Church authorities tried to rationalize their Empire's many defeats through the lens of divine punishment for their "idolatrous" ways. Ultimately, a resurgence of Classical and Hellenistic artistic sensibilities ushered in what is called the Macedonian Renaissance, which laid the groundwork for much of the Italian Renaissance which would occur a few centuries later. This course looks at Byzantine artworks as far removed as the sixth-century church of Sana'a, Yemen and as unusual as the moving throne and automata which appeared at the Constantinople court. Byzantine artworks from the Middle and Late periods of its long history stand out as being, in a sense, a bridge between the late-Roman artworks (and in the case of the Macedonian Renaissance, its Classical and Hellenistic precursors) to the nascent powers which were reshaping the Medieval and Early Modern world: Western Europe (the "Latins") and Russia, who became the heir to Byzantine culture and the "Third Rome" after its fall in the fifteenth century. Byzantine art also left a profound legacy even in the artworks of the Islamic Empire, finding a common, non-representative aesthetic in the Monophysite Syriac and later Iconoclast church decorations. However, the primary advances in Middle and Byzantine art were grounded in the revival of depicting the events of Christ's life and Scripture set again in the terrestrial sphere, however abbreviated. This shift in art's priorities essentially laid the groundwork for the subsequent history of Western Art in Europe and elsewhere.
