| 本论文以弗朗索瓦一世时代枫丹白露派的装潢艺术（包含宫苑修建装潢、绘画、雕塑、壁毯、甲胄、金属餐具、版画等）为研究对象，其目标在于，经由过程梳理和出现16世纪上半叶法国文艺中兴艺术自起始迈向壮盛的成长进程，剖析、阐释相对君主制下宫庭艺术的特点及形式，商量欧洲各个地域之间文艺中兴艺术（以意年夜利、法国为主，尼德兰和德语地域为辅）的差别和个性。同时，借助艺术著作，提醒其时的物资文明，说明社会意理和生涯措施的演化。有别于意年夜利、尼德兰和德语地域，在法国，艺术资助最重要的力气集中在宫庭。恰是因为弗朗索瓦一世对文明与艺术的年夜力支撑与资助，法国才真正周全进入文艺中兴时代，多位意年夜利艺术家前去法国宫庭办事，枫丹白露宫停止文艺中兴式的从新改建，枫丹白露派由此构成。枫丹白露宫和枫丹白露派的装潢艺术是法国文艺中兴艺术和宫庭艺术的代表。它也在宣传君主集权制、创建国王抽象中施展侧重要感化。枫丹白露派的装潢说话源于弗朗索瓦一世长廊。灰泥雕塑与湿壁画的联合，叙事性画面与零丁装潢图案的照应，法语论文，令装潢后果华美，参差有致，富有张力和节拍感。同时，装潢体系情势固定但图案多样，且装潢图案可依据装潢物用处及装潢面积年夜小置换选择，是以，枫丹白露派装潢说话扩大和延长的规模普遍。它从王室修建应用至平常用品，并借助版画从法国流传至欧洲其他地域，作用深远。枫丹白露派的装潢题材根本为古希腊一罗马神话和豪杰传说，经由过程题材内容的选择和表示措施，借古喻今。弗朗索瓦一世浴室作为王室珍藏室的特别功效和沐浴题材的装潢，豪华甲胄精细、立体化的图案和金属餐具新设计、新器型的涌现，皆反响出其时的社会意理与物资文明一对袒露和两性的开放立场，对暴力、进击欲的克制和对就餐时规则、礼节的请求。意年夜利文艺中兴艺术对枫丹白露派和法国发生主要作用，但后者不是简略地模拟。枫丹白露派的艺术家在接收与自创意年夜利文艺中兴艺术的同时，更停止了改革、从新定位和当地化，因此使枫丹白露派的装潢艺术在短时光内蓬勃成长，并获得使人注视的造诣。 Abstract: In this paper, the Fontainebleau in the era of Francois I sent decoration art (including palace building decoration, painting, sculpture, tapestries, armor, metal tableware, prints, etc.) as the research object, its goal is through the carding process and the 16th century half leaf French literary Xing arts starting towards vigorous growth process, analyze, explain the relative monarchy under court art characteristics and forms of the, to discuss various European Regional Renaissance Art (mainly in Italy, France, the Netherlands and German regional complementary) differences and individuality. At the same time, with the help of works of art, the material civilization that remind, evolution of social psychology and career method. Different from Italy, the Netherlands and the German region, in France, the most important art funding effort focused on the court. Is precisely because Francois I of civilization and the arts on the eve of the force support and funding, France really comprehensive in the Renaissance era, many Italian artists went to French court service, Fontainebleau palace stop Renaissance style from the newly remodeled, the Fontainebleau school which constitute. Fontainebleau palace and Fontainebleau faction of the decoration art is representative of the French Renaissance art and art palace. It is also in the propaganda of centralized monarchy, the king created plays an important role in the abstract. Fontainebleau sent the talk from Francois Thi decoration gallery. Plaster sculpture and wet mural joint, narrative picture and Lingding decoration reference, make decoration consequences of China and the United States, there is caused by irregular, rich tone and rhythm. At the same time, decoration system form fixed but various patterns and decorative patterns can be based on the use and decoration decoration area size replacement selection, the Fontainebleau school decoration talk expansion and extension of the scale. It was applied to the daily necessities from the royal family, and with the help of prints from France spread to other European regions, profound influence. Fontainebleau school decoration theme is the root of the ancient Greek Roman mythology and heroic legend, through the process of subject matter and content selection and representation method through. Francois I, the bathroom as a royal treasure room special efficacy and bath theme decoration, emergence of luxury armor fine, three-dimensional pattern and metal tableware new design, new type of, all reflect privileged social psychological and material civilization of a bare and amphoteric open position, to desire for violence, onslaught of restraint and the dining etiquette rules, request. The Italian Renaissance art in Fontainebleau and France sent have a major impact, but the latter is not simply simulation. Fontainebleau School of artists in receiving and self creative Italian Renaissance art at the same time, stop the reform, from the new location and local, so the Fontainebleau School of decoration art in a short period of time vigorous growth, and get the people stare at attainments. 目录: |
