中世纪艺术

The great cathed rals, most of which were dedicated to the Virgin, portrayed her as Mother of God, Bride of Christ, and Queen of Heaven. The image of Mary as a paragon of virtue and chastity constituted an ideal feminine type.

The Medieval Synthesis in the Arts

• （背景知识）古罗马
  • 东罗马
    • 拜占庭帝国
      • 四世纪开始封建化——5、6世纪政治经济文化极盛时期
        • 1453年被土耳其人灭亡
      • 文化适应贵族和经济发达的城市要求，古希腊和罗马文化被继承
  • 西罗马
    • 公元479年 西罗马灭亡
      • 形成封建制度，分裂为独立小国
        • 5-10世纪古罗马技术艺术失传
        • 10世纪后经济发展
          • 10-12世纪以修道院教堂为主
            • 罗马风时期，罗曼时期
          • 12世纪以后以城市主教堂为主
            • 哥特时期
• 建筑线
• The Romanesque Church
  • The Benedictine abbey of Cluny克吕尼本笃会修道院 in southeastem France launched a movement for monastic revitalization that witnessed—within a period of 150 yearmthe consnuction of more than 1000 monasteries and abbey churches throughout Western Europe.
    • 新教堂大多就是模仿克吕尼
  • There were four major pilgrimage routes that linked the cities of France with the favorite shrine of Christian pilgrims: the cathedral of Santiago de Compostela in north- western Spain
  • 修道院教堂到城市教堂（罗马风）
    • 拉丁十字式巴西利卡
      • To provide additional space for shrines, architects enlarged the eastern end of the church to include a number of radiating chapels. They also extended the side aisles around the transept and behind the apse to form an ambu- latory (walkway). The ambulatory allowed lay visitors to move freely into the chapels without disturbing the monks at the main altar
      • 巴西利卡：长方形大厅，纵向几排柱分为几个长条空间，中间较宽作为中厅，两侧较窄作为侧廊，用木屋架，屋盖轻，支柱较细，便于群众聚会
        • 被重视群众式仪式的天主教选中
      • 拉丁十字教堂纵横两个中厅交叉点的上方屋顶有一个采光塔——照明祭坛，渲染氛围
    • the abbey of Jumieges
      • 141-foot-high twin towers lt also anticipaces some of the main features of medieval church architecture: massive towers pointed heavenward and made the church visible from great distances; stone portals sepa- rated the secular from the divine realm and dramatized the entrance door as the gateway to salvation.
      • This austere entrance portal, with its tripartite division and three round arches, captures the geometric simplicity and rugged severity typical of the Romanesque style in France and England.
      • lt also anticipaces some of the main features of medieval church architecture: massive towers pointed heavenward and made the church visible from great distances; stone portals separated the secular from the divine realm and dramatized the entrance door as the gateway to salvation.
    • 结构发展
      • 用拱顶代替了木屋顶结构
        • Indeed, the medieval architect's return to stone barrel and groin vaults of the kinds first used by the Romans (see chapter 6) inaugurated the Romanesque style.
          • In the construction of these new, all+tone structures, the Normans（诺曼） led the way.
      • 用骨架券代替厚拱顶
        • 将拱顶和墙墩联系起来
      • 工匠们努力削弱教堂封闭重拙的性格
      • 内部追求构图的完整统一
• The Gothic Cathedral
  • Seventeenthcentury Neoclassicists coined the term "Gothic"to condemn a style they judged to be a "rude and barbarous" alternative to the Classical style. (goth哥特族是灭亡罗马的蛮族)
  • cathedra 主教座位
  • 诞生和发展
    • 诞生
      • The Gothic style was born in northern France and spread quickly throughout medieval Europe.
        • Saint Denis
    • 发展
      • 早期-盛期-晚期
    • 代表教堂
      • Notre Dame
      • Chartres Cathedral
      • Reims Cathedral
      • Amiens Cathedral
      • Duomo di Milano
  • 特点
    • 基本结构
      • 拉丁十字式的巴西利卡
    • The Gothic cathedral was the focus and glory of the medieval town. First developed in the region of Paris, the c athedral was an ingenious synthesis of three structural elements: rib vaults, pointed arches, and flying buttresses.
    • 束柱
    • 拱
      • 尖拱(the pointed arch）
      • 肋拱（the rib vault）
        • 子主题
    • 飞扶壁（the flying buttress）
      • 1170年左右首次在巴黎圣母院使用
      • 子主题
    • Stained Glass
      • Stained glass was a source of religious edification and a delight to the eye. Following Abbot Suger, the faithful Christian regarded cathedral windows as glass tapestries that served the House of God by filtering the light of divine truth.
      • The windows at Chartres Cathedral and at Sainte Chapelle(Medieval "Jewelbox") in Paris constitute the high point of medieval stained glass ornamentation.
        • Crown of Thorns
  • 功用
    • A sanctuary for the celebration of the Mass.
    • The administrative seat (cathedra) of a bishop,the site of ecclesiastical authority.
    • An educational center-a fount of theological doctrine and divine precept.
    • The Gothic cathedral honored one or more saintsincluding and especially the Virgin Mary.,
    • The municipal center of gravity.
      • Often large enough to hold the entire population of a town, the Gothic cathedral was the center of the urban community.It attracted civic events, public festivals, theatrical performances, and local business.
    • 国王加冕
  • The medieval cathedral represents the point of synthesis at which all of the arts—visual, literary, and musical—served a common, unified purpose.
  • Gothic Sculpture
    • The sculpture of the Gothic cathedral was an exhaustive compendium of 0Id and New Testament history, Classical and Christian precepts, and secular legend and lore. The totality of its carved representations conveyed doctrine in terms that were meaningful to scholars and laity alike.
    • Romanesque Sculpture
      • Pilgrimage churches of the eleventh and twelfth centuries heralded the revival of monumental stone sculpture a medium that, for the most part, had been abandoned since Roman antiquity.
      • The entrance portal, normally located at the west end of the church, marked the dividing point between the earthly city and the City of God. Passage through the portal marked the beginning of the symbolic journey from sin (darkness/west) to salvation (light/east).
      • Among the most intriguing examples of Romanesque sculpture are those that adorn the capitals of columns in churches and cloisters.
        • One of the largest extant groups of historiated capitals comes from the west porch of the pilgrimage church of Saint Benoit+ur-Loire in France, which housed the rel- ics of Saint Benedict.
    • During the thirteenth century, figural representation became more detailed and lifelike. Figures assume natural poses, and cease to conform to the architectural framework. The trend toward greater realism in Gothic sculpture accompanied the proliferation of religious imagery and architectural details.
    • 代表
      • Contrapposto（chapter5）
• Medieval Painting
  • Responsive to the combined influence of Germanic, Islamic, and Byzantine arts, medieval painting styles were generally abstract and symbolic;
    • they reveal an expressive linearity, the use of bright colors, and a decorative treatment of form.
  • Thousands of medieval manuscripts were handwritten and richly illuminated during the Middle Ages.
    • Their production was time-consuming, despite the fact that book illuminators often used pattern books with stock representations of historical and religious subjects.
  • Installed on or behind the chapel altar, the medieval altarpiece featured an image of the Virgin and/or the saints as objects of devotional prayer. Lavishly gilded, medieval Italian altarpieces reveal a humanized Byzantine style.
    • • The typical Gothic altarpiece consisted of a wooden panel or group of panels coated with gesso (a chalky white plaster), on which figures were painted in tempera (a powdered pigment that produces dry, flat surface colors), and embellished with gold leaf that reflected the light of altar candles. The object of devotional prayer, the altarpiece usually displayed scenes from the life of Jesus, the Virgin Mary, or a favorite saint or martyr.
  • 人物头上画圆盘（埃及，拜占庭）
• Medieval Music
  • Early Medieval Music and Liturgical Drama
    • The major musical developments of the Early Middle Ages, like those in architecture, came out of the monasteries. 修道院
    • In Charlemagne’s time, monastic reforms in church liturgy and in sacred music accompanied the renaissance in the visual arts.
    • Early church music took the form of unaccom- panied monophonic chant , a solemn souncl that inspired one medieval monk to write in the margin of his songbook,
    • the monks at Saint-Gall enlarged the range of expression of the classical Gregorian chant by adding antiphons, or verses sung as responses to the religious text. Carolingian monks also embellished plainsong with the trope, an addition of music or words to the established liturgical chant.
      • A special kind of trope, called a sequence, added words to the long, melismatic passages—such as the alleluias and amens— that occurred at the end of each part of the Mass
    • By the tenth century, singers began to divide among themselves the parts of the liturgy for Christmas and Easter, now embellished by tropes and sequences.
    • By the twelfth century, spoken dialogue and possibly musical instruments were introduced.
  • Medieval Musical Notation(乐谱)
    • Musical notation was invented in the monasteries
    • During the eleventh century, they devised the first efficient Western system of musical notation, thus facilitating the performance and transmission of liturgical music.
    • They arranged the tones of the commonly used scale in progression from A through G and developed a formal system of notating pitch.
    • The Italian Benedictine Guido of Arezzo (ca. 990-ca. 1050) introduced a staff of colored lines (yellow for C, red for F, etc.) on which he registered neumes—notational signs traditionally written above the words to indicate tonal ascent or descent.
  • Medieval Polyphony
    • Although our knowledge of early medieval music is sparse, there is reason to believe that, even before the year 1000, choristers were experimenting with multiple lines of music as an alternative to the monophonic style of Gregorian chant.
    • Polyphony (music consisting of two or more lines of melody) was a Western invention.
  • The "Dies mas"
    • One of the best examples of the medieval synthesis, particularly as it served the Christian immortality ideol- ogy, is the “Dies ime" (“Day of Wrath”).
  • The Motet
    • The thirteenth century also witnessed the invention of a new religious musical genre, the motet—a short, polyphonic choral composition based on a sacred text.
  • Instrumental Music
    • 乐器最初出现在宗教音乐中，并不是为了伴奏歌曲，如民谣和民谣，而是为了在复调音乐中代替人声。中世纪音乐的效果依赖于音色(音色)而不是音量，大多数中世纪乐器产生的声音与现代乐器(更不用说电子放大的)相比都是柔和而微弱的。
    • 种类
• The great cathed rals, most of which were dedicated to the Virgin, portrayed her as Mother of God, Bride of Christ, and Queen of Heaven. The image of Mary as a paragon of virtue and chastity constituted an ideal feminine type.
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