Michelangelo: The Complete Sculpture, Painting, Architecture Hardcover – September 8, 2009
by
米開朗基羅
台北：閣林，2013
作者介紹
威廉．華勒斯，聖路易華盛頓大學（Washington University in St. Louis）藝術史助理教授，乃是享譽全球的米開朗基羅及同時代藝術家的權威。他有許多關於文藝復興時期藝術的著作出版。
本書內容
米開朗基羅從雕塑、繪畫到建築，無不精通。他賦與冷漠的大理石、畫紙與建築物新的生命，在他的一斧鑿、一勾勒間，彷彿全部活了過來。他的靈思巧技，創意無限，在當代引領風騷，對後世影響深遠，更帶給觀者莫大的驚喜、讚嘆與感動。本書透過絕佳的文筆、豐富的圖片與精美的印刷，抓住米開朗基羅藝術創作的精髓，蒐羅完備，彌足珍貴，值得讀者細細品味與珍藏。
With an engaging text by renowned Michelangelo scholar William E. Wallace, Michelangelo: The Complete Sculpture, Painting, Architecture brings together in one exquisite volume the powerful sculptures, the awe-inspiring paintings, and the classical architectural works of one of the greatest artists of all time. Including everything from his sculptures Pietàs and David to his beautiful paintings of the Sistine Chapel and the Doni Tondo, the book provides an opportunity to view Michelangelo’s work as never before, and to more fully understand the artist who, through his work, spoke of his life and times. The frescoes are specially printed on onion skin paper to recreate the actual appearance of light reflecting off of the plaster walls. The stunning black-and-white photography of the sculptures is printed in four colors to bring out the rich details of the marble.
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| 圖2：米開朗基羅《聖殤》（Pietà），c. 1550. Marble, height 226 cm. Museo dell’Opera del Duomo, Florence. |
有 些人對宗教的體悟也許不太深刻，但是，走進西方重要的博物館，仍可看到許許多多精美的博物館典藏品。其中有些原本是教堂為了儀禮、信徒教育或裝飾所需而訂 製的；有些則是藝術家透過創作，將個人內心深處對形而上永恆真理的渴慕表現出來。舉例來說，在佛羅倫斯主教座堂博物館裡，可以看到米開朗基羅雕刻的《聖 殤》（Pietà, 圖2）。這原是晚年的米開朗基羅為自己所刻的墓碑。這個《聖殤》群像裡站在最後邊那位穿斗篷的老者就是米開朗基羅的自刻像。從聖經的象徵意涵來說，米開朗 基羅將自己化身為約翰福音書裡，那位在夜裡偷偷前去拜訪耶穌，向耶穌請教如何「重生」的尼哥底母（Nicodemus）。當耶穌被釘死在十字架受難後，尼 哥底母不計當時風聲鶴唳的肅殺氣氛，勇敢協助埋葬耶穌。換句話說，透過將自己比擬為尼哥底母，年邁的米開朗基羅不僅要表達自己對「重生」的渴望；在宗教改 革橫掃歐洲，新舊教嚴重對立的風暴年代，他也藉此表達自己「以耶穌為依歸」（而非以教會權勢為依歸）的堅定立場。因此，要真正了解這些博物館藏品，我們不 能只是單純從造型風格與美感形式分析來理解。因為這些作品與當時時空背景下蘊含的信仰認知與個人宗教渴求有著密切的關聯。http://www.alum.ntu.edu.tw/wordpress/?p=15549
這本書還沒看過 不過這樣的篇幅要窮舉Michelange
不過重要的是史識
不知道有沒有詩集(大陸有遼寧書店的文庫版)＜一砂一世界＞由一首詩看米開蘭基羅的完美主義 ■南方朔
《2009/03/16 15:30》
古人由於從小就接近詩，而且識字者都是看過易讀易誦的詩而開始學文習字，養成了古人多半都會寫詩的傳統，大家程度或許有高下，但皆能出口即成詩，許多人寫信也都以詩來表達，我們今天回頭讀古詩，即可見到許多其實是書信的詩。
而這種文化習慣，在早期的義大利亦然。康乃爾大學教授吉爾伯特（ Creighten Gildct）在所譯的《米開蘭基羅詩全集和書信選》裡的導言中，就指出，十六世紀時義大利人寫信，經常都用十四行詩來表達。由此也可看出無論東方西方，文明的許多發展都有著相似性。
義大利的古代詩人裡，大畫家雕塑家米開蘭基羅（ Michelangelo 1475-1564）無疑的是個異數。他窮苦出身，自小當學徒，後來自學，除 了本業的繪畫、雕塑與建築外，他也成了有史以來最著名的業餘詩人。他死後，侄孫於一六二三年將他的詩集出版，到了英國浪漫主義時代，大詩人華滋華斯 （ William Wordswerth 1770-1850）喜歡他的詩而選譯，於是米開蘭基羅遂詩名大盛。讀他的詩，是理解他藝術思想很重要的通 道。到了近代，他的詩集不但有多個義大利版，也有好幾個英文譯本，他逝世已四百多年，詩名反而愈來愈盛。
米開蘭基羅的詩，不同版本有不同數目， 劍橋大學教授雷思（ Christogher Ryan）的版本是三○二首，吉爾伯特教授的版本則三二七首。他的詩體甚多，但以十四行詩及牧歌為主－－牧 歌是一種古代詩體，格律較鬆，行數也有彈性，多半在十行到廿行間，但最有特色的仍是十四行詩。其中的這首極為重要：
最傑出的藝術家絕不會先有個概念
概念只會存在於大理石的軀殼裡
想要達到這個概念的境地
藝術家必須讓手追隨思想而向前
我以優秀自勉，拒絕壞的表現
但女士啊，它卻將美麗、聖潔和尊貴藏起
就像妳一樣，我的生命因此已無意義
因為我的技藝已到不了希望效果這一邊。
我表現不出愛、幸福，妳的美麗
甚至妳的冷酷與輕蔑，這是我才藝不足
它該被指責，而無關我的運氣。
就像是死亡和慈悲同時一起
存在你的心裡，而我拙劣的技術
儘管熱情燃燒，除了死亡外卻抓不住任何東西。
上面這首詩的韻腳工整，為ＡＢＢＡ ＡＢＢＡ ＯＤＣ ＣＤＣ，這首詩對理解米開蘭基羅的藝術思想有著相當重要的地位。
米開蘭基羅在古今藝術家裡，乃是「未完成作品」最多的一個，以前甚至有人認為，那些未完成之作乃是他刻意的表現手法。但由這首晚年所寫的詩，我們卻可看 出，他認為每塊大理石裡都有著一個「觀念」在內，藝術家不是去雕塑大理石，而是透過雕塑摩娑，去把大理石的那個本質顯現出來。當他覺得雕塑不出那個本質， 他就會廢然而止，挫敗得像死掉一樣。這首詩所表達的即是這種藝術思想。
米開蘭基羅的許多詩和書信，今天的人讀來都不易懂，原因在於他所處的時 代，柏拉圖的觀念哲學乃是主流價值，觀念是一種本質，也是最高的形成與價值。這種思維方式不但主宰了神學和藝術，也主導了一般人的思想。米開蘭基羅相信大 理石內有已經存在的觀念，雕塑家不是用自己的觀念去雕塑大理石，而是在雕塑中找出這個觀念。他的這種想法其實就是用柏拉圖的觀念哲學為自己的藝術完美主義 作註解而已。這種完美主義才是他不朽的原因！
 Michelangelo. Complete Works Prof. Dr. Frank Zöllner, Prof. Dr. Christof Thoenes, Dr. Thomas Pöpper Hardcover, 29 x 44 cm, 768 pages, £ 120.00 ISBN 978-3-8228-3055-0 Available now. Click here & order today | Michelangelo as never seen before Before reaching the tender age of thirty, Michelangelo Buonarroti (1475-1564) had already sculpted David and Pièta, two of the most famous sculptures in the entire history of art. Like fellow Florentine Leonardo da Vinci, Michelangelo was a shining star of the Renaissance and a genius of consummate virtuosity. His achievements as a sculptor, painter, draughtsman, and architect are unique—no artist before or after him has ever produced such a vast, multi-faceted, and wide-ranging oeuvre. Only a handful of other painters and sculptors have attained a comparable social status and enjoyed a similar artistic freedom. This is demonstrated not only by the frescoes of the Sistine Chapel but also by Michelangelo's monumental sculptures and his unconventional architectural designs, whose forms went far beyond the accepted vocabulary of his day. Such was his talent that Michelangelo was considered a demigod by his contemporaries and was the subject of two biographies during his lifetime. Adoration of this remarkable man's work has only increased on the intervening centuries. Following the success of our XL title Leonardo da Vinci, TASCHEN brings you this massive tome that explores Michelangelo's life and work in more depth and detail than ever before. The first part concentrates on the life of Michelangelo via an extensive and copiously illustrated biographical essay; the main body of the book presents his work in four parts providing a complete analytical inventory of Michelangelo's paintings, sculptures, buildings and drawings. Grorgeous, full page reproductions and enlarged details bring readers up close to the works. This sumptuous tome also takes account, to a previously unseen extent, of Michelangelo's more personal traits and circumstances, such as his solitary nature, his thirst for money and commissions, his miserliness, his immense wealth, and his skill as a property investor. In addition, the book tackles the controversial issue of the attribution of Michelangelo drawings, an area in which decisions continue to be steered by the interests of the art market and the major collections. This is the definitive volume about Michelangelo for generations to come. |