Photo and Text by Isabella part of text from wiki
在眾多名家如“拉斐爾Stanze di Rafaello”、“米開朗基羅Michelangelo Buonarroti”和“喬凡尼．勞倫佐．貝尼尼Giovanni Lorenzo Bernini”傾力貢獻其智慧與才華之下，聖彼得大教堂成了世上最偉大的建築之一，但若論藝術價值與文化意義，梵諦岡博物館『Musei del Vaticano』則是更勝一籌。
梵諦岡博物館位於聖彼得大教堂北側，呈長方形，總面積有5.5公頃，是座歐洲宮廷式的美麗建築，號稱擁有當今世界上最珍貴歷史文物精華的博物館，原是建於1377年的教宗府邸，之後幾位教宗陸續與建禮拜堂、庭園和藝術品陳列室，從1450年“尼古拉五世Nicholas V”開始，才有計畫性的建設而成為博物館。16世紀初期，熱愛藝術的朱利亞斯二世奠定了博物館的基礎，他延攬了米開朗基羅和拉斐爾等多位文藝復興時期的巨匠，創作了許多曠世鉅作，至今仍是該館的鎮館之寶，像是拉斐爾Rafaello的“雅典學院La Scuola di Atene”和米開朗基羅Michelangelo的“創世紀Genesis”、 “最後的審判 The LastJudgment”，一直到了18世紀下半葉，這座宮殿才正式被當作博物館。
由於教廷的勢力遍布全球，而歷代的教宗收藏又相當豐原，不但擁有早期基督教世界的珍貴寶物，還收藏有古埃及、古希臘、古羅馬、中世紀、文藝復興時期以及現代的宗教藝術珍品，雕塑的收藏更是堪稱一絕；館內有多達數十萬件令人嘖嘖稱奇的收藏品和珍貴的史前古物，價值連城。綿延不絕的天棚畫及壁畫，極盡富麗堂皇；屋頂上還有寬敞的花園，繁花似錦，美不勝收。在結構上，梵諦岡博物館是由24個各自獨立的美術館、陳列室、藝術長廊、中庭和禮拜堂所組成的，其間以走廊、階梯或坡道相連結，整座博物館大大小小的展覽室多達1,400間，展覽空間共計42,000平方公尺，遊客想在短短數小時內看遍是不可能的事，在時間有限的情況下，以下這三個展館是絕對不能錯過的：“皮奧‧克萊門提諾博物館Museo Pio-Clementino”、“拉斐爾陳列室Stanze di Rafaello”和“西斯汀禮拜堂Sistine Chapel”。
The Vatican Museums originated as a group of sculptures collected by Pope Julius II (1503-1513) and placed in what today is the “Cortile Ottagono” within the museum complex. Thepopes were among the first sovereigns who opened the art collections of their palaces to the public thus promoting knowledge of art history and culture. Asseen today, the Vatican Museums are a complex of different pontifical museums and galleries that began under the patronage of the popes Clement XIV (1769-1774) and Pius VI (1775-1799). In fact, the Pio-Clementine Museumwas named after these two popes, who set up this first major curatorial section. Later, Pius VII (1800-1823) considerably expanded the collections of Classical Antiquities, to which he added the Chiaromonti Museum and the “Braccio Nuovo” gallery. He also enriched the Epigraphic Collection,which was conserved in the Lapidary Gallery.
Gregory XVI (1831-1846) founded the Etrscan
Museum (1837) with archaeological
finds discovered during excavations carried out from 1828 onwards in southern Etruria. Later,
he established the Egyptian Museum (1839), which houses ancient artifacts
from explorations in Egypt,
together with other pieces already conserved in the Vatican
and in the Museo Capitolino, and the Lateran
Profane Museum
(1844), with statues, bas-relief sculptures and mosaics of the Roman era, which
could not be adequately placed in the Vatican Palace.
The Lateran Profane
Museum was expanded in 1854 under Pius
IX (1846-1878) with the addition of the Pio Christian
Museum. This museum is
comprised of ancient sculptures (especially sarcophagi) and inscriptions with
ancient Christian content. In 1910, under the pontificate of Saint Pius X
(1903-1914), the Hebrew Lapidary was established. This section of the museum
contains 137 inscriptions from ancient Hebrew cemeteries in Rome mostly from via Portuense and donated by
the Marquisate Pellegrini-Quarantotti. These last collections (Gregorian Profane
Museum, Pio
Christian Museum
and the Hebrew Lapidary) were transferred, under the pontificate of Pope John
XXIII (1958-1963), from the Lateran Palace to their present building within the Vatican and
inaugurated in 1970.
The Museums also include the Gallery of Tapestries, a
collection of various 15th and 17th century tapestries; the Gallery of Maps,
decorated under the pontificate of Gregory XIII (1572-1585) and restored by
Urban VIII (1623-1644); the Sobieski Room and the Room of the Immaculate
Conception; the Raphael Stanze and the Loggia, which were decorated
by order of Julius II and Leo X (1513-1521); the Chapel of Nicholas V
(1447-1455), painted by Fra Angelico; the Sistine Chapel, which takes the name
of its founder, Pope Sixtus IV; the Borgia Apartment, where Pope Alexander VI
lived until his death (1492-1503); the Vatican Pinacoteca, created under Pius
XI (1922-1932) in a special building near the new entrance to the Museums; the
Missionary-Ethnological which was founded by Pius XI in 1926, arranged on
the upper floors of the Lateran Palace and later transferred, under Pope John
XXIII, to the Vatican where it has been opened again to the public in the same
building which housed the former Lateran collections. In 1973 the Collection of
Modern and Contemporary Religious Art was added and inaugurated by Pope Paul VI
(1963-1978) in the Borgia Apartment.
The Vatican
Historical Museum, founded in 1973 and
transferred in 1987 to the Papal Apartment in the Lateran Palace,
houses a series of papal portraits along with objects of the past Pontifical
Military Corps and of the Pontifical Chapel and Family and historic ceremonial
objects no longer in use. The Carriage and Automobile
Museum is a section of the Vatican Historical Museum.
In the year 2000, the Vatican Museums opened a new large entrance that provides
visitor information and other services; on display are many new artworks, two
of which were specially created for this grand entrance hall.
English Text from wiki.
(每個月的最後一個星期日是免費入館參觀，但排隊的滿滿人潮是可想而知的驚人，排了超過2.5小時才得以順利入館。)
(Photo from wiki)
西斯汀禮拜堂Sistine Chapel坐落在梵諦岡博物館最裡端、大教堂右側的西斯汀禮拜堂，建於1475~1483年，教堂雖然不大，卻是梵諦岡的權威中心，來自世界各地的樞機主教就是在此遴選教宗，禮拜堂是按照中古時期天主教對世界的解釋而設計的，裡面有許多以宗教史為主題的壁畫，尤其是兩幅米開朗基羅的傳世名畫“創世紀Genesis”和“最後的審判 The Last Judgment”，即是繪畫史上的不朽鉅作，絕大多數參觀者都是因為這兩幅畫作不遠千里來朝聖的。
就讓我最愛的《創世紀Genesis》米開朗基羅在梵諦岡博物館裡的西斯廷禮拜堂『Capella Sistina』大廳天頂的中央部分按建築框邊畫的連續九幅宗教題材的壁畫，展開這令人嘖嘖稱奇、嘆為觀止的藝術瑰寶巡禮。這幅巨型壁畫創作於1508年5月至1512年10月期間，歷時長達4年多。畫面面積達14x38.5平方米，畫題均取材於《聖經》的開頭部分中，有關“開天闢地”直到“洪水方舟”的故事。
The Sistine Chapel Ceiling, painted by
Michelangelo between 1508 and
1512, is a cornerstone work of High
Renaissance art. The ceiling is that of the large Papal Chapel built within
the Vatican between 1477 and 1480
by Pope Sixtus IV after whom it
is named, and was painted at the commission of Pope Julius II. The chapel is
the location for papal conclaves and many important services.
The
ceiling's various painted elements form part of a larger scheme of decoration
within the Chapel, which includes the large fresco The Last Judgment on the sanctuary wall, also
by Michelangelo, wall paintings by several leading painters of the late 15th
century including Sandro Botticelli, Domenico Ghirlandaio and Pietro Perugino, and a set of large tapestries by Raphael, the whole illustrating much
of the doctrine of the Catholic Church.
Central to
the ceiling decoration are nine scenes from the Book of Genesis of which The creation of Admisthe best known, having an iconic standing equalled only by Leonardo da Vinci's Mona Lisa, the hands of God and Adambeing reproduced in countless imitations. The complex design includes
several sets of individual figures, both clothed and nude, which allowed
Michelangelo to fully demonstrate his skill in creating a huge variety of poses
for the human figure, and have provided an enormously influential pattern book
of models for other artists ever since.
(梵諦岡博物館內的西斯汀禮拜堂天棚The Sistine Chapel Ceiling,《創世紀Genesis》Michelangelo Buonarroti 1508~1512。)
這幅巨型壁畫創作於1508年5月至1512年10月期間，歷時長達4年多。畫面面積達14x38.5平方米，畫題均取材於《聖經》的開頭部分中，有關“開天闢地”直到“洪水方舟”的故事。米開朗基羅在這離地20公尺，長40.50公尺，寬14公尺，高20公尺的禮拜堂穹頂上，依天棚結構包括了兩側八個拱窗上方的半月形垂直壁面，和向上延伸的三角形穹隅，再連接到逐漸平坦的天花板；前後兩端的壁面中央上方斗拱則分出四條拱肋，在建築四個角落形成連接與天花板的三角形穹隅。這個總面積超過1000平方公尺的天棚結構相當複雜，原本不適合繪製壁畫，然而在米開朗基羅的精心設計下，以錯視技巧（trompe–l’oeuil）將原本空蕩平滑的天花板畫出逼真的建築石柱架構來區隔不同主題的畫面，其間飾以各種人像，形成建築、雕刻、繪畫鎔鑄一體的壯觀景象。
米開朗基羅是從禮拜堂的東邊開始，但與《聖經》故事相反的順序開始畫起，天棚中央的長形區域描繪的是主題《創世紀》，以大小尺幅交替呈現了：「分開光明與黑暗」、「神造日月星辰」、「分開陸地與海洋」、「創造亞當」、「創造夏娃」、「失樂園」（原罪）、「諾亞的祭祀」、「大洪水」、「諾亞酒醉」的九個場景，又將舊約聖經中的約拿（Giona）、耶利米（Geremia）等七位先知和來自各地的女先知（Sibyl）形象平均綴飾在其它空間，此外，穹頂的壁畫還有八個空間描繪著所羅門王（Solomon）、大衛與歌利亞（David & Golia）等其他聖經裡曾記載的以色列民族先人，這樣大大小小50幅完整構圖加上裝飾，總計343個人物，形成渾然一體、氣勢磅礡的巨作，遠遠超出朱略斯二世的預期。
Nine
scenes from the Book of Genesis
Along the central section of the ceiling, Michelangelo
depicted nine scenes from the Book of Genesis, the
first book of the Bible. The pictures fall into three groups of three
alternating large and small panels.
The first group shows God creating the Heavens and the Earth. The second group shows God creating the first man and
woman, Adam and Eve, and their disobedience of God and consequent expulsion
from the Garden of Eden where they have lived and where they walked with God. The
third group of three pictures shows the plight of Humanity, and in particular
the family of Noah.
The pictures are not in strictly chronological order. If
they are perceived as three groups, then the pictures in each of the three
units inform upon each other, in the same way as was usual in Medieval paintings and stained glass. The three sections of Creation, Downfall and Fate of
Humanity appear in reverse order, when read from the entrance of the chapel.
However, each individual scene is painted to be viewed when looking towards the
altar. This is not easily apparent when viewing a reproduced
image of the ceiling, but becomes clear when the viewer looks upward at the
vault. Paoletti and Radke suggest that this reversed progression symbolises a
return to a state of grace. However, the three sections are generally described in
the order of Biblical chronology.
The scenes, from the altar towards the main door, are
ordered as follows:
1. The Separation of Light and Darkness
2. The Creation of the Sun, Moon and Earth
3. The Separation of Land and Water
4. The Creation of Adam
5. The Creation of Eve
6. The Temptation and Expulsion
7. The Sacrifice of Noah
8. The Great Flood
9. The Drunkenness of Noah
米開朗基羅一旦進入創作就全身心投入，欲罷不能。然而繪製天棚時的長時間仰頭站立，也造成藝術家身體極大的痛苦和傷害，視力也變得很差。米開朗基羅在寫給好友Giovannida Pistoia的一首諷刺詩中圖文並茂的反映了他創作時的窘境：「在工作的酷刑中，我腫著甲狀腺炎般的脖子，鬍子指向天，頸子貼後背，雞胸如人鳥妖。顏料淋漓臉上，像路面的斑駁。腰縮腹底如秤桿，臀抗體重像秤鉈。我視茫茫而步履踉蹌；後背皮膚擠皺縮短，前身皮緊繃拉長，就像敘利亞彎弓一張。」在詩的結尾，米開朗基羅強調自己是雕刻家，卻被錯置於畫家的位置上，堅持壁畫工作只是為了維護名譽。瓦薩利認為他「不僅要證明自己的創作可以超越前人所有的作品，而且要為當代人立下典範。」
《創世紀》主題的敘事場景中，人體幾乎是唯一的表現元素，背景和物象都被極其簡化，而米開朗基羅對人體結構的掌握和從中延伸出的千變萬化動態和神情，已將人體之美發揮到極致，這是對創世主造人的最高讚頌。而米開朗基羅雄壯的人體結構、扭轉姿態的對比平衡（也屬Contrapposto形式）和人物本身情感的表現性，在當時及對後世的影響十分重大，可說從根本上改變了西方繪畫。
「創造亞當 The Creation of Adam」
我最愛的「失樂園」（原罪）My favorite is The Temptation and Expulsion
( 最後的審判 The Last Judgment )
西斯汀禮拜堂天花板壁畫完工 24 年之後，反對宗教改革的教皇保羅三世委託米開朗基羅為祭壇牆壁繪製一幅壁畫。當時，米開朗基羅正經歷著精神與信仰的危機，他選擇「最後的審判」這一主題展現他的痛苦。 「最後的審判」場面恢弘，人物眾多，分為天上、人間、地獄三個空間。這幅壁畫的中心主題是人生的戲劇，人注定要不斷背離上帝，罪孽深重，但終將得到拯救。由於牆壁面積廣大，要將大約 400 個人物安排在這一空間，必需有一種像旋風一樣的主要力量將整個空間結合成一體，米開朗基羅於是採用水平線與垂直線交叉的複雜結構。畫中人物盡量畫在水平面上並組成群體，同時隨著位置的升高，人群愈加密集，與此形成對比的是左側升入天堂和右側走向毀滅的畫面中突出的豎向運動。因此產生一種周而復始的活動，將上升與墮落的人群和掌握整個人群活動的中心人物，即審判者基督聯結在一起。
米開朗基羅為了解決畫中人物在從下面仰視時所應呈現的比例這一難題，他將上面的人物畫得大些，底部的小些，以適應自下而上的觀賞效果。在 1541 年揭幕時，這幅獨自完成的巨作引起轟動。然而，巨作中的裸體人物卻引起爭議，一些人認為猥褻了神靈。在米開朗基羅剛去世不久，教皇庇護四世即下令給所有裸體人物畫上腰布或衣飾。受命的畫家們於是被謔稱為「內褲製造商」，不過這些「內褲」在 1980 ~ 1992 年之間，經過清理修護西斯汀禮拜堂的濕壁畫計畫之後又被清除了。
The Last Judgment, or The Last Judgement (Italian: Il Giudizio Universale) is a fresco by the Italian Renaissance master Michelangelo executed on the altar wall of the Sistine Chapel in Vatican City. It is a depiction of the Second Coming of Christ and the final and eternal judgment by God of all humanity. The souls of humans rise and descend to their fates, as judged by Christ surrounded by prominent saints including Saints Catherine of Alexandria, Peter, Lawrence, Bartholomew, Paul, Sebastian, John the Baptist, and others.The work took four years to complete and was done between 1536 and 1541 (preparation of the altar wall began in 1535.) Michelangelo began working on it twenty five years after having finished the Sistine Chapel Ceiling.
An older and more thoughtful Michelangelo originally accepted the commission for this important painting from Pope Clement VII. The original subject of the mural was the resurrection, but with the Pope's death, his successor, Pope Paul III, felt the Last Judgment was a more fitting subject for 1530s Rome and the judgmental impulses of the Counter-Reformation. While traditional medieval last judgments showed figures dressed according to their social positions, Michelangelo created a new standard. His groundbreaking concept of the event shows figures equalized in their nudity, stripped bare of rank. The artist portrayed the separation of the blessed and the damned by showing the saved ascending on the left and the damned descending on the right. The fresco is more monochromatic than the ceiling frescoes and is dominated by the tones of flesh and sky. The cleaning and restoration of the fresco, however, revealed a greater chromatic range than previously apparent. Orange, green, yellow, and blue are scattered throughout, animating and unifying the complex scene.
PS.『溼彩壁畫Fresco』的發展遍及義大利的所有地區，從十四世紀起，到文藝復興盛時的大畫家們所製作的都是此類的作品，由於溼彩壁畫是繪於建築牆面上的繪畫，因而具備了巨幅的規模，與建築物共存不朽的特質，於是在文藝復與時期成為繪畫的主要形式，而其它的形式像是只適於製作中小幅畫作的蛋彩畫﹙tempera﹚或是從北方傳入義大利已經成熟的油畫，都只是佔義大利繪畫的一小部分，直到16、17世紀，進入巴洛克時代，油畫才取代溼彩壁畫成為義大利繪畫繪畫的主要媒材。如喬托﹙Giotto﹚在帕多瓦﹙Padova﹚史克羅尼﹙Scrovegni﹚教堂的“聖母的一生”1302~1305年，是義大利早期文藝復與偉大的濕彩壁畫代表，而達文西“最後的晚餐” 1495~1497年，則是混合了多種材料卻不成功的壁畫；直到米開朗基羅繪製的“創世紀”1508~1512年和拉斐爾的“雅典學院”1509~1510年，為教宗簽署合約的辦公室裡一系列拱型牆面上濕壁畫的極致藝術之代表作品。
Fresco (plural frescos or frescoes)
is a technique of mural painging
executed upon freshly laid lime plaster. Water is used as the vehicle for the pigment and, with the setting of the plaster,
the painting becomes an integral part of the wall. The word fresco (Italian: affresco)
is derived from the Italian Adjective fresco meaning "fresh". Fresco may
thus be contrasted with secco mural
painting techniques, on plasters of lime, earth, or gypsum, or applied to
supplement painting in fresco. The fresco technique has been employed since
antiquity and is closely associated with Italian Renaissance Painting.
NOT END YET! 未完 待續。
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