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拉斐尔名作暗藏玄机 揭露秘密婚姻
http://www.sina.com.cn 2005/06/20 19:22  国际在线

  The small pearl brooch in Raphael's masterpiece, La Fornarina, was the clue, and researchers believe that it has unlocked one of the mysteries of the Renaissance.

  For centuries it has been thought that the woman, Margherita Luti, a baker's daughter from Siena, was the artist's mistress.

  He was, after all, engaged to the niece of a powerful Vatican cardinal.

  However, a new study by an Italian art historian, Maurizio Bernardelli Curuz, suggests that Raphael and Luti had already married in a clandestine ceremony, and that - fearful of a scandal - the artist took the secret to his grave.

  Officially, he died a bachelor at the age of 37.

  "It was an impossible love affair," said Mr Bernardelli Curuz. "It is hard to overstate Raphael's status in Rome. He was a superstar. The distance separating them was like that which today would separate George Clooney and his cleaner."

  La Fornarina is one of the painter's most suggestive portraits.

  Half-clothed and with a coy expression that has been likened to the Mona Lisa, the dark-eyed beauty has a diaphanous veil over her stomach and suggestively cups her left breast.

  Mr Bernardelli Curuz, editor of Stile magazine in Milan, which conducted a year's research into the romantic riddle, says a string of nuptial allegories in the portrait point to the secret marriage.

  The biggest clue, he says, is the brooch pinned on to the fashionable silk turban of La Fornarina, the kind of expensive bauble a woman would wear on her wedding day.

  The pearl, also included in another portrait of a woman, La Donna Velata, reinforces the theory that the sitter's name was Margherita - a Latin word for pearl - and not Maria Bibbiena, the artist's intended bride.

  There are other matrimonial hints, according to the art expert, from the blue ribbon on the woman's arm bearing Raphael's name - an unusual way to sign a portrait - to a ring on her left hand that was later covered up by Raphael's students.

  In addition, the portrait is painted with background foliage of myrtle and quince, symbols of love, fecundity and fidelity. Such allegories, says Mr Bernardelli Curuz, "may seem artificial to us, but these were everyday games at the Renaissance courts.

  "At least until the 18th century, the allegorical side of painting was extremely important. It was Impressionism that dampened our ability to read a painting like a book."

  La Fornarina has long fascinated admirers of Raphael's work. In 1814, the French artist Jean-Auguste-Dominique Ingres painted La Fornarina sitting on the artist's knee. A century later, Picasso portrayed their trysts in a series of explicit drawings. The novelist Honore de Balzac also mentioned the couple.

  However, Raphael's students made efforts to draw a veil over Luti's existence, according to Mr Bernardelli Curuz. The painting was unfinished when the artist died and was completed by his students who covered up the bushes and the tell-tale ring. They were uncovered during a recent cleaning.

  "At the time of his death, Raphael's school was painting the Sala di Constantino in the Vatican, and losing that commission could have meant bankruptcy," he said.

  "He had left La Fornarina unfinished, and the students began to fret about the landscape, the ring, anything that could tie it to the marriage."

  To silence the rumours, Raphael's students placed a plaque on his tomb in memory of his fiancee, Bibbiena - and Luti was sent away.

  Four months after the artist's death in 1520, the convent of Sant'Apollonia in Rome's Trastevere quarter registered the arrival of "widow Margherita", daughter of a Siena baker. Mr Bernardelli Curuz said he had found evidence to support his theory from contemporary documents and x-rays of the painting.

  "Of course this is not just about the pearl, nor is it just about the documents," he said. "The absolute certainty comes from the way everything fits together. But the pearl was what tipped us off."

拉斐尔名作暗藏玄机 揭露秘密婚姻

  意大利艺术史学家近日表示,文艺复兴时期意大利艺坛三杰之一的拉斐尔名画《弗娜丽娜》解开了文艺复兴时期的一大谜团——终生未婚的拉斐尔是否有过秘密婚姻?

  据英国《卫报》6月18日报道,据史料记载,拉斐尔37岁去世,终身未婚,其生前有一位家世显赫的未婚妻——罗马教廷一位红衣主教的侄女玛丽亚-比别纳。同时,几个世纪以来,一名意大利锡耶纳城面包师的女儿、名叫玛格丽塔-卢蒂的女子一直被认为是拉斐尔的情人。

  然而,意大利艺术史学家库鲁兹在进行了1年的研究后得出结论,拉斐尔和传说中的情人卢蒂曾秘密结婚,但迫于社会舆论压力,拉斐尔一直严守着这个秘密,并最终将它带入坟墓。库鲁兹表示:“在罗马,拉斐尔享有极高的社会地位,他是一个‘超级巨星’。在当时,他们的婚姻因两人悬殊的社会地位是不会被社会所接受的。”

  库鲁兹指出,对拉斐尔与卢蒂秘密婚恋的推断是基于多方面的证据,其中包括对拉斐尔同时代各种文献资料的研究和画作修复过程中使用X光技术得到的证据,而《弗娜丽娜》中更是暗藏着拉斐尔和卢蒂秘密结婚的种种证据。

  《弗娜丽娜》这幅被认为是达芬奇名著《蒙娜丽莎》翻版的拉斐尔名著描绘了半遮在精致薄沙之下、有一双深色眼睛的美丽女子弗娜丽娜。库鲁兹指出,画中一系列有关婚礼的饰物都在暗示画坛巨匠的那场秘密婚恋。

  证据1:画中弗娜丽娜头巾上的那枚珍珠别针。在当时,这种价格昂贵的饰物通常是新娘在婚礼上佩戴的。库鲁兹说:“综合各种迹象来看,珍珠别针是一个重要证据。”

  证据2:“珍珠”的拉丁文是“玛格丽塔”,这更加证明弗娜丽娜是玛格丽塔-卢蒂而不是拉斐尔的未婚妻玛丽亚-比别纳。

  证据3:通过鉴定,弗娜丽娜左臂膀上的蓝色带状饰物上曾刻有拉斐尔名字的字样,后来被拉斐尔的学生抹掉。专家认为,画家这种不同寻常的签名方式是另有用意。

  证据4:画中的背景图案为象征着爱情、生育力和忠诚的植物——香桃木和温柏树叶。库鲁兹指出:“这些植物是文艺复兴时期求爱的信物。”

  证据5:弗娜丽娜的手指上本戴有一枚结婚戒指,后来也被抹掉。

  库鲁兹说:“直到18世纪,绘画作品里所暗藏的寓意被极度重视起来。我们像阅读一本书一样去解读一幅画。”

  一直以来,《弗娜丽娜》被认为是拉斐尔作品中的珍品。1814年,法国新古典主义画家让-奥古斯特-多米尼克-安格尔绘制了一幅弗娜丽娜坐在拉斐尔膝盖上的作品。1个世纪以后,毕加索完成的一系列铜版画《拉斐尔与弗娜丽娜》描绘了拉斐尔和弗娜丽娜的爱情故事。19世纪法国批判现实主义作家巴尔扎克也同样提及过拉斐尔和弗娜丽娜。但弗娜丽娜究竟是谁,这一直是文艺复兴时期的一大谜团。

  据库鲁兹介绍,拉斐尔的学生总在竭尽全力掩盖玛格丽塔-卢蒂的存在。拉斐尔生前未完成《弗娜丽娜》,他的学生在继续完成作品的过程中将那些暗示着婚姻的饰物统统抹去。他们遮盖了背景上具有象征意义的植物图案,也抹去了女子手指上的结婚戒指。但研究人员在最近对作品的清洗过程中还是发现了这些蛛丝马迹。

  库鲁兹介绍说,为了平息老师与面包师之女爱恋的传闻,学生们在拉斐尔的墓碑上提到了他的未婚妻玛丽亚-比别纳,希望老师“不光彩”的情人永远消失。

  1520年,在拉斐尔去世4个月后,一个署名“寡妇玛格丽塔”、锡耶纳城面包师之女的人加入了罗马圣阿波洛尼亚女子修道院。(文/蒋黎黎)


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