艺术果酱｜拉斐尔的“理想美”仍未过时
Raffaello Sanzio da Urbino (Italian: Raffaello Sanzio da Urbino, April 6, 1483 – April 6, 1520), born Raffaello Santi, commonly known as Raphael, was an Italian painter and architect. Alongside Leonardo da Vinci and Michelangelo, he is often referred to as one of the “Three Great Masters of the Renaissance.” Raphael’s paintings are renowned for their “ideal beauty,” featuring elegant characters and captivating scenes.
拉斐尔·圣齐奥（意大利语：Raffaello Sanzio da Urbino，1483年4月6日－1520年4月6日），本名拉斐尔·桑蒂（Raffaello Santi），常简称拉斐尔（拉丁语：Raphael），意大利画家、建筑师。与列奥那多·达芬奇和米开朗基罗合称“文艺复兴三杰”。拉斐尔画作向以“秀美”著称，其笔下人物清秀，场景优美。
《雅典学院》（The School of Athens）
Raphael’s classical Western paintings have had a significant influence on later artists. His masterpiece, “The School of Athens,” is a large fresco in the Vatican papal apartments. His architectural style is also showcased within the painting, particularly in the exquisite interior decoration, significantly impacting subsequent generations. Furthermore, Raphael’s “ideal beauty” style, characterized by graceful figures and harmonious scenes, combined religious piety with non-religious aesthetics, blending Christianity and paganism to create a vision of unity.
拉斐尔的古典西洋绘画对后世画家造成很大的影响。代表作《雅典学院》是装饰在梵蒂冈教宗居室创作的大型壁画。而他的建筑风格也在此画中得以表现，特别是室内优美装饰，给予后世很大的影响。另外，拉斐尔的“秀美”画风，人物清秀，场景祥和，加上他将宗教的虔诚和非宗教的美貌有机地融为一体，将基督教和异教，统统融合在一起，创造出和谐的场面。
Portfoilo
Madonna of the Meadow
Raphael humanized the Holy Mother and Child by using ordinary mothers and children as models, transforming the sacred figures into gentle and delicate images that embodied youthful women exuding happiness and joy. None of the three figures in the painting express strong emotions, yet the Holy Mother’s slightly lowered gaze and the tender hand resting on the Holy Child’s back allow viewers to perceive her kindness and loving focus. The painting consists primarily of soft curves—the distant mountains, the small hills on the grassy field, and the Holy Mother’s gown. A single red flower and a few strawberries in the grass complement the red in the Holy Mother’s attire, preventing it from seeming too isolated. Every object and brushstroke in this masterpiece serves a purpose.
草地上，一个少妇正在照看两个嘻戏的幼儿，画面温馨自然。这幅画事实上拉斐尔借圣母马利亚之名，称颂了一般人类母性的光辉，更加体现了他的人文主义思想。以现实生活中的母亲和儿童作模特儿，将圣母、圣子理想化，形象温柔娴淑，完全是一个生活中年轻的少妇，洋溢着幸福和欢乐。三个人物都没有太多的表情，但从圣母微微低垂的眼帘，轻柔的放在圣婴背上的手，都让人能感受到圣母的善良，专注与慈爱。整幅画用的基本都是柔和的曲线，远处的山，草地上的小坡，圣母的衣裙。草地上的一枝红色花朵，和下方那一点点红莓，使圣母身上的红衣看着没那么孤单。一副好的作品，每一物，每一笔都有作者的用意。
In 1504, King Henry VII of England granted the title of Duke of Urbino to Raphael’s hometown. In gratitude, the Duke commissioned a 21-year-old Raphael to paint a small picture praising England’s patron saint, Saint George, asking him to depict Saint George as a knight of the Order of the Garter, slaying a dragon. Raphael arranged the characters diagonally, with the leaping white horse moving upward, and Saint George poised to strike with his sword, making for an elegant and valiant visual composition.
1504年，英王亨利七世授予拉斐尔故乡的乌尔宾诺公爵以“嘉德勋章”，公爵为了答谢英王，委托21岁的拉斐尔绘制一幅歌颂英国守护神圣乔治的小型图画，并要求他在画中把圣乔治画成杀死毒龙的嘉德骑士。画家以对角线安排形象，腾跃的白马呈向上趋势，圣乔治举刀作欲砍之势，动作十分英武优美。
*《圣母与圣子》 Madonna dell Granduca*
《阿尔巴圣母》
“Alba Madonna” by Raphael is named after its collector, the Duke of Alba. This painting depicts a tender moment between the Holy Mother and Child, along with Saint John the Baptist, as they play together in the twilight of a summer evening. The Holy Mother sits on the ground with the Holy Child Jesus on her lap, while a slightly older Saint John sits nearby. Seemingly tired from reading the Bible, the Holy Mother rests her left hand on the closed book, gently placing her right hand on Saint John’s shoulder, her compassionate gaze watching over the two children at play. The setting sun casts a poetic, melancholic atmosphere upon the distant scenery of farmland and undulating mountains. The natural yet artfully composed figures form an excellent balance between the divine and the human, with their tender beauty and graceful lines perfectly capturing the spirituality of a sacred icon.
拉斐尔《阿尔巴圣母》因其收藏者阿尔巴公爵而得名。这幅画描绘圣母子与施洗约翰沐浴在暮色黄昏中时的亲情关系。画面上，圣母席地而坐，膝上坐着圣婴耶稣，身边坐着年龄稍大的施洗约翰。也许是阅读《圣经》疲累了，圣母左手拿着刚刚合拢的《圣经》，右手爱怜地搭在膝边的施洗约翰身上，以一种爱怜而静穆的目光，观望着两个幼儿的玩闹。此时，三人的目光都疑聚到那个小小的十字架上，仿佛都预感到圣子耶稣将为救赎人类的罪恶而奉献生命的沉重与悲壮。黄昏暮色中，夏日芳醇清新的阳光，洒落在有农庄和起伏山岭的远景上，给画面涂上一层忧郁的诗意气氛。整幅画人物姿态十分自然，却形成一个非自然的出色的平衡构图。舒缓柔美的动人曲线，丝毫不差地勾画出呈弯曲的图像，成功地保留了一幅圣像所有的灵性。
《绅士画像》（Baltazar Castiglione）
Baldassare Castiglione, five years younger than Raphael, was a close friend of the artist. This portrait truthfully and vividly reflects Castiglione’s distinctive features as a politician, diplomat, and scholar: his piercing, dark eyes, both sharp and gentle, seem to penetrate everything; his slightly pursed, reddish lips, both soft and firm, reveal his self-confidence, decisiveness, and eloquence; his slightly lifted chin and thick, well-groomed beard exude the unique style of the scholars of the Italian Renaissance; and his black hat, white shirt, and gray-black attire mirror the era’s fashion trends of abandoning extravagance in favor of simplicity. The triangular composition of the portrait adds gravity and dignity, befitting Castiglione’s status, cultivation, and state of mind.
比拉斐尔小5岁的巴尔达萨雷伯爵，是画家的挚友。这幅作品真切而生动地反映了这位政治家、外交家兼学者于一身的形象特征：他那黑亮、锋利而又平和的眼神，好象能够看穿一切；他那微红、紧闭、外柔内刚的双唇，显示了他自信、果断、严谨和善辩的机巧；微微翘起的下巴，那浓密、整齐的络腮胡须，显示了意大利16世纪文艺复兴时期学者特有的风范；那黑色的礼帽，白色的衬衫，灰黑色的素装又反映了被画者在当时主张摒弃艳装提倡素装的时代风尚。构图采用正三角形，使画面沉稳和庄重，这与人物身分、修养和心态十分吻合。
《礼拜堂圆顶》 Dome of the Chigi Chapel
An Italian art historian described Raphael as follows: He turned traditional religious themes into an idealized beauty of everyday life. People from all walks of life, whether innocent children or cultured scholars, can appreciate his art and discover different aesthetic qualities and characteristics within his works. Raphael is an artist who belongs to everyone.
意大利艺术史家这样评价拉斐尔：他将传统的宗教题材描绘成现实生活中的理想美。无论是天真的孩子，还是有文化的学者，都可以欣赏他的画，每个人都有机会去发现这些作品中不同的美感和特质。拉斐尔是属于每个人的艺术家。
