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【簡譯】本韋努托·切利尼（Benvenuto Cellini）

2023-04-03 12:08 作者:神尾智代 0人讀過 | 我要投稿

Benvenuto Cellini (1500-1571 CE) was an Italian Renaissance sculptor, medallist, and goldsmith whose most famous works today include the bronze statue of Perseus holding the head of Medusa, which now stands in Florence, and a magnificent gold salt cellar made for Francis I of France (r. 1515-1547 CE), now in Vienna. Although the surviving body of Cellini's work is surprisingly small, he remains one of the best-known Renaissance artists thanks to his colorful autobiography, written around 1558 CE.

? ? ? ? ? 本韋努托·切利尼（公元1500-1571年）是意大利文藝復興時期的雕塑家、勛章獲得者和金匠，他最著名的作品是現(xiàn)在矗立在佛羅倫薩的珀爾修斯手持美杜莎頭顱的青銅雕像，以及為法國弗朗西斯一世（公元1515-1547年）制作的華麗金鹽罐，該藏品現(xiàn)保存在維也納。盡管現(xiàn)存的切利尼的作品少得令人吃驚，但由于他在公元1558年左右寫下的豐富多彩的自傳，使得他仍然是文藝復興時期最著名的藝術家之一。

生平和作品

Benvenuto Cellini was born in Florence in 1500 CE, the son of a stonemason. Benvenuto's father had hoped he would also train to become a mason, perhaps to become a woodwind player, too. Benvenuto loved drawing, though, and his creative vent found an outlet in metalwork. Cellini began his career as an apprentice in a goldsmith's workshop in Florence. In 1519 CE the young craftsman moved on to Rome, working in the mint there, and he remained in the Eternal City until 1540 CE. While Rome was his base, there were short spells spent working in Florence and Venice. Perhaps in the latter city, he came across Islamic art as Cellini often used 'arabesque' motifs in his metalwork engravings.

? ? ? ? ? 本韋努托·切利尼于公元1500年出生在佛羅倫薩，是一位石匠的兒子。本韋努托的父親曾希望他也能成為一名泥瓦匠，也許還能成為一名管樂器演奏家。不過，本韋努托喜歡繪畫，他的創(chuàng)造力在金屬加工方面找到了出口。切利尼開始了他的職業(yè)生涯，在佛羅倫薩的一個金匠作坊當學徒。公元1519年，這位年輕的工匠移居羅馬，在那里的鑄幣廠工作，他在羅馬一直呆到公元1540年。雖然羅馬是他的落腳地，但他曾在佛羅倫薩和威尼斯短暫工作過。也許在后一個城市，他接觸到了伊斯蘭藝術，因為切利尼經(jīng)常在他的金屬制品雕刻中使用“阿拉伯式”紋樣。

Cellini moved to France in 1540 CE and remained there for the next five years. He made various works of art for the French king Francis I, including his famous salt cellar and the bronze plaque of Diana (see below). Back in Florence for good from 1545 CE, the artist worked on several commissions from Cosimo I de' Medici, then Duke of Florence (ruled 1537-1569 CE). One project was the statue of Perseus (see below) and Cellini also did an idealised bronze portrait bust of the duke. The bust has Cosimo fetchingly dressed in armour as Roman emperors were wont to wear for their portraits. An interesting detail is the roaring lion on Cosimo's right shoulder, a reference to his prowess as a political leader as the lion or marzocco was a potent symbol throughout the history of Florence. The bust once had gilt highlights and enamel eyes. Curiously, Cosimo sent the bust to Elba after he conquered that island in 1557 CE. It measures an impressive 1.1 metres (3 ft 7 in) in height, and today it is back more or less where it was made, residing in the Bargello Museum in Florence.

? ? ? ? ? 切利尼于公元1540年移居法國，并在那里呆了五年。他為法國國王弗朗西斯一世制作了各種藝術作品，包括著名的鹽罐和黛安娜的青銅牌匾（見下文）。從公元1545年回到佛羅倫薩后，切利尼為當時的佛羅倫薩公爵科西莫一世·德·美第奇 (Cosimo I de' Medici，公元1537-1569年在位)的幾個委托項目工作。其中一個項目是珀爾修斯的雕像（見下文），切利尼還為公爵制作了一個理想化的青銅半身像。半身像上的科西莫身穿鎧甲，就像羅馬皇帝畫像一樣，非常漂亮。一個有趣的細節(jié)是科西莫右肩上咆哮的獅子，這是指他作為一個政治領袖的能力，因為獅子或Marzocco在整個佛羅倫薩的歷史上是強大的象征。當時，半身像有金色反光和琺瑯眼睛。有趣的是，科西莫在 1557 年征服厄爾巴島后將半身像送到了厄爾巴島。它的高度令人印象深刻，達到了1.1米（3英尺7英寸），今天它又回到了它的制造地，保存在佛羅倫薩的巴杰羅博物館。

Another bronze portrait bust was commissioned by the banker Bindo Altoviti (1491-1557 CE). Finally, Cellini produced a life-size representation of Jesus Christ on the Cross (c. 1562 CE), which was perhaps originally intended for the sculptor's own tomb but which now resides in the San Lorenzo Monastery, El Escorial, Spain. Cellini died in May 1571 CE, and he was buried in the Basilica of the Most Holy Annunciation in Florence.

? ? ? ? ? 另一個半身銅像是由銀行家賓多·阿爾托維蒂（公元1491-1557年）委托制作的。切利尼制作了一個真人大小的耶穌基督在十字架上的形象（約公元1562年），這可能是最初為雕塑家自己的墳墓準備的，但現(xiàn)在它保存在西班牙埃爾埃斯科里亞爾的圣洛倫索修道院里。切利尼于公元1571年5月去世，他被埋葬在佛羅倫薩的圣母領報大教堂。

For such a famous artist and for one who we know so much about personally, the works which can be positively identified as by the hand of Cellini are surprisingly few. There are merely seven sculptures, seven coins, three medals, two seals, and one salt cellar.

? ? ? ? ? 對于這樣一位如此著名和廣為人知的藝術家來說，可以確定是出自切利尼之手的作品少得令人吃驚。只有七尊雕塑、七枚硬幣、三枚獎章、兩枚印章和一個鹽罐。

楓丹白露的女神

Commissioned by Francis I, the Nymph of Fontainebleau is a larger-than-lifesize bronze plaque showing a reclining Diana from Greek/Roman mythology. Diana was a huntress and so an ideal subject for the French king who was a passionate hunter of forest game. The nude goddess has a massive stag with huge antlers looking over her shoulder while at the sides of the piece are deer, wild boars, and hunting dogs. The sculpture was originally meant to sit above the entrance gate of the Palace of Fontainebleau, hence its misleading name, but the king never got around to having it installed. When Henry II of France became king (r. 1547-1559 CE), he decided the sculpture was more suitable for a hunting lodge and so gave it to his mistress Diane de Poitiers (1499-1566 CE) for her home, the Chateau d'Anet, south of Paris. Today, the sculpture is in the Louvre Museum in Paris.

? ? ? ? ? The Nymph of Fontainebleau（楓丹白露的女神）是由弗朗西斯一世委托制作的，這是一塊比真人還大的青銅牌，展示了希臘/羅馬神話中的黛安娜的躺姿。黛安娜是一位女獵手，因此是這位熱衷于狩獵森林野味的法國國王的理想對象。裸體女神的肩膀上有一只巨大的鹿角，而在作品的兩側有鹿、野豬和獵狗。這座雕塑原本是要放在楓丹白露宮的大門上方的，因此它的名字很容易讓人誤解，但國王一直沒能把它安裝起來。當法國亨利二世成為國王（公元1547-1559年）時，他認為這個雕塑更適合用于狩獵場，于是將它送給了他的情婦迪亞娜·德·普瓦捷（公元1499-1566年），放在她的家中，即巴黎南部的阿內(nèi)城堡。今天，這座雕塑被收藏在巴黎的盧浮宮博物館。

切利尼金鹽罐

The finest example of Cellini's skills as a goldsmith is the salt cellar he made for Francis I, in the early 1540s CE. Made using enamel and gold set on an ebony base it has two reclining nude figures at the top. The female figure either represents the Roman mother goddess Tellus, symbolising the earth, or Ceres, the goddess of agriculture. Next to her, the miniature temple was designed to hold pepper. The male figure is the Greek/Roman god Poseidon/Neptune, who holds a trident and, of course, he represents the sea. The boat next to him was intended to be filled with salt. The two figures have their legs intertwined, suggesting the mutual interdependence of these two spheres of human existence (Campbell, 350), as well as the frequent coupling of these two bounties of the earth and sea on the aristocratic dinner plate: salt and pepper. The base of the cellar is decorated with figures variously representing the Hours, the Winds, and human activities. The salt cellar was later given by King Charles IX of France (r. 1560-1574 CE) as a wedding present to Archduke Ferdinand of Tyrol, which explains why the piece has ultimately found its way to its present location, the Kunsthistorisches Museum of Vienna.

? ? ? ? ? 切利尼 (Cellini) 金匠技藝的最佳例證是他在 16世紀40 年代初期為弗朗西斯一世 (Francis I) 制作的鹽罐。它是用琺瑯和黃金鑲嵌在烏木底座上制成的，頂部有兩個躺著的裸體人物。女性形象要么代表羅馬的母神Tellus，象征著大地；要么代表農(nóng)業(yè)女神Ceres。在她的旁邊，微型神廟被設計用來盛放胡椒粉。男性形象是希臘/羅馬的波塞冬/海神，他手持三叉戟，當然，他代表的是大海。他旁邊的船是為了裝滿鹽。這兩個人物的腿交織在一起，暗示著人類存在的這兩個領域的相互依存關系（Campbell, 350），以及在貴族的餐盤上經(jīng)常將這兩種大地和海洋的恩賜聯(lián)在一起：鹽和胡椒。地窖的底部裝飾著不同的人物，代表著時辰、風和人類活動。這個鹽罐后來被法國國王查理九世（公元1560-1574年）作為結婚禮物送給了蒂羅爾的費迪南大公，這也解釋了為什么這件作品存放在現(xiàn)在的位置，即維也納藝術史博物館。

珀爾修斯與美杜莎頭顱雕像

Cellini's signature work is a bronze statue of Perseus, the hero from Greek mythology, made between 1545 and 1554 CE. The figure was commissioned by Cosimo I and it was an opportunity for Cellini to show that his stint abroad had not diminished his position as one of the city's foremost artists. The completed figure is larger than lifesize and stands 3.2 metres (10 ft 6 in) tall on an intricately carved pedestal.

? ? ? ? ? 切利尼的標志性作品是希臘神話英雄珀爾修斯的青銅雕像，制作于公元1545年至1554年。這座雕像是科西莫一世委托制作的，這對切利尼來說是一個機會，表明他在國外的經(jīng)歷并沒有削弱他作為城市最重要的藝術家之一的地位。完成后的雕像比真人還大，高3.2米（10英尺6英寸），站立在一個精雕細琢的基座上。

Perseus has just cut off the head of the dreadful gorgon Medusa, whose stare turned living creatures into stone. The corpse of Medusa is shown being trampled on by the hero who wields a mighty sword while looking suitably disdainful of his foe. Cellini has boldly added his name to the piece, written on the ribbon across the hero's chest. The statue today stands in the Loggia della Signoria (aka Loggia dei Lanzi) in Florence, exactly where it was originally intended to stand and so display the erudition and wealth of the Medici family to the people of the dukedom. Renaissance art was rarely commissioned for its aesthetic appeal alone, and Cosimo de' Medici knew full well that the Florentines would see in the hero vanquishing a fearsome enemy a reflection of the Medici's success as rulers battling rival cities and states.

? ? ? ? ? 珀爾修斯剛剛砍下了可怕的蛇發(fā)女妖美杜莎的頭顱，她的目光可以將生靈變成石頭。美杜莎的尸體被英雄踩在腳下，他揮舞著一把強大的劍，看起來對他的敵人很不屑一顧。切利尼在作品中大膽地加入了自己的名字，寫在英雄胸前的絲帶上。這座雕像如今矗立在佛羅倫薩的傭兵涼廊（又名Loggia dei Lanzi），正是它最初矗立的地方，向公國的人民展示了美第奇家族的博學和財富。文藝復興時期的藝術很少僅僅因為其審美吸引力而被委托創(chuàng)作，科西莫·迪·喬凡尼·德·美第奇很清楚，佛羅倫薩人會從英雄戰(zhàn)勝可怕的敵人中看到美第奇家族作為統(tǒng)治者與敵對城市和國家斗爭的成功體現(xiàn)。

自? ? ?傳

Cellini, like several other noted Renaissance artists, used the written word to pass on his experience and opinions regarding his craft. He wrote a treatise on sculpture, for example, and this gives all kinds of practical advice for artists ranging from how to cast bronze sculpture correctly to how to make the best plaster for moulds by mixing gesso with ground ox horn and rinsed horse manure.

? ? ? ? ? 切利尼和其他一些著名的文藝復興藝術家一樣，用文字來傳遞他的經(jīng)驗和關于他的手藝的意見。例如，他寫了一篇關于雕塑的論文，為藝術家們提供了各種實用的建議，從如何正確地鑄造青銅雕塑，到如何用石膏與磨碎的牛角和沖洗過的馬糞混合制成最好的模具石膏。

Around 1558 CE Cellini extended these works to a full autobiography, not the first by a European artist but perhaps one of the most exaggerated. In this never-completed work, the artist claims, for example, to have killed the Duke of Bourbon during the 1527 CE Sack of Rome by rebels from the army of Charles V, Holy Roman Emperor (r. 1519-1556 CE). Despite these boasts, the work does contain some frank assessments, and Cellini was an eyewitness to the events in Rome. The sculptor was even involved in melting down papal treasures in preparation for an evacuation of the Vatican Palace.

? ? ? ? ? 大約在公元1558年，切利尼將這些作品擴展為一本完整的自傳，這不是歐洲藝術家的第一本自傳，但可能是最夸張的一本。在這部從未完成的作品中，藝術家聲稱在公元1527年神圣羅馬帝國皇帝查理五世（公元1519-1556年）的軍隊的叛軍洗劫羅馬期間，他殺死了波旁公爵。盡管有這些吹噓，但作品中確實有一些坦率的評價，而且切利尼是羅馬事件的目擊者。這位雕塑家甚至參與了熔化教皇寶藏的工作，為梵蒂岡宮的撤離做準備。

Other interesting events in the artist's life include his time in Rome where he was once put in prison accused of stealing some of the Pope's jewels. Delighting in breaking society's conventions, the artist would go to parties with one of his male workshop assistants dressed as a woman or push the boundaries of good artistic taste by entirely gilding one of his followers. The autobiography reveals a fiercely independent character and a keen learner, someone who frequently found himself in fights, enjoyed fine food, and had a promiscuous sex life with both men and women. There is here, too, a man who possessed a genuine concern with presenting to the world what it means to be an artist and what it takes to produce great art.

? ? ? ? ? 切利尼生活中的其他有趣事件是他在羅馬逗留期間，他曾被指控偷竊教皇的一些珠寶而被關進監(jiān)獄。這位藝術家樂于打破社會慣例，他與他的一位男車間助理一起打扮成女性參加聚會，或者通過為他的一位追隨者完全鍍金來跨越良好藝術品味的界限。這本自傳揭示了他激烈的獨立性格和敏銳的學習能力，他經(jīng)常發(fā)現(xiàn)自己在打架，享受美食，并與男人和女人有淫亂的性生活。這里還有一個人，他真正關心的是如何向世界展示作為一個藝術家的意義，以及如何創(chuàng)作偉大的藝術。

A complex character whose best work has not survived for us to admire, the famed Renaissance historian Jacob Burckhardt gives the following summary of Cellini's character, as revealed in his autobiography:

? ? ? ? ? when the reader often detects him bragging or lying; the stamp of a mighty, energetic and thoroughly developed nature remains. By his side our modern autobiographies, though their tendency and moral character may stand much higher, appear incomplete beings. He is a man who can do all and dares do all, and who carries the measure in himself. Whether we like him or not, he lives, such as he was, as a significant type of the modern spirit. (217).

? ? ? ? ? 研究歐洲藝術史與人文主義的歷史學家雅各·布克哈特（Jacob Burckhardt）對切利尼的性格做了如下總結，在他的自傳中，我們可以看到一個復雜的人物，他最好的作品沒有被保存下來供我們欣賞：

? ? ? ? ? 當讀者經(jīng)常發(fā)現(xiàn)他在吹?；蛉鲋e時；一個強大的、有活力的和充分發(fā)展的天性的印記仍然存在。相比之下，我們的現(xiàn)代自傳，盡管其傾向性和道德品質(zhì)可能會高得多，但似乎并不完整。他是一個什么都能做，什么都敢做，而且自帶分寸的人。無論我們是否喜歡他，他都作為現(xiàn)代精神的一個重要例子，一如既往地存在著。(217).