Tudor Liveliness - Vivid Art In Post-Reformation England

都铎王朝的活力:后宗教改革时期英格兰的生动艺术

出版社 ‏ : ‎ Paul Mellon Centre (2023年5月2日)

语言 ‏ : ‎ 英语

精装 ‏ : ‎ 208页

ISBN-10 ‏ : ‎ 191310737X

ISBN-13 ‏ : ‎ 978-1913107376

商品重量 ‏ : ‎ 788 g

页面信息仅供参考，具体以实物为准

内容简介

对都铎艺术中的现实主义问题采取的突破性方法

在都铎和雅各布时期的英格兰，视觉艺术常常被称为 "活泼"。这个词被用来描述全部的视觉和物质文化--从肖像画到葬礼纪念碑，从书籍插图到挂毯。对于现代的观众来说，这种说法似乎令人费解：在一个似乎不太欣赏幻觉自然主义的文化中，"活泼 "能意味着什么？而在一个据说是以对偶像崇拜的恐惧为特征的时期，"活泼 "怎么可能是一件好事？

在这本内容广泛的创新书中，克里斯蒂娜·法拉第挖掘出了一个独特的都铎王朝的生动性模式：一个以修辞技术为基础的模式，为观众创造强大的精神形象。通过与当时的主流交流框架相比较，本书为都铎王朝艺术批评和欣赏的失落模式提供了新的启示，揭示了跨越各种流派和背景的物品是如何参与同样的知识和美学对话的。通过复活一个失落的艺术理论模式，法拉第重新激活了都铎时期和雅各布时期英格兰生动的视觉和物质文化，恢复了其最初的感动、印象和愉悦的力量。

为保罗-梅隆英国艺术研究中心发行

A groundbreaking approach to the problem of realism in Tudor art

In Tudor and Jacobean England, visual art was often termed “lively.” This word was used to describe the full range of visual and material culture—from portraits to funeral monuments, book illustrations to tapestry. To a modern viewer, this claim seems perplexing: what could “liveliness” have meant in a culture with seemingly little appreciation for illusionistic naturalism? And in a period supposedly characterised by fear of idolatry, how could “liveliness” have been a good thing?

In this wide-ranging and innovative book, Christina Faraday excavates a uniquely Tudor model of vividness: one grounded in rhetorical techniques for creating powerful mental images for audiences. By drawing parallels with the dominant communicative framework of the day, Tudor Liveliness sheds new light on a lost mode of Tudor art criticism and appreciation, revealing how objects across a vast range of genres and contexts were taking part in the same intellectual and aesthetic conversations. By resurrecting a lost model for art theory, Faraday re-enlivens the vivid visual and material culture of Tudor and Jacobean England, recovering its original power to move, impress and delight.

Distributed for the Paul Mellon Centre for Studies in British Art