维京时代装饰艺术中对称构图的起源

V. Kulakov
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引用次数: 1

摘要

在公元前三至二千年的中东艺术中,首次出现了一种神站在食肉动物的神身上的对称构图。在迈锡尼时代,这种构图为希腊艺术的追随者所熟知,他们在绘画和雕塑中都实现了这种构图。这种构图实现了作者努力向接受者传达所描绘的神的力量和他对动物世界的力量的概念。站立的掠食性动物的对称构图,这显然是古代欧洲艺术的东方创新,在古代和希腊化时代,我们的大陆上没有表现出来。由于东方对罗马晚期艺术的影响逐渐增加,公元5世纪,欧洲人在罗马行省大师的作品中再次认识到对称。在古代晚期,罗马行省的金匠在军事腰带上使用这种构图。这些形象成为了古代德国大师的模型,他们代表了沃坦/奥丁神,周围围绕着献给他的神话动物和鸟类。维京时代的装饰艺术与对称格格不入,只在异教经典《奥丁与乌鸦》的情节中保留了对称。这种“异教图标”的变体,在维京时代的装饰艺术中得以实现,在日耳曼世界中结束了与对称位置的捕食者的构图,这始于阿卡德时代的古代东方。在这种情况下,我们有一个独特的例子,几千年来存在的图像动机,珠宝商和石匠用来制作令人印象深刻的神秘生物的图像。他们周围的掠食者象征着神的超凡力量。在拜占庭,对称的构图直到十四世纪都很重要。现代和当代历史在纹章和建筑构图中保留了捕食者的成对图像。然而,它们与古代东方图像的遗传关系需要进一步研究。
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Origin of Symmetrical Composition in Decorative Art of the Viking Age
For the first time, a symmetrical composition with figures of a deity standing on the godsof carnivorous animals appeared in the Middle Eastern art of the III–II millennium B.C. In the Mycenaean era, this composition became known to adherents of Hellenic art, who realized it both in painting and sculpture. This composition realizes the idea of their authors striving to convey to recipients the concept of the power of the depicted deity and his power over the animal world. A symmetrical composition with standing predatory animals, which is a clear oriental innovation in the art of ancient Europe, was not represented on our continent in ancient and Hellenistic times. As a result of the gradual increase in the eastern influence on the art of late Rome, symmetry again became known to Europeans in the products of provincial-Roman masters of the 5th century A.D. In late antiquity, goldsmiths in the Roman provinces used this composition on the parts of military belt sets. These images became models for the ancient German masters who represented the God Wotan / Odin surrounded by mythical animals and birds dedicated to him. The decorative art of the Viking Age, alien to symmetry, retains it only in the plot of the pagan canon «Odin and the Crows». Variants of this «pagan icon», realized in the decorative art of the Viking Age, came to an end in the Germanic world of a composition with symmetrically located predators, which began in the Ancient East in Akkadian time. In this case, we have a unique example of the multi-thousand-year existence of the pictorial motive, used by jewelers and stonecutters to make impressive images of mystical creatures. The predators surrounding them were intended to symbolize the unearthly power of the deities.In Byzantium, a symmetrical composition remained relevant until the XIV century. Modern and contemporary historypreserves paired images of predators in heraldic and architectural compositions. However, their genetic relationship with Ancient Eastern images requires additional study.
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