数字时代塞雷尼西马的辉煌:慕拉诺岛大师的逐渐反思

Stephanie Azzarello, Bryan C. Keene
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引用次数: 0

摘要

摘要:穆拉诺渐变大师是15世纪早期威尼斯最神秘的插画家之一。同名的唱诗班书籍是由圣马蒂亚穆拉诺的Camaldolese修道院委托制作的,今天在柏林的Kupferstichkabinett (MS 78 F.1)中有一册完整的书,大约有50个历史悠久的首字母分布在欧洲和美国的25个公共和私人收藏中。整体语料库的碎片性是研究艺术家和理解车间轮廓的核心挑战。本文对慕拉诺大师的作品进行了重新评估,包括一份附录,列出了该系列作品的出处,并提出了未来合作的理由,这些合作可以建立在数字化努力的基础上,使这些片段可以在网上提供,并根据最近对照明师使用的颜料的技术分析。作者的方法论方法是双重的。首先,亲自研究每一个碎片和手稿,并为尽可能多的作品找到数字资产,目的是创建一个最终的网站或在线存储库,供学者查阅。其次,调查迄今为止被忽视的单个碎片的法典特征,包括音乐五线谱高度或歌曲的盲线测量,以及一百多份装饰字母与装饰字母之间的可能关系,这些装饰字母也与圣马蒂亚系列有关。最后,该研究还澄清了穆拉诺唱诗班书籍的年代,这些书籍很可能是在1420年代制作的。
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Splendors of the Serenissima in a Digital Age: The Master of the Murano Gradual Reconsidered
Abstract:The Master of the Murano Gradual is one of the most enigmatic illuminators working in early fifteenth-century Venice. The eponymous choir books were commissioned by the Camaldolese monastery of San Mattia a Murano and today comprise a single intact volume in the Kupferstichkabinett in Berlin (MS 78 F.1) and about fifty historiated initials dispersed in twenty-five public and private collections in Europe and the United States. The fragmentary nature of the overall corpus is a central challenge to studying the artist and to understanding the contours of the workshop. This article provides a reassessment of the corpus of work attributed to the Murano Master—including an appendix with provenances of the whereabouts of the series—and makes a case for future collaborations that can build upon digitization efforts that make the fragments available online and upon recent technical analysis into the pigments used by the illuminators.The methodological approach of the authors has been twofold. Firstly, to study each of the fragments and manuscripts in person, and to locate digital assets for as many works as possible with the aim of creating an eventual website or online repository for scholars to consult. Secondly, to investigate codicological features of the individual fragments that have been hitherto overlooked, including the measurement of musical stave heights or blind-ruled lines for song, and the possible relationship between decorated and filigree letters to over one-hundred cuttings with decorated letters that have also been associated with the San Mattia series. Finally, the study also clarifies the dating of the Murano choir books, which were most likely produced in the 1420s.
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