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Savonarola’s General Disposition Towards Art

2020-05-19 来源: 51Due教员组 类别: 更多范文

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下面51due教员组为大家整理一篇优秀的代写范文- Savonarola’s General Disposition Towards Art,供大家参考学习。这篇文章讲述的是萨沃纳罗拉(Savonarola)对艺术有不同的感受:一方面,他能够感知某些艺术品的美;另一方面,他鄙视没有如实地描绘世界的艺术品。在威尼斯的穆拉诺(Murano),玻璃制造商生产玻璃器皿和水晶花瓶,萨沃纳罗拉(Savonarola)惊讶于这些艺术品的美丽和典雅。他写道:当今世界上已经找不到每天在这里制造的珍贵玻璃制品了它们的外观最优雅,最漂亮可见(154)。这些评论表明,萨沃纳罗拉确实具有美感。

Savonarola’s General Disposition Towards Art

 

Savonarola has mixed feelings towards art: on the one hand, he is able to perceive the beauty of some of the artworks, on the other hand, he despises the art that do not faithfully depict the world as it naturally is. In Murano, Venice, where glassmakers make the glass instruments and crystal vases, Savonarola marveled at how beautiful and elegant these artworks looked. He wrote: “there are not to be found in the world today such precious glass objects as are made here daily”, “they are most elegant in appearance, most beautiful to see (154).” These comments show that Savonarola do have a sense of beauty. However, his appreciation of art is extremely limited as he relates gold, silver and even sculptures with corruption. In his descriptions of some of the tombs he saw, he commented, “the whole surface of the wall is decorated with varied marble, and sculptures in gold and silver, and ornamented beyond the bounds of propriety (155).” The extravagancy of the riches drove Savonarola away from appreciation of art and as he began to detest any art that didn’t serve religious purposes in a humble manner.

 

Despite the obvious opposition against extravagant art, there are multiple mentions of how the nature is imitated through paintings in Savonarola’s sermons. The superiority of nature is established in such remarks: “works of nature are more beautiful than man’s artificial works, so the latter try to imitate nature (156).” In general, Savonarola thinks that the imitation of nature by the painters is a good thing, not in the deed itself, but in how it is used to prove his point: the divinity of nature and the God: “we find that those please more which imitate nature more (157)”. Comparing the works of man and works of God, he wrote: “there are certain painters who make figures that appear alive; a person who has good judgement and good imagination judges as soon as he sees this figure that is dead, not alive (158).” He again Savonarola simplifies art to a mere tool for celebration of nature, which is a superficial way to understand art. Failing to see the function of art as refinement and essence of the real world, Savonarola is indeed biased in this issue.

 

Savonarola believes that all vanity in the art, especially paintings in Florence, should be abandoned immediately. The depiction of the stories from the bible must be the most faithful representation of the origin of truth: “do you believe that the Virgin Mary went dressed this way, as you paint her? I tell you she went dressed as a poor woman, simply, and so covered that her face could hardly be seen (157).” These statements sound rather opinionated as they do not allow the artistic way to process these stories, or any alternative interpretations of the scenario other than his own. He wrote further, “You would do well to cancel these figures that are painted so unchastely. You make the Virgin Mary seem dressed like a whore (158).” Savonarola fails to see that all divinity originates from humanity, which is the life of the common people. Humans just shouldn’t be simplified according to what they do. There may be more element of divinity in a whore than there are in many priests. Therefore, the pictures that decorate Florentine churches originate from the men and women who walk the streets of Florence, and only through the capturing and imitation of the latter can the form get closer to divinity.

 

Another term used by Savonarola is “artifice.” The word artifice itself carries negative meanings, but in art it should be views as the display of the intelligence of the artists in creating their works. However, Savonarola has a different point. He views artifice as a bad thing which represent the clumsiness of human trying to imitate nature: “nature does all things simply, and has no need of human artifice, yet the latter hopes to imitate nature (156).” He further categorizes those painters who do not faithfully imitate nature as “artificers.” In a somewhat disgusted tone, he commented: “we say those things are ‘art’ which artificers do, and they do not actually imitate nature (156).” Finally, he relates the issue back to religion again, trying to prove how superior nature is: “Orators, and likewise painters, try to conceal art, so that their works will seem natural (157).” Human is the work of nature as well, and Savonarola refuses to see this by belittling what human imagination and creativity is capable of, which is a typical way to control people’s mind through religion.

 

Both Savonarola and Cristoforo Landino’s works show sign of the tragic fatalism and prophesy of the destiny of humans. While Cristoforo Landino sees the problems from a humanistic approach, with a somewhat nuanced disposition toward art, Savonarola is more radical and he took a firmer ground in opposition of the art that didn’t celebrate divinity in a humble way. In response to the artist that “profaned the churches”, he remarked, “but what am I to say of you, Christian painters, who make those shameless figures there, which is not proper? Make them no more!” Another famous proof is the “bonfire of the vanities” in 1494, when he organized the burning of trinkets, cosmetics, luxury items, and obscene books in the public square of Florence. Overall, the disposition of Savonarola towards art is in alignment with his religious and political ambitions.

 

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