卡拉瓦乔 (Michelangelo Merisi detto il Caravaggio) 的 《 埋葬基督 》

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米开朗基罗·梅里西·达·卡拉瓦乔 (Michelangelo Merisi detto il Caravaggio, 1571年9月29日—1610年7月18日) 对巴洛克画派的形成有重要影响。
在1599年,卡拉瓦乔取得装饰 圣路易吉·迪·弗朗西斯教堂 (Chiesa di San Luigi dei Francesi) 的肯塔瑞里礼拜堂 (Cappella Contarelli) 的合同。 这一委托包括两件作品,《圣马太殉难》和《圣马太蒙召》(La vocazione di san Matteo), 1600年完成后立刻引起轰动。 卡拉瓦乔增强的明暗对照法使得主题极富戏剧性, 同时精确观察带来的写实把情感的强度提高到了一个新的水平。现在人们把这种明暗对着法的增强形式称作暗色调主义, 其兴起归功于卡拉瓦乔。
(http://zh.wikipedia.org/zh/卡拉瓦乔)

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在《埋葬基督》中, 卡拉瓦乔 突出了其繪畫的兩個最基本的要求: 一是藉由光線, 表現出人物個性和形象以及物體之質量感; 二是與之緊密聯繫的揭示顯現基督的光。

卡拉瓦乔 的作品其實只有「追求光線效果」的特點, 光的表現幾乎構成了揭示世界物象的唯一手段, 因為它是在事件極具意義和表現力的瞬間被攝取下來專注於物品和人物身上的。
在伴隨著基督身體入葬動作的整體運作中, 畫中的六個角色呈現了紀念碑似的戲劇性效果。 構圖根據螺旋形下降的動作, 從右邊舉起雙臂的女人開始, 到下垂於畫之底部的床單邊緣的褶皺止, 把這六個角色連成一個整體的群組。

而從高處直下的光停在人物身上, 又把他們逐一照清。他們是: 把雙臂伸向天空、表情絕望的女人; 面孔在陰影中、彎身抹淚的另一個女人; 伸出一隻手要最後一次撫摸她兒子的聖母; 扶著基督身體、臉部線條陷在陰影中的一個男人; 前景中緩慢轉身對著我們的另一 個男人, 他的目光把繪畫的表現和現實聯繫起來, 似乎在說, 像我們一樣的人正把為救贖我們罪過的上帝之子---基督的身體放到墓中; 最後, 是要安放的、似乎 滑動的、處在整個光線中的基督的身體。

由於垂落在墓地長條石上的布單的柔軟的褶皺, 顯得十分突出, 順著從右上往下的弧線, 似乎要伸出畫面之外。 從右邊高處向左邊低處下降的對角線和向下的節奏被基督呈弧形的身體打斷, 使我們從上而下的注意力和悲哀完全集中在上帝之子為救贖人類罪過而亡的痛 苦但無怨無尤的臉上。(http://vr.theatre.ntu.edu.tw/fin ... o/caravaggio-08.htm)

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The Entombment of Christ (La Deposizione, 1602–1603) is a painting by Michelangelo Merisi da Caravaggio. It was painted for Santa Maria in Vallicella, a church built for the Oratory of Saint Philip Neri, and adjacent to the buildings of the order. A copy of the painting is now in the chapel. The painting was originally commissioned by Alessandro Vittrice in 1601, and completed by two years later. Now it is among the treasures of the Vatican Pinacoteca.

While there is much in this representation that was revolutionary for Caravaggio's time, it is not clear that the highly naturalistic reconstruction of a gospel event in this painting would have been antithetical to the vividly faithful Oratorians, who sought to relive experiences through prayer. Even near contemporary critics of Caravaggio and his style, such as Baglione and Bellori, admired this painting.  
This counter-reformation painting – with a diagonal cascade of mourners and cadaver-bearers descending to the limp, dead Christ and the bare stone – is not a moment of transfiguration, but of mourning. As the viewer's eye descends from the gloom there is, too, a descent from the hysteria of Mary of Cleophas through subdued emotion to death as the final emotional silencing. Unlike the gored post-crucifixion Jesus in morbid Spanish displays, Italian Christs die generally bloodlessly, and slump in a geometrically challenging display. As if emphasizing the dead Christ's inability to feel pain, a hand enters the wound at his side. His body is one of a muscled, veined, thick-limbed laborer rather than the usual, bony-thin depiction.

While faces are important in painting generally, in Caravaggio it is important always to note where the arms are pointing. Skyward in The Conversion of Saint Paul on the Road to Damascus, towards Levi in The Calling of Saint Matthew. Here, the dead God's fallen arm and immaculate shroud touch stone; the grieving Mary Magdalene gesticulates to Heaven. In some ways, that was the message of Christ: God come to earth, and mankind reconciled with the heavens. As usual, even with his works of highest devotion, Caravaggio never fails to ground himself. Tradition held that the Virgin Mary be depicted as eternally young, but here Caravaggio paints the Virgin as an old woman. The figure of the Virgin Mary is also partially obscured; we see her in the blue robe and her arms are held out to her side, imitating the line of the stone they stand upon. Her right hand hovers above his head as if she is reaching out to touch him.  (http://en.wikipedia.org/wiki/The ... ion_from_the_Cross_(Caravaggio)