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佛罗伦萨乌菲茲美術館(意大利语:Galleria degli Uffizi)

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 楼主| 发表于 2019-10-2 00:59 | 显示全部楼层
本帖最后由 ngsunyu 于 2019-10-2 01:09 编辑

乌菲茲美術館藏品之一是  桑德羅·波提切利 的《聖母領報》,243 × 550 cm,約繪於1481年。(zh.wikipedia.org/烏菲茲美術館)

这幅壁画最初位于佛罗伦萨圣马蒂诺·阿拉·斯卡拉医院 (ospedale di San Martino alla Scala a Firenze) 的凉廊之一。
La scena è ambientata nell'abitazione di Maria: l'Angelo sta per atterrare nella loggia aperta verso il giardino e il paesaggio, mentre Maria sta inginocchiata nell'anticamera della stanza da letto: ella sospende la lettura delle Sacre Scritture e si piega con un gesto di umile accettazione.

Nel dipinto spicca la vigorosa apparizione dell'Angelo, che plana con abiti gonfi e il giglio, sua offerta alla purezza di Maria, piegato dal vento dell'atterraggio. il gesto di Maria, così religiosamente remissivo, sembra anticipare alcune figure dell'attività più tarda, senata dal misticismo savonaroliano. Nel sicuro impianto prospettico e compositivo si ravvedono vari elementi tipici del tema dell'annunciazione: l'hortus conclusus (giardino recintato), simbolo di verginità, la camera da letto, simbolo di immacolata concezione, il libro, simbolo delle profezie che si avverano con l'accettazione della Vergine. Notevole è la cura dei dettagli, come la viva decorazione a girali nei pilastri, o la resa materica dei veli setosi nella tenda e nelle lenzuola, oltre che nelle vesti. (it.wikipedia.org/wiki/Annunciazione_di_San_Martino_alla_Scala)
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 楼主| 发表于 2019-10-3 00:07 | 显示全部楼层
乌菲茲美術館主要藏品之一是 达-芬奇 的《三博士來朝》,243 × 246 cm,約繪於1481年。(zh.wikipedia.org/烏菲茲美術館)

请参看达-芬奇 (Leonardo da Vinci) 逝世(1519年5月2日)500周年 纪念第18~20楼。
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 楼主| 发表于 2019-10-4 00:01 | 显示全部楼层
本帖最后由 ngsunyu 于 2019-10-4 10:02 编辑

乌菲茲美術館主要藏品之一是 桑德羅·波提切利的《春》,203 × 314 cm,約繪於1482年。

桑德罗·波提切利(Sandro Botticelli,1445年3月1日-1510年5月17日),原名亚历桑德罗·菲利佩皮(Alessandro Filipepi)是欧洲文艺复兴早期的佛罗伦萨画派艺术家。(zh.wikipedia.org/桑德罗·波提切利)

《春》(Primavera)是意大利画家桑德罗·波提切利创作于1482年的名画。1482年他以诗人波利蒂安歌颂爱神维纳斯的长诗为主题,为美第奇别墅所画。这幅画和《维纳斯的诞生》一起,成为波提切利一生中最著名的两幅画作。(zh.wikipedia.org/春 (波提切利)

在这幅画中,波提切利运用自己的想像力对古代神话故事重新演绎,人物线条流畅,色彩明亮灿烂,却又在充满着欢乐详和的气氛中,带有一丝忧愁。画面右上方是风神,他拥抱着春神,春神又拥着花神,被鲜花装点的花神向大地撒着鲜花;画面中间立着女神维纳斯,在她头顶处飞翔着手执爱情之箭的小爱神丘比特;维纳斯的右手边是三美神手拉手翩翩起舞,她们分别象征“华美”、“贞淑”和“欢悦”;画面的左下方是主神宙斯的特使墨丘利。(zh.wikipedia.org/桑德罗·波提切利).
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 楼主| 发表于 2019-10-4 23:31 | 显示全部楼层
本帖最后由 ngsunyu 于 2019-10-4 23:36 编辑

Zephyrus, the biting wind of March, kidnaps and possesses the nymph Chloris, whom he later marries and transforms into a deity; she becomes the goddess of Spring, eternal bearer of life, and is scattering roses on the ground." Chloris the nymph overlaps Flora, the goddess she transforms into.

The interactions between the figures are enigmatic. Zephyrus and Chloris are looking at each other. Flora and Venus look out at the viewer, the Cupid is blindfolded, and Mercury has turned his back on the others, and looks up at the clouds. The central Grace looks towards him, while the other two seem to look at each other. Flora's smile was very unusual in painting at this date.

The pastoral scenery is elaborate. There are 500 identified plant species depicted in the painting, with about 190 different flowers,  of which at least 130 can be specifically identified. The overall appearance, and size, of the painting is similar to that of the millefleur ("thousand flower") Flemish tapestries that were popular decorations for palaces at the time.

One aspect of the painting is a depiction of the progress of the season of spring, reading from right to left. The wind of early Spring blows on the land and brings forth growth and flowers, presided over by Venus, goddess of April, with at the left Mercury, the god of the month of May in an early Roman calendar, chasing away the last clouds before summer. As well as being part of a sequence over the season, Mercury in dispelling the clouds is acting as the guard of the garden, partly explaining his military dress and his facing out of the picture space. A passage in Virgil's Aeneid describes him clearing the skies with his caduceus.  (en.wikipedia.org/Primavera (Botticelli)
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 楼主| 发表于 2019-10-5 00:03 | 显示全部楼层
本帖最后由 ngsunyu 于 2019-10-5 00:07 编辑

The Three Graces, a group of three females also in diaphanous white, join hands in a dance.

The Three Graces are sisters, and traditionally accompany Venus. In classical art (but not literature) they are normally nude, and typically stand still as they hold hands, but the depiction here is very close to one adapting Seneca by Leon Battista Albertiin his De pictura (1435), which Botticelli certainly knew. From the left they are identified by Edgar Wind as Voluptas, Castitas, and Pulchritudo (Pleasure, Chastity and Beauty), though other names are found in mythology, and it is noticeable that many writers, including Lightbown and the Ettlingers, refrain from naming Botticelli's Graces at all.

Cupid's arrow is aimed at the middle Grace, Chastity according to Wind, and the impact of love on chastity, leading to a marriage, features in many interpretations. Chastity looks towards Mercury, and some interpretations, especially those identifying the figures as modelled on actual individuals, see this couple as one to match Chloris and Zephyrus on the other side of the painting. (en.wikipedia.org/Primavera (Botticelli)
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 楼主| 发表于 2019-10-5 00:08 | 显示全部楼层
本帖最后由 ngsunyu 于 2019-10-5 00:11 编辑

In the centre (but not exactly so) and somewhat set back from the other figures stands Venus (女神维纳斯), a red-draped woman in blue. Like the flower-gatherer, she returns the viewer's gaze. The trees behind her form a broken arch to draw the eye. In the air above her a blindfolded Cupid aims his bow to the left. (en.wikipedia.org/Primavera (Botticelli)
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 楼主| 发表于 2019-10-6 00:13 | 显示全部楼层
本帖最后由 ngsunyu 于 2019-10-6 00:15 编辑

乌菲茲美術館主要藏品之一是 桑德羅·波提切利的《維納斯的誕生》,172.5 × 278.5 cm,約繪於1484年。

1485年完成的《维纳斯的诞生》是波提切利的另一幅杰作,表现的是希腊神话中代表爱与美的女神维纳斯从大海中诞生的场景,这幅画的绘画风格在当时颇为与众不同,不强调明暗法来表现人体造型,而更强调轮廓线,使得人体有浅浮雕的感觉,而且极适合装饰作用。画面中的女神肌肤洁白,金色的长发飘逸,无愧为是完美的化身;但脸上却又挂有淡淡的忧愁、迷惘和困惑。(zh.wikipedia.org/桑德罗·波提切利)

In the centre the newly-born goddess Venus stands nude in a giant scallop shell. Its size is purely imaginary, and is also found in classical depictions of the subject. At the left the wind god Zephyr blows at her, with the wind shown by lines radiating from his mouth. He is in the air, and carries a young female, who is also blowing, but less forcefully. Both have wings. Vasari was probably correct in identifying her as "Aura", personification of a lighter breeze. Their joint efforts are blowing Venus towards the shore, and blowing the hair and clothes of the other figures to the right.

At the right a female figure who may be floating slightly above the ground holds out a rich cloak or dress to cover Venus when she reaches the shore, as she is about to do. She is one of the three Horae or Hours, Greek minor goddesses of the seasons and of other divisions of time, and attendants of Venus. The floral decoration of her dress suggests she is the Hora of Spring. (en.wikipedia.org/The Birth of Venus)
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 楼主| 发表于 2019-12-25 07:33 | 显示全部楼层
本帖最后由 ngsunyu 于 2019-12-25 07:35 编辑

乌菲茲美術館藏品之一是 彼得羅·佩魯吉諾 的《 Francesco delle Opere肖像 (意大利语:Ritratto di Francesco delle Opere 》,52 × 44 cm,約繪於1494年。

彼得羅·佩魯吉諾(Pietro Perugino;1446年至1452年間 – 1523年),是一位意大利文藝復興時期的畫家,活躍于文藝復興全盛期。其最著名的學生是拉斐爾。(zh.wikipedia.org/彼得羅·佩魯吉諾)

In the 19th century this painting was attributed to Perugino and Jacopo Francia, and then again to Perugino by Antonio Ramirez de Montalvo, who discovered an inscription in the rear. This reads: "1494 DI LVGLIO PIETRO PERVGINO PINSE FRANC[ESC]O DEL LOPRE PEYNAGA".  It was long considered a self-portrait, and from 1883 it was therefore exhibited in the gallery of self-portraits in the Vasarian Corridor. In 1881 the subject was finally identified as Francesco delle Opere (died 1516), a gem carver and a friend of Perugino. (en.wikipedia.org/wiki/Portrait_of_Francesco_delle_Opere)
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 楼主| 发表于 2019-12-25 14:49 | 显示全部楼层
本帖最后由 ngsunyu 于 2019-12-25 14:52 编辑

乌菲茲美術館藏品之一是 拉斐爾·聖齊奧 的《彼得羅·佩魯吉諾肖像 (意大利语:Ritratto del Perugino 》,57 × 42 cm,約繪於1504年。

The Portrait of Perugino is a portrait of the Italian Renaissance artist Perugino attributed to his pupil Raphael or to Lorenzo di Credi. It was produced around 1504 and is now in the Uffizi gallery, Florence.

The painting is known to have been in the Florentine Galleries since as early as 1704, when it was identified as a portrait of Martin Luther and was attributed to Hans Holbein the Younger.  In an 1825 comment to Giorgio Vasari's Vite, it was listed as a Portrait of Verrocchio by Lorenzo di Credi. Adolfo Venturi in 1922 attributed it to Perugino himself, while the attribution to Raphael appeared in the 1930s.  

The identification with Perugino is today ascertained thanks to the evident similarities with the self-portrait in the Collegio del Cambio. Copies of the painting exist in Vienna, London, Bergamo, Rome and in the Gallerie dell'Accademia in Venice. (en.wikipedia.org/Portrait of Perugino (Raphael)
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 楼主| 发表于 2019-12-25 14:53 | 显示全部楼层
本帖最后由 ngsunyu 于 2019-12-26 00:53 编辑


乌菲茲美術館主要藏品之一是 阿爾布雷希特·杜勒的《三博士來朝(英语:Adoration of the Magi (Dürer))》,100 × 114 cm,約繪於1504年。(zh.wikipedia.org/烏菲茲美術館)

The Adoration of the Magi is a panel painting by Albrecht Dürer (1471-1528), produced under commission by Frederick the Wise for the altar of the Schlosskirche in Wittenberg. It is considered one of Dürer's best and most important works from the period between his first and second trips to Italy (1494-5 and 1505). The work is modest in size, just over a metre wide, however it is of great importance in Dürer's oeuvre and in the history of art. Before the production of this work, Dürer's achievements lay largely in his printmaking career, or with his self-portraiture. This work is especially crucial in its distinction of Dürer's difference as he combines a fine balance of northern and Italianate conventions in the work. Heinrich Wölfflin referred to the work as “the first completely lucid painting in the history of German art”.  

In 1603 Christian II of Saxony presented the painting as a gift to the Holy Roman Emperor Rudolf II. It remained in the imperial collection in Vienna until 1792, when Luigi Lanzi, the director of the Uffizi, acquired it in exchange for Fra Bartolomeo's Presentation in the Temple.

In the European image of the Adoration of the Magi, it is a common convention to represent the third king as a black figure. In Dürer’s composition, this figure dominates the right portion of the painting, counterbalancing the cluster of the other four figures on the left (organised in a pyramid structure) due to his difference. This is a key feature in the painting, as the viewer’s ocular curiosity is drawn to the third king, which leads the eye around the image through his gaze. His difference is articulated in spatial terms as he appears on the outside, surrounded by nature rather than the architectural features that sit behind the other figures.

In Dürer’s imagining of the piece, he also features himself as the second king.  Dürer is well known for his self-portraits, and so his physiognomy is recognisable, matched with his beard and long golden hair. This is a crucial difference in Albrecht Dürer’s construction of the work. His self-characterization is further substantiated by the alignment of the second king and the artists' famous monogram, which appears on a block in the foreground. Even so, there is nothing unusual in forming one of the Magi from a portrait of a real individual. This is a tradition that feigns a sense of diplomacy and dynastic ceremony and occurred in images of the Adoration before the convention of the inclusion of a black figure. This highlights Dürer's construction of the composition using both traditional and imagined stylistic details.

Similarly found in later Antwerp Adorations, Dürer constructs the composition with a fusion of stylistic inclusivity combining northern naturalism with Italianate use of perspective, ideal proportions and colour. Pure reds, green, and blue can be found in composition, as well as bright golden features illuminating the wealth and exoticism of the objects within the pictorial space. This places an emphasis on the exotic elements that allude to the Wunderkammer that have inspired the work. Images of the Adoration often functioned as reminders of the mythic insignia of the collecting enterprise itself and stood on top of the household treasury cupboard or tresoor.  A notable example of such detail in the composition include the foreign servant of the black Magus, who appears wearing a turban à la Turque. This exoticism is also reflected in the detailed garb of the kings, and the jewels and ornaments that surround them. (en.wikipedia.org/Adoration of the Magi (Dürer)


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 楼主| 发表于 2019-12-27 00:17 | 显示全部楼层
本帖最后由 ngsunyu 于 2019-12-27 00:25 编辑

乌菲茲美術館主要藏品之一是 米開朗基羅的《多尼圓圖(英语:Doni Tondo)》,直徑尺寸120 cm,約繪於1506年。(zh.wikipedia.org/烏菲茲美術館)

The Doni Tondo or Doni Madonna, is the only finished panel painting by the mature Michelangelo to survive. (Two other panel paintings, generally agreed to be by Michelangelo but unfinished, the Entombment and the so-called Manchester Madonna, are both in the National Gallery in London.) Now in the Uffizi in Florence, Italy, and still in its original frame, the Doni Tondo was probably commissioned by Agnolo Doni to commemorate his marriage to Maddalena Strozzi, the daughter of a powerful Tuscan family.  The painting is in the form of a tondo, meaning in Italian, 'round', a shape which is frequently associated during the Renaissance with domestic ideas.

The work was most likely created during the period after Doni's marriage in 1503 or 1504, and before the Sistine Chapel ceiling frescoes were begun in 1508. The Doni Tondo portrays the Holy Family (the child Jesus, Mary, and Joseph) in the foreground, along with John the Baptist in the middle-ground, and contains five nude male figures in the background. The inclusion of these nude figures has been interpreted in a variety of ways.

The Doni Tondo is believed to be the only existing panel picture Michelangelo painted without the aid of assistants; and, unlike his Manchester Madonna and Entombment (both National Gallery, London), the attribution to him has never been questioned. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo's later Sistine Ceiling frescoes. The folds of the drapery are sharply modelled, and the modelling of the figures is distinctly sculptural, suggesting they are carved in medium marble. The nude figures in the background have softer modelling and look to be precursors to the ignudi, the male nude figures in the Sistine Ceiling frescoes. Michelangelo's technique includes shading from the most intense colors first to the lighter shades on top, using the darker colors as shadows. By applying the pigment in a certain way, Michelangelo created an "unfocused" effect in the background and focused detail in the foreground. The most vibrant color is located within the Virgin's garments, signifying her importance within the image. The masculinity of Mary could be explained by Michelangelo's use of male models for female figures, as was done for the Sistine Chapel.

The composition is, most likely, partially influenced by the cartoon (a term referring to a detailed later-stage preliminary drawing) for Leonardo da Vinci’s The Virgin and Child with St. Anne. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the David. (en.wikipedia.org/Doni Tondo)
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 楼主| 发表于 2020-1-1 00:18 | 显示全部楼层
本帖最后由 ngsunyu 于 2020-1-1 00:32 编辑

乌菲茲美術館主要藏品之一是 拉斐尔·聖齊奧的《自畫像 (英语:Self-portrait )》,47.5 × 33 cm,約繪於1506年。(zh.wikipedia.org/烏菲茲美術館)

拉斐尔·聖齊奧(義大利語:Raffaello Sanzio,1483年4月6日-1520年4月6日),本名拉斐尔·桑蒂(Raffaello Santi),常简称拉斐尔(拉丁語:Raphael),意大利画家、建築師。與李奧納多·達文西和米開朗基羅合稱「文藝復興藝術三杰」。拉斐爾所繪畫的畫以「秀美」著稱,畫作中的人物清秀,场景優美。

他的著名宗教畫聖母系列將宗教的虔誠和非宗教的美貌有機地融為一體;他的畫即使是《聖喬治大戰惡龍》的场面看起來也是平靜安詳的。他為梵蒂岡教宗居室創作的大型壁畫《雅典學院》是經典之作,他將柏拉圖和亞里斯多德,將基督教和異教,統統融合在一起,創造出和諧的场面。同时也創作出許多著名的肖像如:「教皇利奥十世像」。他的性情平和、文雅,和他的畫作一样。拉斐尔於1520年高燒猝逝於羅馬,終年37歲,葬於萬神廟。(zh.wikipedia.org/拉斐尔)

今年,意大利将以展览和邮票纪念拉斐尔逝世500周年。
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 楼主| 发表于 2020-1-2 00:28 | 显示全部楼层
本帖最后由 ngsunyu 于 2020-1-2 00:33 编辑

乌菲茲美術館主要藏品之一是 拉斐爾·聖齊奧的《金翅雀聖母(英语:Madonna del cardellino)》,107 × 77 cm,約繪於1506年。(zh.wikipedia.org/烏菲茲美術館)

In this painting, as in most of the Madonnas of his Florentine period, Raphael arranged the three figures - Mary, Christ and the young John the Baptist - to fit into a geometrical design. Though the positions of the three bodies are natural, together they form an almost regular triangle. The Madonna is shown young and beautiful, as with Raphael's various other Madonnas. She is also clothed in red and blue, also typical, for red signifies the passion of Christ and blue was used to signify the church. Christ and John are still very young, only babies. John holds a goldfinch in his hand, and Christ is reaching out to touch it. The background is one typical of Raphael. The natural setting is diverse and yet all calmly frames the central subject taking place.

The Madonna was a wedding gift from Raphael to his friend Lorenzo Nasi. On November 17, 1548 Nasi's house was destroyed by an earthquake and the painting broke into seventeen pieces. It was immediately taken to be salvaged, and was hastily put back together, though the seams were quite visible. In 2002, George Bonsanti of the Precious Stones organization gave the task of restoration to Patrizia Riitano. During the six-year process that followed, her team worked to remove the years of grime that had degraded the painting's color, and to fix the damage done by the earthquake long ago. Before beginning the project, they studied the work as closely as possible, utilizing resources such as X-rays, CAT scans, reflective infra-red photography, and even lasers. Riitano closely studied the past quick fix layers that had been applied and removed them until the original by Raphael finally shone through. The restoration was completed in 2008, and the painting was put on display in Uffizi.

In Madonna Del Cardellino, the goldfinch represents Christ's crucifixion. The reason for its association comes from the legend that its red spot was born at the time of the crucifixion. It flew down over the head of Christ and was taking a thorn from His crown, when it was splashed with the drop of His blood. The book in Mary's hand reads Sedes Sapientiae or The Throne of Wisdom. This term usually is applied to images in which Mary is seated upon a throne, with Jesus on her lap, but in this case, the inscription implies the rock on which Mary sits is her natural throne.


今年,意大利将以展览和邮票纪念拉斐尔逝世500周年。
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 楼主| 发表于 2024-1-28 02:30 | 显示全部楼层
敬请观看《Le Gallerie degli Uffizi》 在  https://youtu.be/DEF3t7fxKgc

烏菲茲美術館是在意大利佛羅倫斯最有歷史及最有名的一座藝術博物館。

这是我的新系列《欧洲十大博物馆》的第一集。
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 楼主| 发表于 2024-1-28 03:04 | 显示全部楼层
本帖最后由 ngsunyu 于 2024-1-28 03:06 编辑

旅程的第一段,是设计于十六世纪末期,用于展示美第奇家族珍宝收藏的讲道坛(Tribuna)。即便主要的画作已被搬移至其他的房间,这里在数个世纪以来,一直是奇珍异宝的“宝库”。其中的公元前一世纪古罗马大理石摔跤手雕塑是复制了公元前三世纪古希腊青铜雕塑品, 它可能是名雕塑家利西波斯的失落作品。
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