勃艮第統治尼德蘭(法语： Pays-Bas Bourguignons)時代(1384~1482)的两件艺术瑰宝

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歷史上所謂的低地國家指的是中世紀時的神聖羅馬帝國以及法蘭西王國瓜分勃艮第公國在低地地區的領土，以及公元1384年到公元1482年哈布斯堡王朝統治該地區的歷史。今日的低地國地區包含了比利時、荷蘭、盧森堡全境，外加法國北部的一部分，追本溯源可知自勃艮第公國統治了這塊地區才有之後的歷史流變。

公元1384年領有勃艮第領地的佛蘭德公國路易二世過世後，法國華洛亞王朝的一個分支，一位年輕的貴族繼承勃艮第的領地，而公國的女性繼承人－佛蘭德的瑪格莉特三世，早在公元1369年下嫁給這位貴族－即菲利浦二世，因此他順理成章的被法國國王約翰二世受封為勃艮第公爵，同時確立勃艮第的首府位於第戎，並且把佛蘭德地區併入公國的領地內，低地國家從此進入勃艮地統治的時代。

在之後的數十年，勃艮第大舉取得神聖羅馬帝國在低地國的領土，在菲利普三世主政時期，他利用聯姻、戰爭等手段大大擴張了勃艮第公國的勢力，特別是整個吞併了低地國家。從1428年到1443年，他相繼吞併了屬於低地國家的埃諾、荷蘭、布拉班特、林堡、盧森堡等伯國；低地國家成為勃艮第的經濟支柱。公元1463年菲利普三世首次在尼德蘭召開了三級會議。從此勃艮第公國的政治中心已經實際從第戎轉移至尼德蘭。 公元1477年查理公爵在南錫戰役陣亡，然而在其臨終前並未留下男性繼承人，法王路易十一世利用封建制度，把勃艮第的大部分領土收歸為法國的領地，而查理之女瑪麗在其未亡之時已經嫁給奧地利大公－馬克西米連，使奧地利獲得勃艮第殘餘的領地，包含尼德蘭地區的低地國家也隨之併入奧地利的領土，此舉不難想像會和法國產生衝突，公元1479年雙方在法國北方爆發衝突，奧地利獲勝，然而他們只取得佛蘭德地區為止，公元1482年雙方簽訂條約並且停戰。之後瑪麗之子－菲利浦一世在其父的安排開始接管勃艮第遺產，並在公元1492年他和卡斯蒂利亞的公主胡安娜結婚，之後他從既有的領地尼德蘭進軍伊比利半島，並擔任卡斯蒂利亞國王，最後終於統一西班牙。(zh.wikipedia.org/勃艮第統治尼德蘭時代)

今年10月，我们参观了比利时的根特和法国的第戎，这两个地方都在六百年前的勃艮第公国统治下。

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（勇敢的）菲利普二世（法语：Philippe II l'Hardi，1342年1月15日~1404年4月27日）瓦卢瓦勃艮第王朝的第一位勃艮第公爵（1363年~1404年在位）。

菲利普二世是法國國王约翰二世（好人）的第四子，生于蓬图瓦兹。 他参加了百年战争中最重要的会战之一1356年的普瓦捷战役。1360年，他被授予图赖讷公爵的封号。1363年他被父親約翰二世转封勃艮第公爵，他透過聯姻和購買，獲得法國中部和北部、法蘭德斯和尼德蘭的若干土地。在那里一直统治到去世。

1369年，菲利普二世与弗兰德女伯爵玛格丽特三世（原卡佩王朝的勃艮第公爵菲利普一世的遗孀）结婚，使当时欧洲最富庶的地区之一弗兰德并入了勃艮第公国。(zh.wikipedia.org/菲利普二世 (勃艮第)

The Tomb of Philip the Bold is a  funerary monument commissioned by the Duke of Burgundy Philip the Bold (d. 1404) for his burial at Chartreuse de Champmol. The monument was primarily built by Claus Sluter, with contributions by Jean de Marville and Claus de Werve. Jean Malouel, official painter to the duke, is responsible design aspets. Today it is housed in the Musée des Beaux-Arts de Dijon. The tomb was influential; Jean, Duke of Berry commissioned a similar work for his own burial,  and it inspired the well known Mourners of Dijon, crafted a generation later.

The monument is made from alabaster, marble, gilt and paint. It shows Philip's sarcophagus effigy in repose with his hands upright and clasped in prayer. An angel with gilded wings holds a cushion for his head. He rests on a black marble slab, with a lion at his feet. Below him are 41 pleurants standing in pairs in Gothic niches, arranged in a mourning procession.

Philip acquired the domain of Champmol, near Dijon, in 1378 to build the Carthusian monastery Chartreuse de Champmol, which he intended to house the tombs of his dynasty. He was buried in its choir on 16 June 1404, with his organs sent to the church of Saint Martin at Halle. In 1792, his body was re-interred at Dijon Cathedral. The following year his tomb was damaged by revolutionaries and looters. It was restored in the first half of the 19th century. (en.wikipedia.org/Tomb of Philip the Bold)

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菲利普三世为勃艮第公爵无畏的约翰之子，生于第戎。他的母亲是巴伐利亚公主玛格丽特。在父亲于1419年与阿马尼亚克派谈判时遇刺后，菲利普三世继承了勃艮第公国。

1430年，菲利普三世参加了对贡比涅的围困。勃艮第军队在这次战斗中俘获了贞德，并將她售予英格兰，被判火刑而死。

菲利普三世在其在位时期利用联姻、战争等手段大大扩张了勃艮第公国的势力，特别是整个吞并了低地国家（尼德兰）。从1428年到1443年，他相继吞并了属于低地国家的埃诺、荷兰、布拉班特、林堡、卢森堡等伯国；低地国家成为勃艮第的经济支柱。1463年，菲利普三世第一次在尼德兰召开了三级会议。从菲利普三世时代起，勃艮第公国的政治中心实际已转移至尼德兰。(zh.wikipedia.org/菲利普三世 (勃艮第)

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大胆查理（法語：Charles le Téméraire，荷蘭語：Karel de Stoute，1433年11月10日－1477年1月5日），是瓦卢瓦勃艮第王朝的末代勃艮第公爵，也可译作「莽撞查理」、「勇士夏爾」，以評價他在1477年魯莽戰死的遺憾。大胆查理是勃艮第公爵好人菲利普（腓力三世）与葡萄牙的伊莎贝拉（英语：Isabella of Portugal (1397–1471)）之子，1433年生于勃艮第公国首都第戎。1467年大胆查理的父亲好人菲利普过世后，大胆查理继承勃艮第公爵爵位。

1477年，大胆查理在南锡战役中战死。大胆查理未留下男性继承人，法奥两国借机瓜分勃艮第公国的领土，勃艮第公国就此灭亡。(zh.wikipedia.org/大膽查理)

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摩西之井（法语：Puits de Moïse）是一个巨大的雕塑，被认定为荷兰艺术家克勞斯·斯呂特(1340-1405/6) 的杰作。它是由斯呂特及其工作室创作于1395年至1403年，位于勃艮第首都第戎（现在属于法国）郊外的卡尔特修道院，勃艮第公爵 勇敢的菲利普的安葬地点。

这件作品规模宏大，风格结合了优雅的国际哥特式与北方的写实主义，中心是十字架上的基督，周围环绕着六个先知：摩西、大卫、耶利米、撒迦利亚，但以理和以赛亚，还有六名哭泣的天使。

这件作品当时位于修道院的中央庭院，上部后遭天气因素损坏。1791年法国大革命时期进一步遭到损坏。基督受难像只有残存的头部和躯干部，收藏于第戎考古博物馆。雕塑的六角形底座保存至今，游客可以看到。(zh.wikipedia.org/摩西之井)

今年11月，我们参观了法国的第戎的摩西之井。

ngsunyu

根特祭坛画（Ghent Altarpiece），又名神秘羔羊之爱（Adoration of the Mystic Lamb），是现存最早的带有签名的尼德兰绘画作品，是一种多翼式“开闭形”的祭坛组画，外面9幅。闭合的祭坛内12幅。只有当节日的礼拜盛会，祭坛的两翼伴随着音乐打开时，人们才得以见到内层的12幅杰作。

这一组祭坛画完成于1415年至1432年之间，共包括21幅作品。当时画家休伯特·范·艾克应根特市长多库斯·威德之邀为根特的圣贝文教堂绘制一组祭坛画。由于这位伟大画家于1426年去世，他的弟弟揚·范·艾克接手将其完成。这组盖世佳作自从它完成后就历经磨难，不是招损于火灾，就是被侵略者掠夺，要么就是被盗，直到1951年经过彻底修缮后才重新回到圣贝文教堂中。根特祭坛画的题材是取自《圣经》，表现了对耶稣牺牲自己挽救人类的上帝之爱的祈求与赞颂。(zh.wikipedia.org/根特祭坛画)

今年10月，我们参观了比利时的根特的祭坛画。

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根特祭坛画關閉時的外層畫作有九幅。

The altarpiece measures 375 x 260 cm when the shutters are closed. The upper panels contain lunettes showing prophets and Sibyls looking down on the annunciation; the lower tier shows the donors on the far left and right panels flanked by saints. The exterior panels are executed with relative sparseness in comparison to the often fantastical colour and abundance of the interior scenes. Their settings are earthly, pared down and relatively simple. Yet there is the same striking use of illusionism which also characterises the inner panels; this is especially true of the faux stone grisaille statues of the saints. Lighting is used to great effect to create the impression of depth; van Eyck handles the fall of light and casting of shadow to make the viewer feel as if the pictorial space is influenced or lit by light entering from the chapel in which he stands. (en.wikipedia.org/Ghent altarpiece)

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根特祭坛画關閉時的外層畫作中之天使加百列报喜。

Beneath the lunettes are the four panels of the upper register. The two outer panels of the middle register show the Annunciation to Mary, with the Archangel Gabriel on the left and the Virgin Mary on the right. Both are dressed in white robes, and occupy what appear to be the opposite ends of the same room. Gabriel and Mary's panels are separated by two much narrower images showing unoccupied domestic interior scenes. The back wall in the left-hand image has a window opening onto a view of street and city square, while that in the right-hand image has a niche. Some art historians have attempted to associate the street with an actual location in Ghent, but it is generally accepted that it is not modeled on any specific place. The sparseness of these narrow panels seem anomalous in the overall context of the altarpiece; a number of art historians have suggested that they were compromises worked out by Jan as he struggled to accommodate his design within the original framework set out by Hubert.

Gabriel has blond hair and multicoloured wings. His right hand is raised and in his left he holds lilies, traditionally found in paintings of the annunciation as symbols of Mary's virginity. His words to Mary are written alongside him in Latin: AVE GRACIA PLENA D(OMI)N(U)S TECU(M) ("Hail who art full of grace, the Lord is with you"). The horizontal inscription extends out the panel and halfway across the neighbouring image. As in van Eyck's Washington Annunciation of c. 1434–6, the letters of Mary's reply are inscribed in reverse and upside-down; as if for God to read from heaven, or for the holy spirit, as represented by the dove, to read as he hovers directly above her. She answers ECCE ANCILLA D(OMI)NI ("Behold the handmaiden of the Lord"). (en.wikipedia.org/Ghent altarpiece)

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根特祭坛画内层的十二幅杰作。

The altarpiece was opened on feast days, when the richness, colour and complexity of inner view was intended to contrast with the relative austerity of the outer panels. As viewed when open, the panels are organised along two registers (levels), and contain depictions of hundreds of figures. The upper level consists of seven monumental panels, each almost six feet high, and includes a large central image of Christ flanked by frames showing Mary (left) and John the Baptist (right), which contain over twenty inscriptions each referring to the figures in the central Deësis panels.

These panels are flanked by two pairs of images on the folding wings. The two panel closest to the Deësis show singers in heaven; the outermost pair show Adam and Eve, naked save for strategically placed fig leaves. The lower register has a panoramic landscape stretching continuously across five panels. While the individual panels of the upper tier clearly contain separate—albeit paired—pictorial spaces, the lower tier is presented as a unified Mise en scène. Of the 12 panels, eight have paintings on their reverse visible when the altarpiece is closed. (en.wikipedia.org/Ghent altarpiece)

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The three central upper panels show a Deësis of monumental and enthroned figures, each with a halo. They are the Virgin Mary to the left, John the Baptist to the right, and a central figure who may be either God or Christ – a distinction much debated amongst art historians. Theories include that the panel shows Christ in Majesty dressed as in a priest's vestments, God the Father, or the Holy Trinity amalgamated into a single person. The figure looks towards the viewer with his hand raised in blessing, in a panel filled with inscriptions and symbols. There are Greek inscriptions decorated with pearls on the hem of his robe or mantle, which, taken from Revelation, read REX REGUM ET DOMINUS DOMINANTIUM ("King of Kings, and Lord of Lords"). (en.wikipedia.org/Ghent altarpiece)

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Mary reads from a girdle book draped with a green cloth. The book is a usual attribute for Mary, as she is the "seat of wisdom" and this book might be based the figure on Robert Campin's Virgin Annunciate. She wears a crown adorned with flowers and stars, and is dressed as a bride. The inscription on the arched throne above reads: "She is more beautiful than the sun and the army of the stars; compared to the light she is superior. She is truly the reflection of eternal light and a spotless mirror of God". (en.wikipedia.org/Ghent altarpiece)

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Like Mary, John the Baptist holds a holy book – an unusual attribute, and one of 18 books in the set of panels. He wears a green mantle over a cilice of camel-hair. He looks towards the Almighty in the center panel, with his hand also raised in blessing, uttering the words most typically associated with him, ECCE AGNUS DEI ("Behold the Lamb of God"). (en.wikipedia.org/Ghent altarpiece)

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The two musical panels are commonly known by variants of the titles Singing Angels and Music-making Angels, and are both 161 cm x 69.3 cm. Each features a choir; on the left angels gather behind a wooden carved music stand positioned on a swivel. The presence of the two groups on either side of the Deësis reflects a by then well-established motif in representations of the heavens opening; that of musical accompaniment provided by celestial beings.

The left hand panel's frame is inscribed with the words MELOS DEO LAUS ("Music in Praise of God").

The left-hand group shows eight fair haired angels wearing crowns and gathered in front of a music stand singing, although none of them looks towards the score on the stand. As in a number of the other panels, here van Eyck used the device of the open mouth to give a sense of life and motion to his figures.

at the start of another invasion by Germany in 1940, a decision was made in Belgium to send the altarpiece to the Vatican to keep it safe. The painting was in France, en route to the Vatican, when Italy declared war as an Axis power alongside Germany. The painting was stored in a museum in Pau, and French, Belgian and German military representatives signed an agreement which required the consent of all three before the masterpiece could be moved. In 1942, Adolf Hitler ordered the painting to be seized from a museum in Pau and brought to Germany to be stored in the Schloss Neuschwanstein castle in Bavaria. The seizure, led by senior museum administrator Ernst Buchner and aided by officials in France, was ostensibly to protect the altarpiece from war. After Allied air raids made the castle too dangerous for the painting, it was stored in the Altaussee salt mines. Belgian and French authorities protested against the seizing of the painting, and the head of the German army's Art Protection Unit was dismissed after he disagreed with the seizure.

The altarpiece was recovered by the Allied group Monuments, Fine Arts, and Archives program after the war and returned to Belgium in a ceremony presided over by Belgian royalty at the Royal Palace of Brussels, where the 17 panels were displayed for the press. French officials were not invited as the Vichy government had allowed the Germans to remove the painting. (en.wikipedia.org/Ghent altarpiece)

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在二战期间《根特祭坛画》是纳粹窃取的最为重要的艺术作品，因为希特勒觊觎《根特祭坛画》, 纳粹将画移到了德国新天鹅堡。德国邮票柏林首日戳刻有被视为上世紀最偉大的指揮大師之一的 威廉·富特文格勒（德語：Wilhelm Furtwängler，1886年1月25日－1954年11月30日）在泰坦尼娅宫（Titania-Palast）舉行音樂會，指揮柏林爱乐乐团（德語：Berliner Philharmoniker，簡稱柏林愛樂）。

张福魁

欣赏，资料很详实，长见识