拉斐尔 (意大利語：Raffaello Sanzio ) 逝世（1520年4月6日）500周年 纪念

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拉斐尔· 圣齐奥（意大利語：Raffaello Sanzio da Urbino，拉丁語：Raphael , 1483年4月6日 ~ 1520年4月6日），本名 拉斐尔· 桑西（Raffaello Santi），常简称 拉斐尔（拉丁語：Raphael），意大利画家、建築師。與 李奥纳多·达·芬奇和米開朗基羅合稱「文艺复兴三杰」。
拉斐尔於1520年高燒猝逝於罗马，終年37歲，葬於罗马萬神廟。(zh.wikipedia.org/拉斐尔)

La Vierge de Lorette de Raphaël《洛莱特圣母》,  收藏於尚蒂伊城堡（Chateau de Chantilly)的孔代博物馆 (Musée Condé) 。原画是拉斐尔于1509-1510年为罗马人民圣母圣殿（意大利語：Santa Maria del Popolo) 教堂绘作的。直到1976年，这幅画一直被视为丢失原件的副本。 在其修复过程中，确定了在画的一角刻有数字133，该数字与拉斐尔的原著在罗马的Borghese藏品中的数字相对应。

因画中圣母手执薄纱巾，亦名《纱巾圣母(Madonna del Velo)》。画中，拉斐尔表现了他理想中的女性之美，并通过母子间的手势互动表达出母子亲密感情的瞬间。圣母手执轻飘飘的薄纱巾，令人联想到裹尸布，预兆耶稣未来将会遭受到的受难。 (丁夫_新浪博客 blog.sina.com.cn)

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《聖禮的爭辯》（Disputation of the Sacrament），1509年-1510年，收藏於梵諦岡宮簽字大廳。(zh.wikipedia org/拉斐尔)

On the wall opposite the School of Athens, corresponding to Theology, is the fresco of the so-called Disputation of the Most Holy Sacrament, the title of which should more rightly be that of the Triumph of Religion. At the sides of the Most Holy Trinity (with God the Father, Christ between the Virgin and St John the Baptist, and the Holy Spirit in the centre) is the Triumphant Church, with patriarchs and prophets of the Old Testament alternated with apostles and martyrs, seated in a hemicycle on the clouds. The personages are (from left to right for the viewer). St Peter, Adam, St John the Evangelist, David, St Laurence, Judas Maccabees, St Stephen, Moses, St James the elder, Abraham, St Paul. On the ground, at the sides of the altar on which the Most Holy Sacrament dominates, is the Militant Church. On the marble thrones closest to the altar sit four Fathers of the Latin Church: St Gregory the Great (a portrait of Julius II), St Jerome, St Ambrose and St Augustine. Some other figures have the physiognomy of historical personages. We recognize the portrait of Sixtus IV (Julius II's uncle) in the pontiff furthest to the right, of Dante Alighieri behind him and of Fra Angelico in the monk on the extreme left. (museivaticani.va)

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意大利邮商用自印明信片。

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在最简单的层面上，这幅画可以被解释为描绘了一种二分法：基督的救赎力量，由画作的上半部的纯净和对称来象征；与人类的缺陷形成鲜明对比，以绘画下半部的黑暗与混乱的场景为代表。

On the simplest level, the painting can be interpreted as depicting a dichotomy: the redemptive power of Christ, as symbolised by the purity and symmetry of the top half of the painting; contrasted with the flaws of Man, as symbolised by the dark, chaotic scenes in the bottom half of the painting. (en.wikipedia.org/wiki/Transfiguration_(Raphael)

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The man lower left is the apostle-evangelist Matthew, depicted at eye-level and serving as interlocutor with the viewer.Matthew (or Andrew) gestures to the viewer to wait, his gaze focused on a kneeling woman in the lower foreground. She is ostensibly a part of the family group, but on closer examination is set apart from either group. She is a mirror image of a comparable figure in Raphael's The Expulsion of Heliodorus from the Temple (1512). Giorgio Vasari, Raphael's biographer, describes the woman as "the principal figure in that panel". She kneels in a contrapposto pose, forming a compositional bridge between the family group on the right and the nine apostles on the left. Raphael also renders her in cooler tones and drapes her in sunlit pink, while he renders the other participants, apart from Matthew, oblivious to her presence. The woman's contrapposto pose is more specifically called a figura serpentinata or serpent's pose, in which the shoulders and the hips move in opposition; one of the earliest examples being Leonardo da Vinci's Leda (c. 1504), which Raphael had copied while in Florence.  (en.wikipedia.org/wiki/Transfiguration_(Raphael)

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In the centre are four apostles of different ages. The blonde youth appears to echo the apostle Philip from The Last Supper. The seated older man is Andrew. Simon is the older man behind Andrew. Judas Thaddeus is looking at Simon and pointing towards the boy.
The apostle on the far left is widely considered to be Judas Iscariot He was the subject of one of only six surviving so-called auxiliary cartoons, first described by Oskar Fischel in 1937. (en.wikipedia.org/wiki/Transfiguration_(Raphael)

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在下半部，拉斐尔描绘了使徒试图治疗被妖魔附身的男孩。他们等到最近变容的基督来临之后，才能治愈这个患病的孩子。这位年轻人不再因癫痫发作而趴伏，而是站立，嘴巴张开标志着恶魔精神的离开。作为他去世前的最后画作，拉斐尔将这两个场景结合在一起，这是对变容之后基督的能力的描述。根据歌德的说法：“ 上下合一：下为苦难与需求，上为权力与成功。两者对流，彼此相依相生。”

In the lower register, Raphael depicts the Apostles attempting to free the possessed boy of his demonic possession. They are unable to cure the sick child until the arrival of the recently transfigured Christ, who performs a miracle. The youth is no longer prostrate from his seizure but is standing on his feet, and his mouth is open, which signals the departure of the demonic spirit. As his last work before this death, Raphael, joins the two scenes together as his final testament to the healing power of the transfigured Christ. According to Goethe: "The two are one: below suffering, need, above, effective power, succour. Each bearing on the other, both interacting with one another." (en.wikipedia.org/wiki/Transfiguration_(Raphael)

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《基督變容》这幅画的上半部显示了基督在塔博尔山變容，变容的基督漂浮在被照亮的云层前面，摩西在基督之右和以利亚在基督之左，基督与两先知交谈（马太福音17：3）。

The upper register of the painting shows the Transfiguration itself (on Mount Tabor, according to tradition), with the transfigured Christ floating in front of illuminated clouds, between the prophets Moses, on the right, and Elijah, on the left, with whom he is conversing (Matthew 17:3).

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在1520年的春天，已患重病的拉斐尔仍在繪畫《基督變容》，最後因他逝世而未能完成。(zh.wikipedia.org/wiki/拉斐尔)

《基督變容》是拉斐尔的最后一幅画作，它是画家的精神遗嘱。 16世纪著名画家和传记作者乔治·瓦萨里（Giorgio Vasari）在他的传记中认为该作品是“最著名，最美丽，最神圣的”。

Cardinal Giulio de' Medici (the future pope Clement VII) commissioned two paintings for the cathedral of S. Giusto of Narbonne, the city of which he had become bishop in 1515. The Transfiguration was entrusted to Raphael, and the Raising of Lazarus (now in the National Gallery of London) to Sebastiano del Piombo. The Transfiguration was not sent to France because after Raphael's death (1520), the cardinal kept it for himself, subsequently donating it to the church of S. Pietro in Montorio where it was placed over the high altar. In 1797, following the Treaty of Tolentino, this work, like many others, was taken to Paris and returned in 1816, after the fall of Napoleon. It was then that it became part of the Pinacoteca of Pius VII (pontiff from 1800 to 1823).

The altarpiece illustrates two episodes narrated in succession in the Gospel according to Matthew: the Transfiguration above, with Christ in glory between the prophets Moses and Elijah, and below, in the foreground, the meeting of the Apostles with the obsessed youth who will be miraculously cured by Christ on his return from Mount Tabor.
This is Raphael's last painting and appears as the spiritual testament of the artist. The work is considered in his biography, written by the famous artist and biographer of the 16th century, Giorgio Vasari, "the most famous, the most beautiful and most divine". (museivaticani.va)

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拉斐尔所繪畫的聖母畫像都以母性的溫柔以及青春健美，体现了人文主義思想。其中最有名的是1513年-1514年年繪畫的大型油画《西斯廷聖母》，由聖母和聖徒组成的三角形構圖，莊重均衡，聖母和耶穌表現了母爱的伟大。(zh.wikipedia org/拉斐尔)

诚征 拉斐尔《西斯廷聖母》天使 TCV(法国票贴图案面)。上图是合成品。仅供文章插图使用。

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《伽拉忒亚的凱旋（英语：Triumph of Galatea , 意大利語：Trionfo di Galatea）》，1512年-1514年，收藏於羅馬法爾內西納別墅 (意大利語：Villa Farnesina)。(zh.wikipedia org/拉斐尔)

希腊神话中的涅瑞伊得斯（海中神女）之一，其父为海神涅柔斯，母亲为海仙女多里斯。(zh.wikipedia org/伽拉忒亚)

新冠肺炎疫情影响罗马邮戳 仅有自画像图戳，没有伽拉忒亚图戳。


多虧意大利邮商销售自制极限明信片。

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《伽拉忒亚的凱旋（英语：Triumph of Galatea , 意大利語：Trionfo di Galatea）》，1512年-1514年，收藏於羅馬法爾內西納別墅 (意大利語：Villa Farnesina)。(zh.wikipedia org/拉斐尔)

希腊神话中的涅瑞伊得斯（海中神女）之一，其父为海神涅柔斯，母亲为海仙女多里斯。(zh.wikipedia org/伽拉忒亚)

新冠肺炎疫情影响罗马邮戳 仅有自画像图戳，没有伽拉忒亚图戳。

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梵諦岡宮簽字大廳这些壁画分别代表了神學、哲學、詩學和法學這四样人类精神活动，作品表現與建築裝飾的充分和諧，莊重顯明、豐富多彩。(zh.wikipedia org/拉斐尔)

《法學》，1508年，位于《教宗額我略九世颁布法令》上方。

On the wall opposite the Parnassus, corresponding to Justice, is an illustration of the Cardinal Virtues (Fortitude, Prudence and Temperance) and the Theological Virtues (Faith, Hope and Charity) in the lunette above, and below, at the sides of the window, the Delivery of the Pandects to the Emperor Justinian (on the left) and the The pontiff is a portrait of the Pope who had commissioned the work, Julius II (pontiff from 1503 to 1513), while the cardinals beside him are Giovanni de' Medici and Alessandro Farnese, the future Popes Leo X (pontiff from 1513 to 1521) and Paul III (pontiff from 1534 to 1549). The painting of the Delivery of the Pandects to the Emperor Justinian is by Lorenzo Lotto. (museivaticani.va)

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梵諦岡宮簽字大廳这些壁画分别代表了神學、哲學、詩學和法學這四样人类精神活动，作品表現與建築裝飾的充分和諧，莊重顯明、豐富多彩。(zh.wikipedia org/拉斐尔)

《詩學》，1508年，位于《帕納蘇斯山》上方。

《帕納蘇斯山》（The Parnassus），1511年，收藏於梵諦岡宮簽字大廳。

Beneath Poetry, Mount Parnassus is represented: the god Apollo, seated at the centre, plays the lyre surrounded by the nine Muses, protectresses of the arts, and by ancient and modern poets, among whom Homer (blind), Virgil and Dante are easily recognisable behind him, as well as the poetess Sapphos seated at the bottom left, with her name written on the scroll she holds in her left hand. (museivaticani.va)

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梵諦岡宮簽字大廳这些壁画分别代表了神學、哲學、詩學和法學這四样人类精神活动，作品表現與建築裝飾的充分和諧，莊重顯明、豐富多彩。(zh.wikipedia org/拉斐尔)

《哲學》，1508年，位于《雅典學院》上方。

The ceiling is divided into four sections dedicated to each of the faculties of the spirit, represented with female allegories: Philosophy, Theology, Poetry and Justice. The same concepts are revisited and  explored further in the great compositions on the surrounding walls. Philosophy corresponds to perhaps the most famous work by Raphael, the School of Athens. (museivaticani.va).

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梵諦岡宮簽字大廳这些壁画分别代表了神學、哲學、詩學和法學這四样人类精神活动，作品表現與建築裝飾的充分和諧，莊重顯明、豐富多彩。(zh.wikipedia org/拉斐尔)

《神學》，1508年，位于《聖禮的爭辯》上方。

The ceiling is divided into four sections dedicated to each of the faculties of the spirit, represented with female allegories: Philosophy, Theology, Poetry and Justice. The same concepts are revisited and explored further in the great compositions on the surrounding walls. Theology to Disputation of the Holy Sacrament.  (museivaticani.va).