世界救赎的寓言 - 美国大都会艺术博物馆展品查阅

品名（中）	世界救赎的寓言
品名（英）	Allegory of the Redemption of the World
入馆年号	1961年，61.203
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Paolo Veronese (Paolo Caliari)【1528 至 1588】【意大利人】
创作年份	公元 1528 - 公元 1588
创作地区
分类	图画（Drawings）
尺寸	24 1/8 x 16 9/16英寸 (61.3 x 42厘米)
介绍（中）	这幅带有"世界救赎寓言"的"明暗对比"画是保罗·委罗内塞（Paolo Veronese）所知的最大的画作之一，被认为是一件独立的艺术作品，而不是一幅画的预备研究。西比尔人聚集在基督的空坟墓周围，先知位于上面的云层中，充当着尘世和天界之间的中介。他们持有的卷轴指的是救赎世界的预言，即上面所体现的思想。在那里，人们看到圣三位一体与基督祝福一个跪着的人物——亚当或圣约翰——他是由玛丽呈现的。委罗内塞是绘画表现"di sotto in su"（从下面看）的伟大大师之一，他为天国注入了适合崇高主题的崇高品格。乔纳森·理查森（Jonathan Richardson）是十七世纪著名的英国古典大师绘画收藏家，他拥有这幅作品，并在其反面刻上了对这个晦涩主题的冗长解释（见此处"签名，铭文和标记"，而有关理查森铭文的进一步阅读，请参阅惠斯勒2014）。理查森转录的文本详细解释了艺术家的寓言意图，特别有趣的是作品底部的西比尔的存在;他们拿着预言卷轴，聚集在一个空坟墓周围，对他们头顶的伟大启示视而不见。然而，欧文·帕诺夫斯基（Irwin Panofsky）指出，这种描述可能错误地将跪在圣母旁边代祷的人物描述为"原罪的第一作者"，即亚当。从位置和外表上看，这个人物似乎是施洗约翰，他经常在最后的审判中陪伴圣母作为人类的共同代祷者。
介绍（英）	This ‘chiaroscuro’ drawing with the ‘Allegory of the Redemption of the World’ is one of the largest known by Paolo Veronese and was conceived as an independent work of art, not as a preparatory study for a painting. Sibyls grouped around the empty tomb of Christ and prophets situated in the clouds above act as intermediaries between the earthly and heavenly realms. The scrolls they hold refer to prophesies for the redemption of the world, the idea embodied above. There, one sees the Holy Trinity with Christ blessing a kneeling figure—either Adam or Saint John—who is presented by Mary. Veronese, one of the great masters of pictorial representation "di sotto in su," (from below) imbued the heavenly realm with a lofty character suited to the exalted theme. Jonathan Richardson, the noted seventeenth-century English collector of Old Master drawings, owned this work and inscribed a lengthy explanation of the obscure subject on its verso (see here "Signatures, Inscriptions and Markings" while for a further reading of Richardson’s inscription see Whistler 2014). The text that Richardson has transcribed gives an elaborate explanation of the allegorical intentions of the artist, and it is particularly interesting concerning the presence of the sibyls at the bottom of the composition; holding prophetic scrolls, they are gathered around an empty tomb and are oblivious to the great revelation above them. Irwin Panofsky points out, however, that the description may err in describing the figure kneeling in intercession besides the standing Virgin as the "First Author of Original Sin," namely Adam. In placement and appearance this figure would seem to be John the Baptist, who often accompanies the Virgin as joint intercessor for mankind at the Last Judgment.