安佑洛．布隆奇諾的《畢馬龍和加拉蒂亞》：石化與肉體間的辯證

Agnolo Bronzino’s Pygmalion and Galatea: The Dialectic Between Petrification and Flesh

布隆奇諾為十六世紀佛羅倫斯著名詩人與畫家，於1529 到1532 年間創作一幅神話題材作品《畢馬龍和加拉蒂亞》，作為其師彭托莫所繪之肖像畫的遮蓋面板。布隆奇諾巧妙地藉由畢馬龍典故所論及創造者之愛及因愛使無生命的塑像轉變為人，扣合自十四世紀以來在詩學理論及藝術理論對愛的議題及石化與活化轉變的美杜莎效應的論述，將此一繪畫作品形塑為富含高度藝術理論的創作，一方面透過作品表述畫家對當時代藝術創作及藝術概念爭議的反思與看法，一方面使遮蓋面板與肖像形成對話，用以讚頌彭托莫所繪之肖像栩栩如生，強調繪畫的完美性及畫家高超的技藝與智識。

Agnolo Bronzino was a famous Renaissance painter and poet, and very active in Florentine literary and artistic circles. He studied classical and contemporary literary and art theories. During the years 1529 through 1532, Bronzino painted a mythological work Pygmalion and Galatea, which functioned as a cover for a portrait painting completed by his teacher Jacopo da Pontormo. Through the legend of Pygmalion, Bronzino subtly draws on the theme of creator’s (artists’) love and the transformation of inanimate statues into living humans, combining the love theme and Medusa effect of petrification and de-petrification prevalent in poetic and artistic theories since the 14th century. In so doing, Bronzino creates a painting rich in art theoretical discourses. On the one hand, the work expresses the artist’s reflections and judgements on a controversy over the artistic creativity and conception hotly debated since the theorization of the fine art, while on the other hand, creating a dialogue between the cover panel and portrait painting in praise of Pontormo’s lifelike (vivacità) portrait, emphasizing the perfection of the painting and the artist’s superb skill and intelligence.