好藝術，如何看好？What am I looking at?

好藝術，如何看好？

What am I looking at?

" We never look at just one thing; we are always looking at the relation between things and ourselves."

John Berger, Ways of Seeing

好藝術，如何看好？

What am I looking at?

「我們注視的從來不只是事物本身；

我們注視的永遠是事物和我們之間的關係。」 John Berger《觀看的方式》

意大利佛羅倫斯烏菲茲美術館首度在香港藝術館展出逾四十 幅大師級珍貴館藏，作為是次展覽的社區拓展夥伴，領賢慈 善基金深感榮幸。

長達四個月的展期間，我們將會向公眾提供一系列不同面向 的特備節目，透過刺激好玩同時裨益身心的互動式體驗，激 發成人和孩子們的想像力，從而增進對藝術的認識。

誠邀你們在觀展同時，參與由領賢慈善基金「探索大使」 主持的「藝術探索之旅」、「藝術實驗室」以及故事誦讀會，

同時觀賞我們特地為年輕觀眾而創作的插畫及有聲故事書， 一起探索藝術的趣味。

領賢慈善基金創辦人及主席 王幼倫

領賢慈善基金常務總監 張詩賢

領賢慈善基金（ FIF ）一直支持並積極舉辦各種惠及藝術及教育的慈善活

動，致力將香港的獨特文化帶到世界舞台上。

FIF is a registered charity that supports and organizes social and charitable initiatives for the community to benefit the arts and education, and to promote Hong Kong's unique culture on the world stage.

First Initiative Foundation (FIF) is proud to be the Community Partner of this four-month-long exhibition introducing more than 40 masterpieces from The Uffizi Galleries, Florence.

For this initiative, we have designed a series of multi-faceted programmes aimed at captivating the imagination of adults and children alike. We offer the public an exciting, empowering and most importantly fun experience to engage with and discover art.

We cordially invite you to join an adventure with us, featuring interactive experiences guided by FIF expedition leaders, exploratory Art Labs, community reading sessions... We hope you also get a chance to check out and enjoy our bilingual storybook and audiobook designed to introduce young visitors to the works of art and more...

FIF Founder and Chairman, Michelle Ong FIF Managing Director, Amanda Cheung

詳情可以登入 Find out more on: Facebook: @firstinitiativefoundation Instagram: @fif.hk Website: www.fif.org.hk

序言 i 世代，實在很難逆行想像那個人類

仍未意識到自我存在的世界究竟是怎樣的。

今日大家都習慣了「表現自己」，

但從前的歐洲經歷了中世紀長達數百年的「黑暗時代」後， 人要跳出思想框框，

將焦點和視野由原來的「神界」轉移到「人界」，

把原來向天仰望的眼睛，變為低頭觀察自身，再進而自我表現。

這個看似兩三筆便輕描淡寫總結出來的過程，當時卻是翻天覆地， 改變了歐洲以至世界往後發展。

十四至十六世紀在意大利佛羅倫斯開始的文藝復興， 不只是一場藝術運動。

如果能夠逆行時空，讓你穿梭過去，

目睹畫作背後的訊息，可能大家才會恍然大悟， 不但睇畫有很多角度，

我們怎樣睇自己，睇世界，原來也有甚多可能。

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Introduction For the Me generation, it can be hard to imagine a time in which human beings had yet to even realise their own place in the world.

Today everyone is accustomed to expressing themselves, but during the Medieval era, life was very much centred

around the churches and monasteries ― the 'God Realm'.

People at that time understood their existence through religion.

It was only during the Renaissance that the 'Human Realm'

began to matter, with the discoveries of new lands and the turmoil within the core church in Europe.

This was also a period when science became an important part of life and all beliefs were open to question.

Instead of seeking answers from the heavens, people began to look inwards and sought to express themselves in their own unique way. The Renaissance that began in Italy in the 14th century was not just about art: this shift in thinking, though normal to us today, became an important catalyst to the future development of Europe and the rest of the world.

If we could travel back in time to witness the storied history behind the paintings we see today, we might discover many different ways we can look at art, ourselves and the things around us, opening up endless possibilities for how we view the world.

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8 種角度，探索藝術 想把藝術看得更真，更好玩，不妨先裝備自己！ 八個不同主題的篇章，配以插畫及文字，

讓大家回到十五世紀意大利文藝復興時代， 重新發掘是次展覽背後各種有趣的故事，

從而了解到當時的藝術家包括大師級如波提切利等， 如何匠心獨運地透過不同方式，

展示當時人獨有的面貌及生活方式， 以及對後世帶來甚麼深遠影響。

以另一個角度去發掘每幅畫作潛藏的訊息， 箇中，或有你從未想過的一面……

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About this Book Use this guide to travel back in time to the Italian Renaissance and discover the interesting stories behind the works on display in this exhibition.

Find out how the artists, including the famous Sandro Botticelli, used different ways to portray subjects and learn more about their fascinating lives.

You may be surprised at what you learn!

Ready to begin?

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帶著提問去觀賞

A few things before we get started...

1/ 這些畫作為甚麼意義重大？ Why are these paintings so important? 怎樣看 How to see? 第一次觀看一件藝術品時，你可能會感覺茫無頭緒。一些簡單但有用的提問，或 會有助你超越畫作表面，去發掘箇中隱藏的故事。

When you first look at a work of art, you may not know how to respond. Instead of taking it at face value, here are some useful questions to consider so that you don't miss the story hidden in each painting:

2/ 畫作的大小和形狀重要嗎？ Does the size and shape of the painting matter?

3/ 畫框的大小和形狀會對畫作有影響嗎？ How does the framing affect the painting?

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4/ 畫作呈現了怎樣的情境？ What is happening in this painting?

5/ 畫中主角是一個怎樣的人？ Who is the main character?

6/ 想對藝術家及主題有更多了解， 可以循甚麼線索？ How can I find out more about the artist or the subject from the clues in the painting? 觀賞藝術品時，不妨細心思考它的構圖、線條、顏色、調子、質感、氣息，角度。 When we look at art, let's consider: Compositions, Lines, Colours, Tones, Textures, Atmosphere, Viewpoints.

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帶著提問去觀賞

A few things before we get started... 怎樣感受 How to feel?

1/ 我對這幅畫有甚麼感覺？ How do I feel about this artwork?

2/ 我喜歡它甚麼？又不喜歡甚麼？ What do I like or dislike about it?

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3/ 它讓我看到文藝復興時怎樣的生活面貌？ What does it tell me about life during the Renaissance?

4/ 畫中有沒有甚麼東西是我認識的？ Is there anything that I recognise?

5/ 畫作讓我聯想起甚麼？ What does it remind me of?

6/ 畫中使用的透視角度， 讓我看到甚麼？ What does the perspective tell us?

近距離觀看藝術品時，也可以觀察它使用的物料、畫作的狀態、框架的方式、 上面的簽名式或標記，記載的歷史或典故等等。

When we look closely at artworks, let's consider: Material, Condition, Framing, Signature or Marks, History/Historical References 11

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文藝復興旅程由這裡開始……

Let's Begin Our Journey! 二樓專題展覽廳，香港藝術館

2/F, The Special Gallery, HKMoA

Zone Entrance

Exit

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顏色，由你定義？！

Who defines

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COLOUR ?

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粉紅色代表女仔， 藍色代表男仔，理所當然？ 可能只是廣告推銷的結果。 Why is pink associated with girls and blue with boys?

It may just be the result of advertising.

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天是藍的，雲是白的，橙是橙色的……

別以為顏色只是物理和大自然的現象，其實更是人的心理折射，

不同歷史背景、地理環境，社會風俗、文化和宗教信仰的合成。

While the sky is blue and clouds are white, and the colour of an orange is orange, colours are not just a physical and natural phenomenon.

In fact, they are a combination of many things: a reflection of human psychology, different histories, environments, social customs, cultures and religious beliefs.

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顏色既帶來視覺感官的直觀反應，同時又儼如密碼，隱藏著不同意義，解開了

才能理解不同時代、各地社會和人的生活和價值觀念。語言學家維特根斯坦說：

「顏色讓人充滿哲理」，就是指

人會賦予顏色各種主觀或象徵

意義 ，所以紅色代表危險，綠色代表環保，藍色憂鬱，黃色色情，而黑白是善 惡二分……這張清單愈數愈長。 不同國家也有自己的演繹 ：在日 本，白色是神聖、純潔、真誠，結婚和葬禮都穿白，要「白無垢」才能突顯內心 的純淨無瑕。在傳統中國，紫色為帝王尊貴之色，普通人日常穿不得；東方的紅 是喜氣洋洋，西方的紅同時也有危險和迫切的意味。

Colour does more than just stimulate your eyes; it's like a locked

Philosopher Ludwig Wittgenstein relates colour to experience and consciousness, enabling humans to associate different colours with specific meanings. By unlocking the meaning of the colours, we can box filled with hidden meanings!

understand the secrets in art.

Red is universally associated with danger, green represents the environment, blue is melancholy and black and white are the

different cultures have their own interpretations,

representation of good and evil. The list goes on, and

too. In Japan, white is sacred, pure and sincere, and is worn for marriages and funerals. In ancient China, purple was the emperor's colour, and red in many Eastern cultures is associated with good luck and prosperity.

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問題：

你可以認出哪一幅是馬爾西利奧．費奇諾的畫像嗎？

關鍵字：

調色板

提示：

他留著灰色頭髮，戴著紅帽子，晝上還有他的名字呢！

TASK:

Can you identify which is the portrait of Marsilio Ficino?

HINT:

He has grey hair, wears a red hat and his name is written on the painting.

KEYWORDS: Palette

當你看見在意大利文藝復興時的畫，畫中人包括主教 和權貴都愛穿紅， 原來紅色在當時就是

權力的化身。 還未有攝影的時代，能花

錢聘用畫師畫像，也就是財富或權力的展 示，用今天的說法，就是「炫富」。

When you see paintings from the Italian Renaissance, people of high status often wear red. Red

was the embodiment of power at the time. In the era before photography, the ability to spend money on portraits was a display of wealth and power.

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時代改變童顏

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Art is a reflection of its time

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PORTRAYAL

嬰兒和美女，無論東方西方，

大抵是歷來被畫或被拍攝得最多的形象之一。

美女怎樣叫做美，

不同年代不同地方也有不同標準；

而今日人人都將可愛與否作為嬰兒肖像及相片的指標，

但原來在中世紀的繪畫中，

嬰兒半點都不機靈可愛，甚至有點像苦澀的中年大叔。

In the East and West, babies and beautiful people are often the subjects of painting and photographs. (The meaning of beauty, however, has differed across cultures and eras.)

In medieval paintings, babies are rarely“cute”as we know it now; sometimes they look like little old men.

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並非畫家存心惡搞。歐洲自公元五世紀羅馬帝國覆亡，以至十四世紀文藝復

興之前的一段中世紀時間，被稱為「黑暗時代」。當時社會奉行封建制度，

階級制度森嚴，加上戰亂頻繁，大大窒礙了文化多元發展。基督宗教作為 當時主要宗教，也模塑了人的精神和道德價值。中世紀繪畫多以宗教為

主題，畫中嬰兒也離不開對耶穌基督形象的詮釋。

It's not that the artist made a mistake. In Europe, the time between the fall of the Roman Empire in the 5th century and the Medieval period in the 14th century was called the "Dark Age".

At that time, society followed a feudal system, with strict class divisions and frequent wars, which greatly slowed the development of culture.

As the primary religion of that era, Christianity shaped the spiritual and moral values of the European people.

Medieval paintings frequently depict religious themes, and the babies in the paintings often represent the image of Jesus Christ.

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多得文藝復興時的畫家，嬰兒才「變得可愛」，甚至成為後世標準。當時的畫家對

現世的興趣大大提升，即使是宗教繪畫，基於對人體五官及自然世界的觀察，這 時候也出現了不同程度的「人味」；而佛羅倫斯富人階級的興起，也推動了畫作更 加「入世」。藝術家不再只為教廷服務，富人熱衷借畫作展示財富和權力，

畫中嬰兒亦不再以耶穌基督的形象為依歸，

更著力展示現實中嬰兒的天真無邪和豐腴身型， 恍似完美天使的化身。

During the Renaissance, depictions of babies began to reflect more closely our idea of "cute". As painters began to focus more on the details of the human body and a wealthy class began to rise in Florence, paintings served as a gateway into high society. Artists were no longer exclusive to the church, as the rich grew keen to use paintings to show off wealth and power.

Babies in Renaissance paintings were no longer modelled after the image of Jesus Christ, but simply the innocent and plump shape of babies in real life - like round little cherubs.

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如果世界沒有改變，嬰兒可能永遠都停留在木無表情的老人精形象。 將中世紀及文藝復興的畫作對照，便會明白，

藝術就是記載 時代精神轉變 的一面鏡。

Without the Renaissance, the depiction of babies would have remained the same: like the little grumpy old men of the Medieval period.

Art is a reflection of the time in which it was created. 問題： 提示：

請在菲利皮諾．利皮的《聖母和聖若瑟朝拜聖子》畫中 找出一隻牛和兩隻鳥。

請看看窗外，牠們跟今日我們眼見的沒有兩樣！

關鍵字：

真實感

TASK:

Find 2 birds and 1 cow in Filippino Lippi's Madonna in Adoration of the Child with St Joseph .

HINT:

Look out the window, they look just like they would now!

KEYWORDS: Realistic - True to life.

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一幅圓形畫， 背後卻承載了歷史、 建築空間和 生活風俗， 殊不簡單。

Circular paintings carry history, architecture and tradition within them.

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你所不知道的 圓形 Here are some things you might not know about the 22

CIRCLE IN ART

圓形在不同文明中各有意義。

以陰陽兩極為一切事物的本質，

圓形是東方人的精神象徵；

在中東，幾何圓頂建築是永恆和天堂的化身；

在歐洲，基督宗教對於精神文明的重要影響， 則體現在教堂建築之上，

當中巨大的圓形穹頂不止標誌著精湛的建築技術， 更是凡人仰望宇宙及基督神聖的載體， 完美的象徵。

The circle has different meanings in different cultures.

Like the yin and yang, the circle is the spiritual symbol of many Asian cultures; in the Middle East, geometric domes embody eternity and heaven; and in Europe,

huge circular domes on churches are like a portal to the heavens.

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文藝復興藝術家引用古希臘及羅馬風格去對抗 中世紀數百年以來的僵化刻板，

在佛羅倫斯興起的 "Tondo"（圓形畫）便是示範之一。 Tondo 在古希臘時代主要繪畫在瓶子身上。

來到文藝復興， 不少重要建築都會 以這些圓形畫作為 回歸古典建築的 三角形山牆或 拱柱上的裝飾， 當日的大戶人家， 也喜愛用這些 圓形畫作為

家居裝潢一部分。

Renaissance artists revived ancient Greek and Roman styles to improve the rigidity of the Medieval era. The "Tondo"style paintings that emerged in Florence were influenced by images painted on ancient Greek wares.

Many important buildings during the Renaissance displayed circular paintings as decoration on their gables and arches, and wealthy families of the time also used these to decorate their homes.

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有別於傳統的長方形，圓形畫在構圖上更專注於主角，尤適宜於描

繪神話或聖經人物。但如何將主角分配在空間有限的畫面，但又能呈現更現

實的透視感，便成為畫家一大挑戰。要將圓形畫裝裱在木畫框以掛在牆上，也展示了 木匠精細的手藝。後來 Tondo 也成為當日流行的「慶生禮物」―昔日嬰兒夭折率甚

高，能夠順利誕下孩子是可喜可賀的事，富有人家流行委聘畫師創作 " 慶生盤 "，上面 盛滿糖果，送給產婦作為的禮物，而聖母和聖嬰自然成為最常見的繪畫主角。

the composition of Tondo-style paintings centred the subject, which made it perfect for mythological or biblical characters.

Unlike traditional rectangular paintings,

One challenge for painters of this style was giving these subjects a realistic sense of perspective. Apart from the canvas, the circular wooden frames are an important component of Tondo, as they display the carpenter's fine craftsmanship. Tondo paintings were a popular "birth day" gift amongst wealthy families, as the infant mortality rate was very high during that period and giving birth was a special occasion.

The paintings, often depicting the Madonna and Child, would come in "Birth Trays" filled with candies that were given to the mother as a gift.

問題：

可以在其中一幅圓形畫的下方，找到迷你士多啤梨嗎？

關鍵字：

物料包括紙本、布本或木板等，都是藝術創作一剖分。

提示：

它們就位於畫上了玫瑰園的那幅畫中，畫作還有著金色圓框。

TASK:

Try to find mini strawberries at the bottom of one of the Tondo paintings!

HINT:

Look for the painting framed in a golden circle with a rose garden at the top.

KEYWORDS: Medium - The material used to create a work of art.

(Types of materials include paper, canvas and even wood panels.)

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我， 就是世界中心 I am the

CENTRE

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流動通信由 2G 發展到 5G ， 是數據速度和容量的改變； 但在文藝復興時，當人的視點由 2D 變成 3D ，

改變的不止是空間及物體的立體感和透視感， 更是人對現世的關注， 以及自我意識、理性和人文精神的出現。 26

Going from 2G to 5G made it easier for our phones to send more data more quickly, but in the Renaissance, the change in perspective from 2D to 3D

changed not only perception of space and objects in paintings, but also people's perception of the world.

Self-awareness, rationality, and humanism were some of the important ideas that emerged during this period.

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由中世紀的宗教主導，來到文藝復興改而觀察現實的大 自然和人類自身，人的心眼終於來到一個新的維度，不再只是無條件地接 受教條，改而對自身、身邊事物及環境進行客觀觀察。若非對人體骨骼肌理有極細

緻的觀察，米開蘭基羅《創世紀》內的人物便不會有那樣豐富的表情和肢體語言； 達芬奇鑽研人體解剖同時，也著重再現人在自然環境中的實際「經驗」以及內在的 精神面貌。以真實而非虛構人物為主角的《蒙娜麗沙》，展現出他獨有的「空氣遠

近法」―物體會因應距離而轉變，因為空氣、微塵都會令輪廓變得模糊，色彩也

會改變。藉著顏彩、明暗，可以令人物從背景中凸現出來，模糊的輪廓則營造了神 秘的氣氛。

During the Renaissance, people began to step away from the religious doctrine of the Medieval period, and began to see nature and humanity as they exist in the world.

This change in mindset allowed for greater observation of the self, the things around us and the environment.

This attention to detail gave the subjects in Michelangelo's Creation of

Adam (c.1512) their rich expressions and expressive body language.

Leonardo da Vinci studied human anatomy and focused on depicting

people in the natural world within his work. This led to his unique“sfumato" painting style where colours and tones are blended into one another, blurring the lines and edges effectively creating a sense of depth, which we can now observe in his most famous painting, the Mona Lisa (1503-1519).

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問題：

可以找出 St. Anthony Abbot 在哪裡嗎？

關鍵字：

透視 / 景深

TASK:

Can you spot Saint Anthony the Abbot?

HINT:

He was often depicted carrying a walking stick with a bell attached to it.

提示：

他是一位著名的聖人，經常攜帶著掛上響鈴的枴杖。

KEYWORDS: Perspective - The illusion or sense of depth created in a work of art.

在物理上，一幅畫是平面 2D ，但藉著匯聚到一點的線條，再加上色彩、明暗等

等調配，卻可以呈現畫中建築物的距離和空間感，增強畫作的戲劇性，為往後數 百年的西方繪畫定下了基調。更重要的是，畫作中的三角視點乃是從

看畫的人（即觀察者）的眼睛出發，而不是一種全知視 覺，說明了當時人已開始有意識地探索自己和世界的關係，而不再囿於從前人神 由下而上的直線思維。西方文明，無論是哲學的還是科學，從此也不再一樣。

On the surface, a painting is a flat two-dimensional plane, but by converging the lines to one point (linear perspective) and adding colour, light and shadow, an artist can create a sense of depth and space that depicts a three-dimensional environment - such as a sense of space between buildings within a painting, effectively enhancing the drama of the work.

Western paintings in the centuries to come would explore a triangular point of view; instinctively our eyes will be drawn to the intended focal point. It was during this period that people began to consciously explore the relationship between themselves and the world around them at the time. Art was no longer confined to the old way of people depicted in the lower portions of the canvas and God and celestial beings in the upper portions. Whether it is philosophical or scientific, art has never been the same ever since.

29

對比法、三分法、黃金分割……讓人或事 物在畫面空間當中得以恰如其分地凸顯

出來，成為構圖的不二法則。比較前人，

文藝復興畫家更充分掌握箇中竅門，一方面 要「出世」，用畫作展示聖經故事和教訓；另 方面卻要「入世」，探索現實同時滿足贊助 者突出自己的個人願望。 面面俱圓的方法總是有

的，只要你能夠巧妙地掌 握到構圖的原理。

The use of contrast, the rule of thirds, the Golden Ratio... these are visual composition methods that allow important figures or items in a painting to come to the forefront. Compared to their predecessors, Renaissance painters

fully embraced these methods in order to depict biblical stories and homilies while simultaneously satisfying the wants of the person who commissioned the paintings. By mastering the rules of composition, you can meet the needs of a commissioner but still have the freedom to incorporate your own ideas effectively.

30

人群中，最重要的是你

O

IN

T

ECK

P

The most important thing in the crowd is PERSON

CH

遠、中和近景，

由小而大的透視分佈， 自然便將重點主角置放

在畫面前方；位於圖左中右 還是不起眼的角落，

以至大小比例、色彩濃淡輕重， 虛與實的關係，

通通都是畫家匯聚觀眾焦點，

並暗示出繪畫者的意圖的手法。 Depth and perspective naturally serve to accentuate the focal point of the painting regardless if the subject is positioned on the left, centre, right, or even in inconspicuous corners.

Size and ratio, as well as the intensity of colours are all methods that painters use to draw the viewer's attention to the heart of the work.

31

波提切利的《三王朝聖》，雖是耳熟能詳的聖經故事，

但畫中主角更像是美弟奇家族（Medici family）成員，

而非故事中心的聖母和聖子。

畫家本人更微妙地安排自己 站在畫的右前方， 而臉孔和眼神彷彿正在面向觀眾說： 我和你，都是「目擊者」。

文藝復興時代，商業化社會開始擺脫神權對思想和生活的控制

（以佛羅倫斯和威尼斯兩大城市為代表）， 繪畫也回應這種現世和人心的變化，

甚至讓宗教人物成為富豪貴冑權力和財富的襯托。

Although Botticelli’s Adoration of the Magi (c.1475) is a visual representation of a classic biblical story featuring the Virgin and Child, the viewers' eyes are also drawn to figures that resemble members of the Medici family.

The painter subtly inserts himself standing on the front right side of the painting, facing the audience with an expression that acknowledges both the artist and You the viewer are "witnesses" of this scene.

In the Renaissance era, commercial pursuits driven

by Florence and Venice began to diminish theocratic control of thought and life. Art reflected these changes by elevating certain humans to a status historically reserved for religious figures, as demonstrated in Botticelli's work.

32

問題：

可以在畫中找到大師級畫家波提切利的自畫像嗎？

關鍵字：

構圖

提示：

那位正在回頭望著你，身穿著金色披風的人。

TASK:

Try to spot the great painter Sandro Botticelli's self portrait in this painting.

HINT:

Look for the man looking back at us wearing a large yellow cloak.

KEYWORDS: Composition - How the different parts of the painting (lines, shape, form, space, colour and texture) come together.

33

Historical Reference

CH ECK

P

O

INT 34

飯局解碼

DECODING BANQUETS

要尋溯前人的生活痕迹，

除了文字記載， 繪畫無疑是最珍貴的視覺記錄， 讓很多未被正式史書所記載的

生活細節及物質文化得以再現，

間接展示出當時社會的發展階段。

In addition to written works, paintings give us a precious visual record that enables us to trace the lives of our predecessors.

Paintings fill in the blanks regarding details of life and culture that official history books do not include – indirectly unveiling clues about the society of a particular time.

35

無論中外，宴會（今日稱作飯局） 都是其中一個重要的主題。達文

西藉著《最後晚餐》（ 1494-98 ）

這個無人不曉的聖經故事，去進 行他對人物心理的描繪實驗；貝 利尼《諸神的盛宴》（ 1514 ）則

描繪了古希臘眾神在奧林匹克山 上的野餐，雖說是神但其實神情 動態更像是人，畫中女神甚至拿 著青花瓷器，「寫實」得很。

Banquets and feasts are an important theme in paintings from all over the world. Leonardo da Vinci's The Last Supper (1494-1498) depicts an extremely well-known biblical story while Giovanni Bellini's The Feast of the Gods (1514) shows mythological creatures having a picnic on Mount Olympia.

This painting featuring a large, seemingly perfect feast marked a visual change towards naturalism.

36

問題：

宴會桌上坐著多少個女人？

關鍵字：

歷史典故

提示：

數一數便知道了！

TASK:

How many women are seated at the banquet table?

HINT:

Count the numbers.

KEYWORDS: Historical reference

相對於中世紀封建時代以神權為中心， 文藝復興走向對

世俗生活的關注，也令現世的各種生活面貌呈 現在繪畫中，除了人物肖像畫中奢華的衣著打 扮，宴會也成為流行的主題，也是新興商人階 層的財富見證。在花園中舉行宴會，用的是金匠打造的盤子

或珍貴的瓷器，穿著華麗的綢緞服飾，種種細節佈局，好像在跟 你說著，飯局其實旨不在吃飯。

Unlike the feudal era of the Medieval period which centred around theocracy,

the Renaissance moved towards a focus on secular life, as well as culture and behaviour of people. From luxurious clothing to extravagant banquets, these depictions in art demonstrated hierarchical structures and the emerging wealth of the merchant class.

Details such as plates made by goldsmiths, precious porcelains and women wearing gorgeous silk dresses tell you that banquets are not just about eating, but an opportunity to show how certain members of society were doing.

37

時尚大晒 !

Clothing & Accessories

FASHION REIGNS!

C

H ECKPO

IN

T

飲食以外，最能突顯一個地方的物質生活文明，便是衣著。 但衣著的意義卻又遠遠超過了物質層面，

也是社會地位和道德規條的載體，衣著成為時尚，

則流露了人對自我形象的欲求。

在中世紀封建及神權主宰下，

女性作為「被擁有的財產」一部分，

身體也被禁錮在衣服之中。 38

Besides food, clothing can reveal the material life of a society.

However, the meanings clothing carry far exceed materialism: it also symbolises social status and moral standards.

Fashion has always demonstrated people's search for identity.

However, under the structure of medieval feudalism and theocracy, clothes were a mechanism that imprisoned women.

39

文藝復興時代，當宗教及傳統規條逐一被打破，更 著重人的個性和世俗生活，加上商業活動的興盛，

衣服也變成了呈現個人形象、財富及 審美的指標。 女性雖然仍未能在公眾地方自

由活動，但衣服造型開始更著重於突顯曲線美和性 感的一面。波提切利將維納斯女神變成典雅高貴的 典範；拉斐爾的女性則是溫柔嫺淑，甚有療癒效

果。而富有家庭的女性，更不會放過在肖像畫中突 顯品味及財富的機會。在當時流行的半身正側面畫 像中，每每清楚看到女性衣服優雅細膩的質料和設 計，頭髮或頸項上的珠寶首飾也清楚展示， 她們

無疑是時尚和財富的象徵，欠缺的， 只是人物內心世界的描繪。

As religious and traditional rules softened during the Renaissance, emphasis shifted to secular life and humanity. With a rise in commercial activities,

the clothes people wore became an indicator of personal status and wealth. Their way of dressing began to highlight their bodies through details that perhaps accentuated their waists or busts.

Botticelli turned the Venus goddess into a model of elegance and nobility; Raphael's women are gentle and graceful. Women from prominent families certainly would not miss the opportunity to use portraits to emphasise their refined tastes and wealth: Half-body portraits were especially popular to display intricate jewellery, as well as the delicate and elegant materials of the women's clothes.

The portraits, however, lacked insight into the true characters of these women.

40

由達芬奇蒙娜麗沙開始面向著「觀眾」，展示神

秘的微笑，女性的內心世界開始「被探索」，然 而 male gaze 一直主宰著世人包括女人自己

觀察女性的角度。要再過五百年後，至十九世 紀末二十世紀初，當女性開始穿上褲子進入職 場，才算是步入自主獨立的新一頁。

Since Leonardo da Vinci's Mona Lisa (1503-1519), in which the subject faces her audience with a mysterious smile, the inner world of a woman's life has been a theme of exploration.

However, the portrayal of women has always been subjected to one "male gaze". It would not be for another 500 years – at the end of the 19th century and beginning of the 20th – that women began to enter the workplace, marking a new chapter for women's independence.

問題： 提示： 關鍵字：

請在畫中找出文藝復興時極流行的石榴花喱士圖案。

留意藍色背景，戴著珍珠頸鏈的女人，畫作的焦點是她的 衣袖。

象徵符號

TASK:

Find the ruby red lace pattern that was very popular during the Renaissance.

HINT:

Look for a woman wearing a pearl necklace in front of a blue background.

KEYWORDS: Symbolism

41

理想的自己，現實的自己 Pose

IDEAL SELF, REALISTIC SELF 手機最劃時代的成就之一， 是讓人人都可以

自由選擇自覺最美的角度， 成為自拍高手。

之後的美圖秀秀，

P

O

INT

CH

ECK

更不在話下。

One of the most significant modern inventions is the mobile phone. For one, it has given people the freedom to choose their best angles, and with apps like Meitu or Facetune, they too can become masters of the selfie.

42

在 selfie 時代，人們觀看自己遠遠多於觀察別人，

自我意識無限放大。但在十九世紀攝影還未出現時，

能夠留住人或景觀的形象，唯有繪畫。

從前的人甚至相信，透過肖像畫可以讓自己「永遠活著」。

在追求永恆不朽的前提下，「留住最美一刻」自是理所當然。

即使未有 selfie，容貌也是屬天生「無得揀」，

怎樣去描畫自己的容貌，卻可以自由選擇。

歐洲自十五世紀後的肖像畫，主角出現更多「世俗中人」（有錢人或貴族）， 雖說是「真實地」去臨摹人物，

這些畫作更多是滿足被畫者對自我形象的想像。

In the era of selfies, people see themselves far more than others, and their self-consciousness has been greatly deepened.

But before the emergence of photography in the nineteenth century, only paintings and writings could memorialise people and landscapes. Portrait painting was the way people in the past believed they could "live forever".

Under the premise of pursuing immortality, people sought to be memorialised in their most beautiful moment.

Although one's face is unchangeable, subjects still wanted to control how they were portrayed. Since the 15th century, European portrait paintings have featured protagonists who are wealthy or aristocratic. But beyond capturing the true image of these subjects, these paintings sought to foremost satisfy the self-esteem of the person being painted.

43

哪一面的自己才是最好看？五分面還是七分面？擺一個怎樣

的姿勢？對照昔日的肖像畫和今日的 selfie，共通點是很少 會選取人的全正面去描繪或拍攝。

文藝復興時代開始對人體展開探索，追求個性的畫

家們更著意展示出不同的「人物個性」，這些肖像 畫影響了往後數百年的審美視覺，至今不衰。

Which side of your face do you find most attractive?

At which angle? What kind of pose? If we compare the portraits of the past with the selfies of today, we see a person is rarely shown facing forward.

During the Renaissance era, painters began to explore the human anatomy, focusing on unique details and different subjects' personalities.

說到底，

「我希望我是一個怎樣的我」，

仍是千古不變的命題。 After all,

"What kind of me do I wish to be?" is still a constant proposition through the ages.

44

問題：

請找出在文藝復興時很常見的帽子 mazzocchio。

TASK:

Find the mazzocchio (a very popular hat from the Renaissance era).

HINT:

Look for a serious-looking man with a red shawl and grey background.

提示：

請留意背景灰色，戴著紅色披肩，一臉傲驕的男子。

45

動手創作，你的自畫像

Draw your own portrait!

在 Instagram 分享你的肖像畫 ! Share your portrait on Instagram

#MissionMuseum #fifhk #FirstInitiativeFoundation # 領賢慈善基金

姓名

恭喜你完成 領賢慈善基金 藝術探索之旅！ Congratulations!

You have completed the "Embark on an Art Adventure"! 如欲想了解多一點關於 藝術探索之旅，請掃描二維碼。

Find out more about our Embark on an Art Adventure Scan the QR code and know more!

香港賽馬會呈獻系列：波提切利與他的非凡時空 ― 烏菲茲美術館珍藏展 The Hong Kong Jockey Club Series: Botticelli and His Times ― Masterworks from the Uffizi Vision and Concept by Wild Child Creatives 野孩子創意工作坊 Being Media Limited 就係媒體有限公司 Written by Being Media Limited 就係媒體有限公司 Designed by Being Media Limited 就係媒體有限公司 Edited by Being Media Limited 就係媒體有限公司 First Initiative Foundation 領賢慈善基金 Illustrated by Pearl Law Special thanks to Hong Kong Museum of Art 香港藝術館

Printed by Asia One Printing Limited 宏亞印務有限公司 Published by First Initiative Foundation 領賢慈善基金 Co-produced by Being Media Limited 就係媒體有限公司 Wild Child Creatives 野孩子創意工作坊 Copyright in the content in this guide reside in First Initiative Foundation.

What am I looking at?, is published by First Initiative Foundation. All rights reserved.

Materials in this publication may not be reproduced in part or in whole without written consent of First Initiative Foundation. Published in October 2020. All information is correct at time of print.

ISBN ﾠ 978-988-79177-2-4

Acknowledgements

2020 年 10 月 - 2021 年 2 月

Oct 2020 - Feb 2021

P.7 Cosimo Rosselli (Florence, 1439 – 1507) Adoration of the Magi ca. 1470 Tempera and oil on panel 101 x 217 cm Florence, Gallerie degli Uffizi, Galleria delle Statue e delle Pitture, inv.

1890 n. 494 P.9 Alessandro Filipepi, known as Sandro Botticelli (Florence, 1445 – 1510) Madonna and Child with St John ca. 1500 Tempera on canvas 134 x 92 cm Florence, Gallerie degli Uffizi, Galleria Palatina, inv. 1912 n. 357 P.10 Alessandro Filipepi, known as Sandro Botticelli (Florence, 1445 – 1510) Portrait of a Young Woman (Simonetta Vespucci) ca. 1480 – 1485 Tempera on panel 61.3 x 40.5 cm Florence, Gallerie degli Uffizi, Galleria Palatina, inv. 1912 n. 357 P.12-13 A. Cristofano dell' Altissimo (Florence, active 1552 – 1605) Portrait of Marsilio Ficino 1552 – 1568 Oil on panel 59 x 45 cm Florence, Gallerie degli Uffizi, Galleria delle Statue e delle Pitture, inv. 1890 n. 172 An inscription in capital letters at the top reads: "MARSILIUS FICINUS" B. Cristofano dell' Altissimo (Florence, active 1552 – 1605) Portrait of Giovanni Pico della Mirandola Oil on panel 59 x 45 cm Florence, Gallerie degli Uffizi, Galleria delle Statue e delle Pitture, inv. 1890 n. 193 An inscription in capital letters at the top reads: "IOAN .PICUS .MIRANDULA"

Paintings

P.4 Francesco Botticini (Florence, 1446 – 1497) Madonna and Child with St John and Angels ca. 1490 Oil on panel Diam. 123 cm Florence, Gallerie degli Uffizi, Galleria Palatina, inv. 1912 n. 347

C. Cristofano dell' Altissimo (Florence, active 1552 – 1605) Portrait of Angelo Poliziano 1552 – 1568 Oil on panel 59 x 45 cm Florence, Gallerie degli Uffizi, Galleria delle Statue e delle Pitture, inv. 1890 n. 191 An inscription in capital letters at the top reads: "ANGELUS POLITIANUS" D. Agnolo Bronzino (1503 – 1572) Portrait of Lorenzo the Magnificent ca. 1555 – 1565 Oil on tin 16 x 12 cm Florence, Gallerie degli Uffizi, Galleria delle Statue e delle Pitture, inv. 1890 n. 865 An inscription in capital letters at the top reads: "LAURENTIUS MEDICES PETRI FILIUS" E. Alessandro Filipepi, known as Sandro Botticelli (Florence, 1445 – 1510) Madonna and Child (Madonna della Loggia) ca. 1467 Tempera on panel 72 x 50 cm Florence, Gallerie degli Uffizi, Galleria delle Statue e delle Pitture, inv. Deposits n. 8 F. Alessandro Filipepi, known as Sandro Botticelli and workshop (Florence, 1445 – 1510) Adoration of the Child and Angels ca. 1500 Tempera on panel Diam. 110 cm Florence, Gallerie degli Uffizi, Galleria Palatina, inv. OdA 1911 n. 750 G. Alessandro Filipepi, known as Sandro Botticelli (Florence, 1445 – 1510) St Augustine in his Study ca. 1494 Tempera on panel 41 x 27 cm Florence, Gallerie degli Uffizi, Galleria delle Statue e delle Pitture, inv. 1890 n. 1473

H. Alessandro Filipepi, known as Sandro Botticelli (Florence, 1445 – 1510) Adoration of the Magi (Lami Adoration) 1474 – 1475 Tempera on panel 111 x 134 cm Florence, Gallerie degli Uffizi, Galleria delle Statue e delle Pitture, inv. 1890 n. 882 I. Jacopo del Sellaio (Florence, 1442 – 1493) Stories of Esther and Ahasuerus: Banquet of Queen Vashti ca. 1485 Tempera on panel 44.5 x 81 cm Florence, Gallerie degli Uffizi, Galleria delle Statue e delle Pitture, inv. 1890 n. 492 J. Jacopo del Sellaio (Florence, 1442 – 1493) Stories of Esther and Ahasuerus: Triumph of Mardocheus ca. 1485 Tempera on panel 45 x 60 cm Florence, Gallerie degli Uffizi, Galleria delle Statue e delle Pitture, inv. 1890 n. 493 K. Piero Benci, known as Piero del Pollaiolo (Florence, 1441 – Rome, 1496) Portrait of a Young Woman ca. 1480 Tempera and oil on panel 50.8 x 34.1 cm Florence, Gallerie degli Uffizi, Galleria delle Statue e delle Pitture, inv. 1890 n. 1491 L. Alessandro Filipepi, known as Sandro Botticelli (Florence, 1445 – 1510) Portrait of a Young Man with a Mazzocchio ca. 1470 Tempera on panel 51 x 33.7 cm Florence, Gallerie degli Uffizi, Galleria Palatina, inv. 1912 n 372.

© Photographic Department, The Uffizi Galleries - By permission of the Ministry for Cultural Heritage and Activities and Tourism of Italy