帕拉第奥《建筑四书》卷首插图的表现与变化*

Representation and Variation of the Frontispiece of Palladio’s I quattro libri dell’architettura

摘要:

帕拉第奥的《建筑四书》影响巨大，版本众多， 是其建筑理念与绘图的集大成之作。卷首插图是该书理念的浓缩表达，在不同版本中有丰富的继承与变化。本文回顾卷首插图的制作与表达传统，对《建筑四书》初版卷首插图做出图像志与图像学层面的阐释；同时，对卷首插图中隐含的对称、缺席的肖像展开一定推测。以此理解作者、 出版商和木版画刻工共同创作表达的对于这部书的认识， 进而理解他们对文艺复兴时期“德性”的丰富认识。最后， 比较坎贝尔英译本卷首插图与原版之间的异同，分析图像内容的变化，进而认识到“德之女王”如何为建筑师取代， 而《建筑四书》如何从方法变为典范。

Abstract:

Andrea Palladio’s I quattro libri dell’architettura is one of the most influential books on architecture ever written. It was reprinted, republished, and translated several times, illustrated with woodcuts after the author’s own drawings. It gives evidence of Palladio’s famous architectural theory and practice. The frontispiece was used as a condensed rhetorical narrative, and the different editions varied considerably with regard to their philosophical content. This paper explores the iconology and iconography of the frontispiece adorning its first edition in 1570, then makes conjectures about the implied symmetry and the absence of Palladio’s portrait, with the aim to understand the perception of the book and the role of virtue (virtus) as presented by the author, the publisher, and the engraver. Finally, by comparing the original frontispiece with that of Colen Campbell’s English translation, the paper demonstrates how and why the Regina Virtus was replaced by an image of the architect, and how eventually the Quattro libri was transformed from a method (of acting according to ideas articulated in the book) to a model (where style or design parameters were fixed).