[FONT=宋体]经常和我上面贴出的那幅Andrei Rublev的“圣三位一体”（[/FONT]The Old Testament Trinity[FONT=宋体]）相提并论的是这幅[/FONT]The holy Trinity. [FONT=宋体]这幅画同样是文艺复兴时期的作品，意大利画家[/FONT]Masaccio[FONT=宋体]所作，但笔法、构思完全不同，艺术追求和艺术效果也迥然各异。[/FONT] [FONT=宋体]谈到“三位一体”这个概念，感觉需要作一点简单的说明。[/FONT] [FONT=宋体]在基督教里，圣父[/FONT]—[FONT=宋体]上帝，圣子[/FONT]---[FONT=宋体]耶稣，圣灵三者合而为一构成的一个完整的精神力量，就是我们说的“神”或“天主”，在基督教信仰中这三者缺一不可（马太福音[/FONT]28:19[FONT=宋体]：所以你们要去、使万民作我的门徒、奉[/FONT]“[FONT=宋体]父[/FONT]”[FONT=宋体]、[/FONT]“[FONT=宋体]子[/FONT]”[FONT=宋体]、[/FONT]“[FONT=宋体]圣灵[/FONT]”[FONT=宋体]的名、给他们施洗。）由于这三个位格的同时存在，每个位格又区别于另外两个位格，但同时又具有相同的属性和本质，[/FONT][FONT=宋体]非常抽象，[/FONT][FONT=宋体]完全不同于人类传统的思维习惯，的确很难理解。在神学的探讨中也就出现了千奇百怪的解释和争议。初信之人花上三年五年甚至十年八年去理解，也不能完全参透，都是相当正常的。[/FONT][FONT=宋体]于是古代的艺术家通过绘画来表达自己对三位一体的理解，产生出不同的艺术画面和艺术效果也十分正常。[/FONT] Masaccion[FONT=宋体]的这幅作品，选用了圣经中耶稣受难的场面，圣父上帝在圣子背后显现，圣灵是隐藏的，存在于圣父圣子同在的整个空间，通过整体的视觉效果显示上帝力量的强大，预示耶稣必将复活。画面使用了透视法，明暗效果显著，笔法杰出，景物和人物立体感明显，好像发生在眼前。[/FONT] [FONT=宋体]相比来说，上个帖子[/FONT]Andrei Rublev[FONT=宋体]的那幅圣三位一体就没有立体感，绘画中透视、解刨、比例的运用就比较省略。修士[/FONT]Andrei[FONT=宋体]侧重了三位一体的精神美感，那幅画的视角和构思却突破了圣经故事的局限。[/FONT] Holy Trinity (Masaccio) From Wikipedia, the free encyclopedia Artist Masaccio Year 1427 Type fresco Dimensions 667 cm × 317 cm (263 in × 125 in) Location Santa Maria Novella, Florence The Holy Trinity, with the Virgin and Saint John and donors (Italian: Santa Trinità) is a famous fresco by the Early Italian Renaissance painter Masaccio. It is located in the church of Santa Maria Novella, in Florence. This is the most celebrated work of Masaccio beside the frescoes in the Brancacci Chapel. Opinions vary as to exactly when this fresco was painted between 1425 and 1428. It was rediscovered in its entirety in 1861, after being hidden in the sixteenth century by a Vasari altarpiece and a stone altar. The work was taken up by nineteenth-century critics as a revelation of Brunelleschi's principles in architecture and the use of perspective, to the point that some believed Brunelleschi to have had a direct hand in the design of the work. When it was executed, no actual coffered barrel vault had yet been constructed since the Romans. The Trinity is noteworthy for its inspiration taken from ancient Roman triumphal arches and the strict adherence to the recent perspective discoveries, with a vanishing point at the viewer's eye level, so that, as Vasari describes it "a barrel vault drawn in perspective, and divided into squares with rosettes which diminish and are foreshortened so well that there seems to be a hole in the wall." This artistic technique is called trompe l'oeil which means, "deceives the eye," in French. The fresco had a transforming effect on generations of Florentine painters and visiting artists. The sole figure without a fully-realized three-dimensional occupation of space is the majestic God supporting the Cross, considered an immeasurable being. The figures of the two patrons represent another important novelty, occupying the viewer's own space, in front of the picture plane, which is represented by the Ionic columns and the Corinthian pilasters from which the feigned vault appears to spring; they are depicted in the traditional prayerful pose of donor portraits, but in natural size and with a noteworthy attention for realism and volume. The most likely interpretation of the Trinity is that the painting links the traditional medieval connection of the chapel with Golgotha the "place of the skull" where Christ died, with the patrons' or Adam's tomb in the lower part and the Crucifixion in the upper part. But it can also assume the significance of the journey the human spirit must undertake to reach salvation, rising from the earthly life and corruptible body through prayer (the two petitioners and patrons) and the intercession of the Virgin and Saint John the Evangelist to the Trinity. A close-up view of the skeleton in the sarcophagus also reveals the promise: I WAS WHAT YOU ARE AND WHAT I AM YOU SHALL BE.