光&影
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动态
短视频
光&影
2月前
为什么“相信比爱更高级的给予”
光&影
2月前
不是爱情而是珍视
光&影
2月前
短暂邂逅，获得自由与完整
光&影
2月前
错爱
这两个人的故事，最终是一个关于人类永恒困境的故事：
我们都在寻找爱，却常常用对方听不懂的语言说我爱你。
我们都在付出真心，却常常把真心包装成对方不需要的形式。
我们都在渴望被理解，却常常没有能力理解那个试图理解我们的人。
光&影
2月前
《持天平的女子》
维米尔最杰出的画中画运用手法无疑是《持天平的女子》。我认为，我们可以推断维米尔最初的模特是人格化的虚空女神（Vanitas ）。虚空女神的形象被世俗财富的象征物（包括珍珠和镜子）环绕，并与天堂的末日审判场景相结合。在末日审判中，一位复活的灵魂跪在天使长米迦勒面前，他的天平上，世俗的财富（王冠、权杖）与象征精神价值的物品（圣经、念珠）被称量。维米尔将这位女子置于《持天平的女子》的前景，在末日审判之前，使她恰好占据了原本天使长米迦勒——灵魂的称量者——应该站立的位置。维米尔再次通过称量这一比喻，阐明了短暂与永恒、世俗财富与精神价值之间的关联，即从小到大的关系。他借用艾蒂安·约瑟夫·泰奥菲尔·托雷的话告诉我们：“如今你们称量宝石，终有一天你们也将面临被称量和审判！”
Woman Holding a Balance
Vermeer's most accomplished use of the picture-within-a-picture is indisputably to be found in Woman Holding a Balance. Here, I believe, we may assume Vermeer's original model to have been a representation of the personified Vanitas. Surrounded by attributes of earthly riches (including pearls and a mirror), this figure of Vanitas is combined with the representation of a Last Judgment in Heaven. Here, one of the resurrected kneels before the Archangel Michael, on whose scales earthly riches (a crown, a scepter) are weighed against objects symbolizing spiritual values (a Bible, a rosary). Vermeer placed the female figure in the foreground of Woman Holding a Balance, before The Last Judgment, so that she occupies precisely the place where the Archangel Michael, as the Weigher of Souls, would otherwise stand. Vermeer thus again establishes a comparison that, by means of the simile of the act of weighing, makes clear the relation, ex minore ad maius, between transience and eternity, between worldly riches and spiritual values. He tells us, in Etienne Joseph Théophile Thoré's words: "Now you weigh precious stones and gems, one day you in turn will be weighed and judged!"
光&影
2月前
《情书》The Love Letter
埃迪·德·容格通过对象征符号的解读，清晰地阐释了那些描绘读者倚靠在海景墙前阅读信件的画作——维米尔的《情书》中也描绘了类似的场景。然而，德·容格并未在图像与文字结合的任何特定象征符号中找到关键证据，而是在说明文字本身，特别是爱情与大海、恋人与船只之间的对比中，找到了关键所在。
By reference to emblems, Eddy de Jongh was able to provide a clear explication of those paintings showing the reader of a letter placed against a wall on which there appears a seascape—Vermeer depicted this combination as well in his Love Letter. In this case, however, De Jongh did not find the crucial evidence in any particular emblem as a combination of image and text, but rather in the explanatory text alone, and specifically in the comparison between love and the sea, and between the lover and a ship.
光&影
2月前
清晨起床享受自然生活
