不可否认巴洛克珍珠确实带有几分矫饰主义的恶趣味,但这是一种梦幻的表达方式,用装饰语言来放大艺术的魅力。在强调对称规整的欧洲珠宝界,意大利人的品味可算得上独树一帜,他们创造了独具特色的巴洛克珍珠艺饰。
1. The Late 16th century pendant. The Victoria & Albert Museum
2. Flemish pendant in the form of a marine animal in gold, enamel, precious pearl piettre, Scaramazza, 16th century.
3. Gold enamelled pendant- jewel depicting a galloping horse with warrior. The horse and rider are depicted facing left but are executed completely in the round. Germany 1526-1575.
与普通珍珠不同,巴洛克珍珠是生物残骸落入珍珠母贝肌肉中,遭遇肌肉纤维阻力后自然形成的海水珍珠。15世纪的《巴伐利亚公爵夫人安娜的珍宝书》中极少有这种畸形珍珠的身影,到了文艺复兴中后期巴洛克珍珠才真正流行起来。在那个追求新奇之美的年代,戏剧感十足的巴洛克珍珠打开了王公贵族们新的审美体验。
1. The pendant. A pendant, Italy, from The Medici Collection. c. 1600
2. Caravel pendant Late 16th century, Italian Gold, rubies, emeralds, pearls and enamel Hermitage Museum. Saint Petersburg.
3. The pendant. Justice Date. ca. 1600 Culture: probably Southern German Medium: Gold, partly enameled, set with diamonds and emeralds.
1-3. Jewel Book of the Duchess Anna of Bavaria (1550s).
4. François Clouet, Elisabeth of Austria, Queen of France. 1570. Louvre, Paris.
5. Hans Holbein the Younger. Detail from Portrait of Jane Seymour, Queen of England, 1536.
6. English School, 16th Century . After Anthonis Mor. Portrait of Mary I of England
珠宝,爱情无声的演说家,也只有它才最能俘获人心。德国和意大利的艺术家争相尝试用畸形珍珠进行创作。在经历了文艺复兴珠宝早期的繁复华丽和高度均衡后,优美、但有点矫揉造作的巴洛克珍珠艺饰成了奥格斯堡巴伐利亚公爵和神职人员们最爱的类古董物件。
Gold pendant jewel of a Nereid and Child, Italian or German, late 16th century
Pendant Italy Galleria Tesorodei Medicica 16th century
Hippocamp pendant, in the manner of Erasmus Hornick, Spain, late 16th century
Pendant in the Form of Neptune and a Sea Monster. Dateearly 17th century.
所有巴洛克珍珠艺饰中,最著名的还要属一款名为“坎宁海神”的吊坠,从它的诞生地意大利到印度、英国,坎宁海神的命运也如大海潮汐般起起伏伏。16世纪意大利的美地奇家族将这款吊坠送给了莫卧尔帝国的国王,直到1857年英国女王又把殖民地的宝物奖励给了当时的印度总督坎宁。
珍珠出自神秘的大海,希腊神话亦基于地中海文明,很多巴洛克珍珠吊坠都以海洋为设计主题。对于神秘主义、黑暗、怪诞风格的追求,令艺术家们喜爱使用具有异域情调的彩色宝石、贝壳、黄金、异形珍珠等材料。历史的线索,精巧的工艺,繁复的设计,哲学的暗示都溶于珠宝设计之中,也反应了当时贵族们的审美情趣。
1. Hans Holbein the Younger. Design for a Pendant, 1533-36. Pen and ink with watercolour, 37,3 x 14,3 cm. British Museum, London.
2. Francesco Salviati and Workshop (Florence 1510–1563 Rome) Design for a Casket with Figure of Prudence.
3. The Dance of Death. The sketch of swiss dagger sheath. Hans Holbein the Younger (1497-1543).
4. Francesco Salviati. (Florence 1510–1563 Rome).
1. Mattias Zunt. The design of ewer c. 1550s. The Kupferstichkabinett . Berlin.
2. Ornamental panel with grotesque figures: vertical design in four tiers, with a chariot drawn by a griffin at the base Engraving, Date1510-1520.
胡兰成曾言西洋物件只有奢侈与粗陋两种形态,即贵族的奢侈和平民的粗陋。然而,他没有体会到奢侈背后牵引制衡的复杂情绪,对于自由和美的追求,对于宗教的虔诚狂热,对于古典艺术的迷恋,对于突破创新的渴望,亦如 Wenzel Jamnitzer 作品中被艺术烈焰灼烧的金色仙草,时至今日依旧散发着永恒的魅力。
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