华东师范大学学报(哲学社会科学版) ›› 2020, Vol. 52 ›› Issue (4): 117-133.doi: 10.16382/j.cnki.1000-5579.2020.04.012

• 世界史研究 • 上一篇    下一篇

文艺复兴和巴洛克时期的意大利城门

刘耀春   

  1. 四川大学历史文化学院世界史系, 成都, 610064
  • 发布日期:2020-07-21
  • 作者简介:刘耀春,四川大学历史文化学院世界史系教授(成都,610064)。
  • 基金资助:
    国家社科基金一般项目“巴洛克时期的意大利城市社会研究（1550—1750）”（项目编号：14BSS042），本文亦得到“四川大学青年人才基金”的资助。

Italian City Gates in Renaissance and Baroque Period

LIU Yao-chun   

  • Published:2020-07-21

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摘要： 文艺复兴和巴洛克时期的意大利城门历经了三个发展阶段：第一阶段是15世纪，即文艺复兴早期和中期。在这一时期，受文艺复兴运动的影响，古罗马凯旋门开始成为城门设计的参照样本。中世纪的塔楼城门也并未完全消失，而是与新的文艺复兴风格城门并存，显示了这一时期城门发展的过渡性。第二阶段是文艺复兴盛期和晚期（16世纪）。在这一时期，改良大炮的冲击促使城市统治者开始加强防御，改造城墙和修建新城门。威尼斯统治下的特雷维索和帕多瓦率先放弃了中世纪塔楼城门，建成了“威尼斯帝国风格”的新城门。在这一时期，古罗马凯旋门成为更多意大利城市城门设计的参考样本。第三阶段是巴洛克时期（17世纪和18世纪前半期）。巴洛克时期的城门防御功能减弱，仪式功能日益凸显，这与当时意大利表演性的庆典仪式的盛行密切相关。为了展示统治者的权力和威仪，为了政治外交礼仪的需要，城门设计师一方面继续沿用文艺复兴时期复兴的凯旋门母题，同时日益热衷怪诞和华丽的装饰和城门的舞台效果。

关键词: 文艺复兴, 巴洛克, 意大利, 城门

Abstract: The Evolution of Italian city gates in Renaissance and Baroque period underwent three stages. The first one was the early and middle Renaissance in the 15th century(Quattrocento). In this transitional period, the arch of ancient Rome became the model to imitate, and the tower-gates of the Middle Ages did not disappear utterly, but co-existed with the city-gates with the style of new Renaissance. The second one was the flourishing and late Renaissance in the 16th century(Cinquecento). In this period, the impact of the “modernized” cannon forced city authorities to reinforce urban defense, mainly by building new bastion-fortified-wall and new city gates. Treviso and Verona under Venetian rule witnessed the first new Venetian-Imperial-Style of city-gates, which gave up the medieval tower-gate. In addition, more and more Italian cities adopted the arch of ancient Rome as the reference or inspiration for the design of city gates. The third one was the baroque period(the 17th century and the first half of the 18th century). This period witnessed the reduction of defensive function and the increase of the ritual function of city gates, which was closely related to the “performativity” of ceremonies in Italy. In order to display the power and majesty of the rulers, and to meet the need of political and diplomatic ceremonies, the design of city gates continued the motif of ‘triumph arch’ revived in the Renaissance, and meanwhile pursued the Baroque taste for bizarreness and magnificence, and the theatricality of city gates.

Key words: Renaissance, Baroque, Italy, city gates