Parmigianino: Pioneer Mannerist
这幅作品出自16世纪意大利画家弗兰西斯科·帕尔米贾尼诺(Girolamo Francesco Maria Mazzola)之手，描绘了坐在高台上怀抱婴儿耶稣的圣母，以及簇拥在他们身旁的天使们。
This work by the 16th-century Italian painter, Girolamo Francesco Maria Mazzola, depicted the Virgin with the baby Jesus sitting on the high platform and the angels surrounded by them.
画作主题为常见的宗教主题“圣母子”，但却与通常的“圣母子”不太一样。画面中的圣母非常高贵优雅，但手指过于纤细，脖子过长，身形也是画面左侧天使的两倍大，婴儿耶稣的身形也比新生儿大了不少，在圣母的腿上似乎“摇摇欲坠”，因而这幅作品也被称为《长颈圣母》。前有达·芬奇、米开朗基罗、拉斐尔等大师对人体的精准描绘，因此帕尔米贾尼诺不会不懂人体构造，可见他为了自己的艺术目的，对现实进行了夸大、扭曲。
The theme of the painting was the typical religious theme “Virgin and Child”, but not exactly the same as the usual religious artworks. The Madonna in the picture was portrayed noble and elegant, but the fingers were too slender, the neck was too long, and the figure was twice the size of the angel on the left side of the picture. The baby Jesus was also much larger than the newborn. It appeared that Madonna’s legs were “shaken”, which was why it was called “The Madonna with the Long Neck”. Formerly da Vinci, Michelangelo, Raphael, and other artists accurately portrayed the human body, so Parmigianino should have understood the human body structure, and so his exaggerated reality drew a unique artistic style.
1520年文艺复兴达到鼎盛时期，但1527年发生了“罗马之劫”，意大利的政治、经济开始衰落，文艺复兴也走到了尽头。在动荡的环境下，以米开朗基罗为代表的艺术家们也不再满足于文艺复兴均衡、和谐的古典风格，倾向于在画作中加入更多的律动和情感，西方艺术的发展也由此向巴洛克风格发展。在文艺复兴末期和巴洛克初期中间的这段过渡时间内（1525–1580），画家们炫技、追求画面张力而抛弃和谐、理想美、对称比例的作品被称为“矫饰主义”或“风格主义”。
The Renaissance reached its peak in 1520, but the “Roman Tribulation” occurred in 1527, Italy’s politics and the economy began to decline, and the Renaissance came to an end. In this turbulent environment, artists represented by Michelangelo were no longer satisfied with the balanced and harmonious classic style of the Renaissance, and tend to add more rhythm and emotion to the paintings, signaling an early development towards Baroque style. During the transition period between the end of the Renaissance and the beginning of the Baroque (1525–1580), painters who dazzled their skills pursued the strained expression and abandoned the harmony, ideal beauty, and symmetrical proportions were called “mannerism” or “styleism”.
矫饰主义(Mannerism)一词源于瓦萨利对于文艺复兴三杰的褒义评价“grande maniera”，瓦萨利认为这些大家的作品已超越古希腊罗马时期的艺术研究，但后来这一词逐渐用于形容通过过度、夸大以产生戏剧化作品的潮流。在当时意大利混乱的局势下，矫饰主义成为一种鼓舞人心的艺术流派。
Mannerism was originated from Vasari’s praise for the three Renaissance masters, “grande maniera”. Vasari believed that the work of these people had surpassed the ancient Greek and Roman art research. Later the term was used to describe the trend of producing dramatic works through exaggeration. Under the chaotic situation in Italy at that time, mannerism became a widespread “postmodern” art school.
