【旷世杰作的秘密】桑德罗·波提切利《春》9
http://t1.g.hjfile.cn/listen/201212/201212250918548436803.mp3The Primavera although its obviously secular painting, evokes certain conventions of a religious painting, or an altar piece so for example you have Venus in the centre, and around her is this natural arch formed by the foliage. And this would have been immediately reminiscent for a Florentine viewer for the kind of arch-topped images of the Virgin Mary.Venus the Goddess of Love is even allowed her own version of the Christ child – her own son Cupid, flying above. The Primavera, then, centres on images of Love – the Great Christian virtue, reinterpreted for a radical pagan painting. More challenging for Botticelli, technically and socially, would have been the depiction of the Three Graces, perhaps the first sensuous female figures in art for over 1,000 years – their wispy drapery reveals as much as it conceals.“春”虽然是一幅世俗作品，但却沿袭了宗教画或祭坛画的某些传统，比方说中央的维纳斯周遭有植物形成的自然拱形。佛罗伦斯人会立即联想到置身于拱形之下的圣母玛利亚。
爱神维纳斯拥有她专属的圣婴，也就是她的儿子，在上方展翅飞翔的丘比特。“春”体现了基督教的重要美的：爱。重新诠释后，成为一幅大胆的异教徒作品。美惠三女神的呈现对波提切利而言，在技术及社会体教上都是一大挑战，这可能是一千多年来首件的感官女体，她们身上轻薄的衣衫仅足蔽体。
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