马萨乔壁画《德奥斐洛之子复活与圣彼得登位》图片

作品简介

马萨乔壁画作品《德奥斐洛之子复活与圣彼得登位》，佛罗伦萨布兰卡契小堂湿壁画组画核心场景(1426-1427)，马萨乔与马索利诺协作完成，1480年代由菲利皮诺·利皮补绘。

这段场景描绘了彼得在保罗斡旋下获释后施展的神迹。据《黄金传奇》记载，彼得出狱后被带至安条克总督德奥斐洛之子的墓前，当即复活了已死去十四年的青年。这一奇迹使德奥斐洛、全体安条克居民及众多民众皈依信仰，他们建造了宏伟的教堂，并在中央为彼得设立讲经座，使其布道时能被众人瞻仰。彼得在此座上讲经七年，后赴罗马任教宗二十五载。

马萨乔将场景设定于当代教堂，人物包括卡尔米内圣母大殿的加尔默罗会修士，以及内含自画像、马索利诺、阿尔伯蒂与布鲁内莱斯基肖像的会众群像。

瓦萨里在《马萨乔传》中提及菲利皮诺的补绘工作，但后世编年史家长期将小堂壁画全归于马萨乔名下。19世纪学界重新区分二者手笔，此观点现已成为学术共识。

研究者认为，菲利皮诺受命完成马萨乔未竟之作，或因原画描绘了美第奇政敌(如布兰卡契家族)而遭损毁后修复。布兰卡契家族被宣布为人民公敌遭流放后，确实遭受了类似"记忆抹杀"的惩罚。

瓦萨里曾辨识出菲利皮诺绘制的若干时人肖像：复活青年据传是画家格拉纳奇少时形象;"还有骑士索代里尼、历史学家圭恰迪尼之父、普列塞与诗人普尔奇"。现代研究通过肖像学分析，不仅证实了瓦萨里的判断，还发现更多政治隐喻：加尔默罗会修士实为卡斯蒂廖内枢机;德奥斐洛是维斯孔蒂公爵;其座下老者乃人文主义者萨卢塔蒂;最右侧四人依次为布鲁内莱斯基、阿尔伯蒂、马萨乔与马索利诺——这些形象很可能沿用了马萨乔原始底稿的构思，使壁画承载着深刻的宣言。

This scene illustrates the miracle that Peter performed after he was released from prison, thanks to Paul's intercession. According to the account in the Golden Legend, once out of prison, Peter was taken to the tomb of the son of Theophilus, Prefect of Antioch. Here St Peter immediately resurrected the young man who had been dead for fourteen years. As a result, Theophilus, the entire population of Antioch and many others were converted to the faith; they built a magnificent church and in the centre of the church a chair for Peter, so that he could sit during his sermons and be heard and seen by all. Peter sat in the chair for seven years; then he went to Rome and for twenty-five years sat on the papal throne, the cathedra, in Rome.

Masaccio sets the scene in a contemporary church, with contemporary ecclesiastical figures (actually the Carmelite friars from Santa Maria del Carmine) and a congregation that includes a self-portrait and portraits of Masolino, Leon Battista Alberti, Brunelleschi.

Vasari, in his Life of Masaccio, mentions the work of Filippino, but later chroniclers refer to all the frescoes in the chapel as by Masaccio. In the 19th century it was once again pointed out the work of Filippino, distinguishing it from that of Masaccio; and since then critics have been in almost total agreement with his theory.

Scholars have suggested that Filippino was commissioned to complete the work that Masaccio had left unfinished or to repair sections which been damaged or destroyed because they depicted characters that were enemies of the Medici, like the Brancacci. There is no doubt that the Brancacci family was subjected to something similar to a "damnatio memoriae" after they had been declared enemies of the people and exiled.

Vasari had already identified a number of contemporary figures in those painted by Filippino: the resurrected youth was supposedly a portrait of the painter Francesco Granacci, at that time hardly more than a boy; "and also the knight Messer Tommaso Soderini, Piero Guicciardini, the father of Messer Francesco who wrote the Histories, Piero del Pugliese and the poet Luigi Pulci."

Studies of the possible portraits and of the iconography of the fresco confirmed the identifications made by Vasari and suggests others, presumably already planned in Masaccio's original sinopia, indicating that the fresco was intended to convey a political message: the Carmelite monk is a portrait of Cardinal Branda Castiglione; Theophilus is Gian Galeazzo Visconti; the man sitting at Theophilus's feet is Coluccio Salutati. And the four men standing at the far right are, starting from the right, Brunelleschi, Leon Battista Alberti, Masaccio and Masolino.