拉斐尔作品《骑士的幻象》又名《西庇阿之梦》高清图片

作品简介

《骑士的幻象》(又名《西庇阿之梦》或《寓言》)是意大利文艺复兴艺术家拉斐尔于1503-1504年创作的一幅小型杨木板蛋彩画，现藏于伦敦国家美术馆。这幅17厘米见方的画作很可能与现存尚蒂伊城堡博物馆的同尺寸木板画《三美神》原为一对组画。

关于这幅画作的主题寓意存在多种解读：

一些艺术史学家认为，沉睡的骑士代表罗马将军西庇阿·埃米利安努斯(公元前185-前129年)。根据西塞罗的《西庇阿之梦》记载，这位将军曾在梦中面临选择：一边是"美德"(身后是陡峭崎岖的道路)，一边是"享乐"(身着宽松衣袍)。

"这位沉睡的兰斯洛特式骑士也让人联想到另一位古代英雄：罗马将军普布利乌斯·科尔内利乌斯·西庇阿·阿非利加努斯·埃米利安努斯。他在梦中遨游宇宙，并得知(至少根据西塞罗的说法)美德的奖赏是在天国群星间获得一席之地。"

不过，画中两位女性形象并非竞争关系。她们可能象征着骑士应具备的理想品质：手持的书本、宝剑和鲜花分别代表着学者、战士和情人的特质，这些正是一位完美骑士应当兼具的品格。

画作最可能的灵感来源是拉丁诗人西利乌斯·伊塔利库斯描写第二次布匿战争的史诗《布匿战记》中的某个段落。

该画作于1800年由威廉·杨·奥特利带到英国。

拉斐尔运用了丰富的颜料来描绘这一绚丽场景。根据ColourLex的颜料分析，画面中检测出了铅锡黄、群青、铜绿和赭石等颜料成分。

The Vision of a Knight, also called The Dream of Scipio or Allegory, is a small egg tempera painting on poplar by the Italian Renaissance artist Raphael, finished in 1503–1504. It is in the National Gallery in London. It probably formed a pair with the Three Graces panel, also 17 cm square, now in the Château de Chantilly museum.

There are a number of theories as to what the panel is intended to represent. Some art historians think the sleeping knight represents the Roman general Scipio Aemilianus (185–129 BC) who, according to Cicero's Somnium Scipionis, dreamed that he had to choose between Virtue (behind whom is a steep and rocky path) and Pleasure (in looser robes).

"This sleepy Lancelot also conjures up memories of another ancient hero: the Roman general Publius Cornelius Scipio Africanus Aemilianus, who toured the cosmos in a dream and learned (at least according to Cicero) that the reward of virtue is a place among the stars in heaven."

However, the two feminine figures are not presented as contestants. They may represent the ideal attributes of the knight: the book, sword, and flower that they hold suggest the ideals of scholar, soldier and lover which a knight should combine.

The most likely source for the allegory depicted is from a passage in the Punica, an epic poem recounting the Second Punic War by the Latin poet Silius Italicus.

The panel was moved to England by William Young Ottley in 1800.

Raphael used an extensive palette of paints to depict this colourful scene. Pigments such as lead-tin yellow, ultramarine, verdigris and ochres have been identified in an pigment analysis at ColourLex.