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1036081763.Pdf Сикстинск а я К апел л а Издательство «Музеи Ватикана» Publishing House “Edizioni Musei Vaticani” Издательский совет Editorial direction Антонио Паолуччи, Арнольд Нессельрат, Паоло Николини Antonio Paolucci, Arnold Nesselrath, Paolo Nicolini Тексты Антонио Паолуччи, Розанна Ди Пинто Text Antonio Paolucci, Rosanna Di Pinto Текст Антонио Паолуччи (из издания Рим, Музеи Ватикана, в 2-х томах, The text by Antonio Paolucci is taken from “Roma, Musei Vaticani”, 2 2010) предоставлен с любезного согласия Института итальянской volumes, 2010. Courtesy of Istituto della Enciclopedia Italiana Treccani, Rome. энциклопедии Треккани, Рим. Editorial coordination Federico Di Cesare Куратор проекта Федерико Ди Чезаре Editorial staff Cristina D’Andrea Редакция Кристина Д’Андреа with the cooperation of Valerio Brienza, Carla Cecilia в сотрудничестве с Валерио Бриенца, Карлой Чечилиа Photo shooting by Scripta Maneant – Carlo Vannini, Ghigo Roli. Production Фотосъемка выполнена издательством Scripta Maneant — Карло Ваннини, manager: Gianni Grandi. All photographs are property of Governatorato dello Гиго Роли. Ответственный за производство: Джанни Гранди. Все S.C.V. – Direzione dei Musei and protected by copyright (Foto: © Governatorato фотографии находятся в собственности Губернаторства Государства-города dello S.C.V. – Direzione dei Musei. All rights reserved). Ватикан, Дирекции Музеев Ватикана и охраняются авторским правом Images and Rights Office: Rosanna Di Pinto, Filippo Petrignani (фото: © Governatorato dello S.C.V. — Direzione dei Musei. Все права защищены). Отдел изображений и прав Розанна Ди Пинто, Филиппо Петриньяни Издательство Scripta Maneant Publishing House “Scripta Maneant” Раффаэле Мартена Президент President Raffaele Martena Джорджо Армароли Управляющий директор Managing director Giorgio Armaroli Федерико Феррари Главный редактор Editorial director Federico Ferrari Джанни Гранди Координация фотосъемки и поддержка производства Photographic shoot coordination and production support Gianni Grandi Алессиа Росси, Джанни Гранди Верстка Layout Alessia Rossi, Gianni Grandi Global Voices, Милан Перевод на английский язык English translation by Global Voices, Milano Издательство «Слово/Slovo» Publishing House Слово/Slovo Григорий Ерицян Генеральный директор CEO Grigori Eritsian Наталия Аветисян Главный редактор Editor-in-Chief Natalia Avetisian Мария Сокологорская Редактор Editor Maria Sokologorskaya Константин Журавлев Внешнее оформление: Cover: Konstantin Zhuravlev Наталья Горяченкова Верстка: Layout: Natalja Gorjachenkova Игорь Макаров Перевод на русский язык Russian translation by Igor Makarov Global Voices, Милан Перевод на английский язык English translation by Global Voices, Milan стр. 2 [масштаб 1:1] Сандро Боттичелли, Сцены из жизни Моисея. Южная стена, фрагмент. Sandro Botticelli, Stories from the life of Moses. South wall, detail. стр. 6–7 Вид Сикстинской капеллы от стены со входом. View of the Sistine Chapel from the entrance wall. Text, Russian translation стр. 8–9 Вид Сикстинской капеллы от западной стены с фреской Страшный суд. © Слово / Slovo 2017 View of the Sistine Chapel from the west wall with the Last Judgement. стр. 10 [масштаб 1:1] Гирландайо, Призвание первых апостолов. Северная стена, фрагмент. Ghirlandaio, Vocation of the first Apostles. North wall, detail. стр. 12 [масштаб 1:1] Лука Синьорелли, Бартоломео делла Гатта, Сандро Боттичелли, Завещание и смерть Моисея. Южная стена, фрагмент. Luca Signorelli, Bartolomeo della Gatta, Sandro Botticelli, Testament of Moses. South wall, detail. © Edizioni Musei Vaticani 2016 стр. 15 [масштаб 1:1] Città del Vaticano Бьяджо д’Антонио, Переход через Красное море. Южная стена, фрагмент. www.museivaticani.va Biagio d'Antonio, Crossing of the Red Sea. South wall, detail. стр. 16 [масштаб 1:1] Сандро Боттичелли, Искушения Христа. Северная стена, фрагмент. Sandro Botticelli, Temptations of Christ. North wall. detail. стр. 18 [масштаб 1:1] Лука Синьорелли, Бартоломео делла Гатта, Сандро Боттичелли, Завещание и смерть Моисея. Южная стена, фрагмент. © Scripta Maneant 2016 Luca Signorelli, Bartolomeo della Gatta, Sandro Botticelli, Testament of Moses. South wall, detail. стр. 20 [масштаб 1:1] Козимо Росселли, Тайная вечеря. Северная стена, фрагмент. ISBN 978-5-387-01272-3 Cosimo Rosselli, Last Supper. North wall, detail. ISBN 978-5-387-01273-0 (т. 1) стр. 22–23 [масштаб 1:1] Пьетро Перуджино, Вручение ключей апостолу Петру. Северная стена, фрагмент. Все права защищены. Перевод, хранение на цифровом носителе, воспроизведение и полное Pietro Perugino, Consignment of the Keys to St Peter. North wall, detail. либо частичное адаптирование (включая микрофильмирование и фотокопирование) запрещены во всех странах. стр. 266–267 [масштаб 1:1] Пьетро Перуджино, Крещение Христа. Северная стена, фрагмент. All rights reserved. Translation, electronic memorisation, reproduction, full or partial adaptation by any means (including microfilm and photocopying) is strictly prohibited in all countries. Pietro Perugino, Baptism of Christ. North wall, detail. Фрески эпохи кватроченто The Frescoes of the 15th century 6 7 7 8 9 9 10 11 о Микеланджело в росписях Сикстинской капеллы принима- efore Michelangelo, the Sistine Chapel was able to rely upon great masters ли участие великие мастера, творения которых навсегда вошли whose works would remain indelibly etched in the history of art of all Д в историю мирового искусства. Осенью 1481 г. папа Сикст IV че- Btime. In the autumn of 1481 Pope Sixtus IV, through the architect from рез флорентийского архитектора Джованни де Дольчи, который, соглас- Florence, Giovannino de’ Dolci, who, according to Vasari, renovated the building но Вазари, перестроил здание по проекту флорентийца Баччо Понтелли, as part of the project of Baccio Pontelli from Florence, gave the mandate to the поручил художникам Козимо Росселли, Боттичелли, Гирландайо и Пье- painters Cosimo Rosselli, Botticelli, Ghirlandaio and Pietro Perugino to paint, тро Перуджино расписать — совместно с художниками из их мастер- with their workshops, the stories of the Old and New Testament on the walls ских — стены Большой капеллы (Cappella Magna)* фресками на сюжеты of the “Cappella Magna”; the task would also be extended to Luca Signorelli the из Нового и Ветхого Завета; судя по всему, на следующий год к участию following year. Moreover, ancient sources had already suggested the presence of в работах был привлечен также и Лука Синьорелли. Кроме того, старин- other masters, linked to the workshops of the appointed protagonists: Filippino ные источники позволяют предположить, что к проекту подключились Lippi, Bartolomeo della Gatta, Andrea d’Assisi, Rocco Zoppo and Piero di другие художники, связанные с мастерскими упомянутых выше живопис- Cosimo, Pinturicchio, Pastura, up to commonly identifying the significant цев: Филиппино Липпи, Бартоломео делла Гатта, Андреа д’Ассизи, Рокко contribution made by Biagio d’Antonio. Дзоппо и Пьеро ди Козимо, Пинтуриккьо, Пастура, а также Бьяджо д’Ан- тонио, чей вклад следует признать немаловажным. Today, through the new photo campaign which enabled the publication Благодаря новой цифровой фотосъемке, выполненной в 2016 г., кото- of these three volumes, the biblical cycles represented on the walls of the рая позволяет передавать оригинальное изображение практически один Sistine Chapel can be seen at the very same distance the artists saw them к одному, мы имеем возможность любоваться библейскими росписями, during their creation. The size of these pages, and the accuracy of the colour украшающими стены Сикстинской капеллы, с того расстояния, с какого reproduction also allow us to appreciate every narrative undertone: the они открывались взору художников в процессе их создания. Размеры стра- Fifteenth century painters, having to portray numerous episodes of the lives ниц и точность передачи цвета позволяют нам также оценить все нюансы of Christ and Moses, concentrated more than one biblical episode within повествования: художники Кватроченто, которые должны были предста- the individual panes. We can now discover each and every detail thanks to вить множество эпизодов из жизни Христа и Моисея, умудрялись втиснуть the results achieved through new technologies that marked the photographic несколько библейских эпизодов в одну композицию. Новые технологии, campaign performed for this volume. использованные в процессе фотосъемки для настоящего издания, дают нам возможность рассмотреть фрески в мельчайших подробностях. In this way we are able to “enter” in the frescoes of the fifteenth-century В результате мы получаем возможность «войти» в росписи эпохи Ква- painters, capturing every aspect at a range that not even the same “physical” троченто и оценить каждую деталь с исключительно близкого расстояния, visit to the Sistine Chapel would allow. Leafing through these pages, we feel невозможного при простом осмотре капеллы. Листая эти страницы, мы ourselves contemporaries of those artists who “participated in” the Baptism of начинаем ощущать себя современниками художников, «присутствуя» при Christ, the Vocation of the First Apostles, the Delivery of the Keys and other крещении Христа, призвании первых апостолов, вручении ключей апо- emblematic moments of the stories of Christ and Moses. столу Петру и прочих важнейших эпизодах из жизни Христа и Моисея. Масштаб 1:1 позволяет нам погрузиться во всё многообразие пред- The 1:1 scale allows us to immerse ourselves in the numerous stories depict- ставленных сюжетов; к эмоциональному переживанию добавляется ощу- ed. We also occasionally come
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