凡尔登·尼古拉斯全部影视作品
首发于 qinglite.cn，统计截止日：2025-01-03
 杀害亚伯 | - |
| 圣母靖国神社（细节。飞往埃及） | - |
| 所罗门三王神社 | The Shrine of the Magi is the largest, most artistically significant, and, in terms of its content, most ambitious reliquary of the Middle Ages. The relics were brought to Cologne from Milan in 1164. From about 1190 to 1220 a number of artisans worked on the shrine in the workshop of the goldsmith Nicholas of Verdun and in workshops in Cologne and along the river Meuse that continued his work. Ornamentation on the shrine includes gold- and silver-embossed, fire-gilded figures, filigree panels set with precious and semi-precious stones, intaglios, and cameos, and columns, arches and profiles trimmed with enamels. The images depicted on the shrine include scenes from the history of salvation from the dawning of time to the Last Judgment. Although the shrine was shortened by one axis after being hidden from French revolutionary troops in 1794, it was largely restored to its original shape during the most recent period of restoration, which lasted from 1961 to 1973. The intention in the Middle Ages was that the shrine would be placed in the crossing. Today, however, it rises above the medieval high altar at the back of the inner choir, making this area the main focus of the Gothic cathedral, which was built as a stone reliquary for this precious shrine. |
| 三圣王祠,大卫赛德 | The Shrine of the Magi is the largest, most artistically significant, and, in terms of its content, most ambitious reliquary of the Middle Ages. The relics were brought to Cologne from Milan in 1164. From about 1190 to 1220 a number of artisans worked on the shrine in the workshop of the goldsmith Nicholas of Verdun and in workshops in Cologne and along the river Meuse that continued his work. Ornamentation on the shrine includes gold- and silver-embossed, fire-gilded figures, filigree panels set with precious and semi-precious stones, intaglios, and cameos, and columns, arches and profiles trimmed with enamels. The images depicted on the shrine include scenes from the history of salvation from the dawning of time to the Last Judgment. Although the shrine was shortened by one axis after being hidden from French revolutionary troops in 1794, it was largely restored to its original shape during the most recent period of restoration, which lasted from 1961 to 1973. The intention in the Middle Ages was that the shrine would be placed in the crossing. Today, however, it rises above the medieval high altar at the back of the inner choir, making this area the main focus of the Gothic cathedral, which was built as a stone reliquary for this precious shrine. |
| 猎杀弗里兹并与狮子战斗 | The medallion frieze at the base of the removable trapezoidal panel was created around 1200. It is very difficult to pinpoint the Christian significance of the hunting and fighting scenes depicted in these medallions, unless they are seen as battles between good and evil. Most of the scenes, including the one featuring a man wrestling with a lion, are modelled on profane art from the Roman period or on Byzantine Art. It is likely that this scene was modelled on the popular motif of Hercules wrestling with the lion. That being said, the biblical hero Samson overcoming a lion was a popular and frequently depicted scene in the Middle Ages. If the man on the Shrine of the Magi is indeed Samson, this scene signifies Christ’s victory over the devil or humankind’s victory over evil. |
| 耶稣基督之前酋长的头，第二分。 | To the left of the centre arch on the front of the shrine is a cameo portrait of an unknown ruler in profile. It is set exactly between the enthroned Virgin Mother and the three Magi. It is possible that this cameo belonged to King Otto IV, who donated gold and precious stones for the front of the shrine sometime around the year 1200. For this reason, it is very likely that this cameo is intended not only as ornamentation, but also as an emphasis of the importance of the relics of the Magi to the theology of rulers in the Middle Ages. |
| 崇拜贤士 | The reliefs depicting the Adoration of the Magi on the front of the shrine date from around 1200. They are a continuation of the cycle of reliefs depicting scenes from the life of Christ, which used to decorate the roof surfaces on the sides of the shrine, but are now lost. This scene is the only one on the shrine that hints at the relics contained inside. The Virgin Mary and the Christ Child sit enthroned beneath an arcade; from the left, the three Magi approach with their gifts. The oldest of the three is in the process of kneeling down in adoration. The style of this relief differs from those depicting the prophets on the sides of the shrine, which date from around 1190 and can be attributed to the goldsmith Nicholas of Verdun. It is likely that the Adoration of the Magi was made in a different workshop. |
| 金星宝石，在基督之前的1世纪 | Two large ancient gems have been set on the left- and right-hand sides of the trapezoidal panel in the centre of the shrine. They used to flank the Ptolemy Cameo, which was stolen in 1574 and is now in Vienna. The intaglio depicting Venus and Mars on the left-hand side may seem somewhat out of place on a Christian shrine until one considers that such precious gems were set in reliquaries because of their value. The scene or person depicted in these gems was either of little importance or was re-interpreted to fit Christian beliefs. Such ancient works of art often served as a template for medieval artists. The design of the robes worn by the Magi on the front of the shrine were modelled on the garments worn by Venus in this intaglio. |
| 克洛斯特新堡坛-所有的面板 | Nicholas of Verdun's best known work is the altar (1181) for the Abbey Church of Klosterneuburg, near Vienna, Austria. This began as an enamelled pulpit frontal, which was damaged in 1320 and then reconstructed into its present triptych altarpiece form. A complex work of Biblical art, featuring 45 enamelled copper plaques decorated with scenes from the Old and New Testaments, it exemplifies his mastery of champlevé enamelling, a technique in which compartments hollowed out of a metal base are filled with coloured vitreous enamel. Similar to the Shrine of the Three Kings at Cologne Cathedral, figures appearing in the scenes have individualized faces and intricately articulated drapery, indicating the influence of Classical Antiquity - that is, Greek sculpture. This classical influence heralds the decline of the (Roman-based) Romanesque style and the advent of (Greek influenced) Gothic art. |
| 在基督之前的宝石与舞者，第一分。 | The cameo of a dancer in billowing robes is situated right at the centre of the front of the shrine just above the removable trapezoidal central panel. The billowing robes and the plastic shape of the body are similar to those of the prophets depicted on the sides of the shrine, which were created by Nicholas of Verdun. It is known that the goldsmiths in Nicholas of Verdun’s workshop learned from ancient works, so it is possible that this cameo was used as a template for the body shape and robe design of other figures on the shrine. |
| 带统治者头像的宝石，1分. 跟随基督 | Portraits of ancient rulers were popular collectors’ items in the Middle Ages. They were often set in splendid golden works of art and frequently re-interpreted in accordance with Christian beliefs. This is certainly true of the Cross of Lothar in Aachen, an outstanding work of Ottonian gold craftsmanship created around the year 1000, which features a large cameo portrait of Caesar Augustus at its centre. The cameo portrait in the Shrine of the Magi in Cologne was also set in a prominent position, namely to the left of the image of the Last Judgement in the upper section. |
| 带有主教的牌匾 | This plaque—the finest example of medieval enameling in the Art Institute’s collection—most likely formed the right half of an arch on a reliquary shrine. The bishop represented here holds a model of a church that he has had constructed in his covered right hand, symbolizing the sacred nature of this gift to God. Due to its refined style, scholars have drawn comparisons between this plaque and those of the famous Klosterneuburg retable, which was produced by the artist Nicholas of Verdun in 1181. It has also been suggested that this plaque depicts Archbishop Bruno of Cologne (921–965) holding a model of the Church of Saint Pantaleon in that city. At the very least, it is a remarkable example of the virtuosity of goldsmiths working for wealthy ecclesiastical foundations in the valleys of the Rhine and Meuse rivers during this era. |
| 狩猎之旅，骑士之战 | The medallions in the frieze on the removable trapezoidal panel dates from around 1200 and features a number of fighting scenes such as the one of two horsemen fighting. Here the artist masterfully depicts one horse moving towards and another jumping away from the beholder. The goldsmith would have seen such naturalistic animal images either in ancient or tenth-century Byzantine works of art. In the case of the horse facing the beholder, the goldsmith achieves a perfect balance between the suggestion of space and surface composition, thereby demonstrating that he was one of the leading artists of the day. |
| 参孙和狮子 | - |
| 尼禄浮雕，公元1世纪 | A cameo portrait of Nero is set in the right-hand side of the removable trapezoidal panel on the front of the shrine. It is the same shape and size as the Venus intaglio. Together with the Ptolemy Cameo, which was stolen in 1574, these three major ancient gems constituted a major focus of attention on the front of the shrine. It is possible that they were a reference to the skulls of the three Magi that were visible when the trapezoidal panel was removed. The theme of Agrippina’s coronation of Nero (she can be seen holding a laurel wreath over his head) may have been re-interpreted in the context of the medieval interpretation that biblical kings were the predecessors of German rulers. |
| 三王与奥托国王四世 | Four figures stand beneath the trefoil arch that frames the Adoration of the Magi. The figure on the left is King Otto IV, who donated the gold and precious stones for the front of the shrine sometime around the year 1200. Although he is not wearing a crown, Otto stands confidently alongside the Magi, the biblical kings who were not only the first Christian rulers, but also the model for all medieval kings. This was intended to underline the legitimacy of Otto IV’s disputed reign (he and Philip of Swabia were rivals to the throne). At the same time, it shows that like the French kings with the Crown of Thorns, the German kings considered the relics of the Magi to be state relics. |
| 三王靖国神社，正面 | The front end of the shrine, the only one to be fashioned out of pure gold, was donated by King Otto IV around the year 1200. It features the largest and most precious of the antique intaglios and cameos. The trapezoidal panel between the upper and the lower sections of the shrine can be removed to reveal a grille through which the skulls of the Magi can be seen. This structure allowed the relics to be shown to pilgrims. Tongs were also used to touch the relics with small pieces of paper or material, on which prayers were written and which were often decorated with an image of the Magi. These third-class relics would then be given to the pilgrims as proof that they had made the pilgrimage to Cologne. |
| 西奈山上的摩西 | - |
| 带有美杜莎头像的浮雕宝石，1分. 跟随基督 | An ancient cameo of Medusa was set in the left-hand side of the removable trapezoidal panel on the front of the shrine sometime around 1200. In Greek mythology, anyone who looked at the head of Medusa would turn to stone. Such legends were well known in the Middle Ages. The cameo of Medusa was attached to the front end of the shrine for the same reason that images of demons were often depicted on the west end of medieval churches to symbolise that evil had been vanquished by the Christian Church and could not, therefore, access the church building. |
| 三圣王的圣殿背面 | The Shrine of the Magi is the largest, most artistically significant, and, in terms of its content, most ambitious reliquary of the Middle Ages. The relics were brought to Cologne from Milan in 1164. From about 1190 to 1220 a number of artisans worked on the shrine in the workshop of the goldsmith Nicholas of Verdun and in workshops in Cologne and along the river Meuse that continued his work. Ornamentation on the shrine includes gold- and silver-embossed, fire-gilded figures, filigree panels set with precious and semi-precious stones, intaglios, and cameos, and columns, arches and profiles trimmed with enamels. The images depicted on the shrine include scenes from the history of salvation from the dawning of time to the Last Judgment. Although the shrine was shortened by one axis after being hidden from French revolutionary troops in 1794, it was largely restored to its original shape during the most recent period of restoration, which lasted from 1961 to 1973. The intention in the Middle Ages was that the shrine would be placed in the crossing. Today, however, it rises above the medieval high altar at the back of the inner choir, making this area the main focus of the Gothic cathedral, which was built as a stone reliquary for this precious shrine. |
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