洛可可的艺术
图片参考：/~/rococo_costume_s 在巴洛克乐期后，约在1720-1775年，曾经出现了十分特别而短暂的「洛可可」(Rococo) 风格，与其他的音乐风格同时流行。「洛可可」这个字出自法文的 "Rocaille"（雕石），指雕纹的石刻艺术品，但亦应用于音乐上。它发展于十八世纪前半期的法国，音乐特色是轻丛肆指快、刻意、装饰华丽 － 与巴洛克时期那夸张和庞大的性质成对比。这种风格先出现在法国的键盘音乐中，巴洛克晚期的作曲家如库普兰 (Couperin)、拉摩(Rameau)、泰里曼(Telemann)、多曼尼高．史卡拉第(Domenico Scarlatti) 都运用了这种手法。后来，这种风格传到德国，并形成了另一种新风格雹贺。 其实，由巴洛克晚期至古典乐期，音乐经历了不少的改变：以往旧有的曲式渐渐地被新渗配的段落式结构所取代；巴洛克时期最常用的对位法慢慢地被放弃；管弦乐团的乐器、编制、表达技巧、曲目等均有很大的发展。 图片参考：/~/piano_e 想知道多些有关洛可可风格，甚或由文艺复兴至十九世纪的的绘画、服饰等，可浏览以下网址： La Conturiere Parisreinne 图片参考：/~/coco..2 图片参考：/~/coco1 2006-10-30 13:54:20 补充： 下面那位，人家是要画，不是要文字！
The Rococo style of art emerged in France in the early 18th century as a continuation of the Baroque style. In contrast to the heavier themes and darker colors of the Baroque
the Rococo style was characterized by an opulence
grace
playfulness
and lightness. Rococo motifs focused on the carefree aristocratic life and on lighthearted romance rather than heroic battles or religious figures; they also revolve heavily around nature and exterior settings. In the mid-late 18th century
rococo was largely supplanted by the Neoclassic style. The word Rococo is apparently a bination of the French rocaille
or shell
and the Italian barocco
or Baroque style. Due to Rococo love of shell-like curves and focus on decorative arts
some critics used the term to derogatively imply that the style was frivolous or merely fashion; interestingly
when the term was first used in English in about 1836
it was a colloquiali *** meaning "old-fashioned". However
since the mid 19th century
the term has been accepted by art histori. While there is still some debate about the historical significance of the style to art in general
Rococo is now widely recognized as a major period in the development of European art. Rococo developed first in the decorative arts and interior design. Louis XV's succession brought a change in the court artists and general artistic fashion. By the end of the old king's reign
rich Baroque designs were giving way to lighter elements with more curves and natural patterns. These elements are evident in the architectural designs of Nicolas Pineau. During the Régence
court life moved away from Versailles and this artistic change became well established
first in the royal palace and then throughout French high society. The 1730s represented the height of Rococo development in France. The style had spread beyond architecture and furniture to painting and sculpture
exemplified by the works of Antoine Watteau and François Boucher. Rococo still maintained the Baroque taste for plex forms and intricate patterns. By this point
it had begun to integrate a variety of diverse characteristics
including a taste for Oriental designs and asymmetric positions. The Rococo style spread with French artists and engraved publications. It was readily received in the Catholic parts of Germany
Bohemia
and Austria
where it was merged with the lively German Baroque traditions. Particularly in the south
German Rococo was applied with enthusia *** to churches and palaces. Architects often draped their interiors in clouds of fluffy white stucco. In Italy
the late Baroque styles of Borromini and Guarini set the tone for Rococo in Turin
Venice
Naples and Sicily
while the arts in Tuscany and Rome remained more wedded to Baroque. The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-François Blondel began to voice their critici *** of the superficiality and degeneracy of the art. Blondel decried the "ridiculous jumble of shells
dragons
reeds
palm-trees and plants" in contemporary interiors[1]. By 1780
Rococo had passed out of fashion in France
replaced by the order and seriousness of Neoclassical artists like Jacques Louis David. It remained popular in the provinces and in Italy
until the second phase of neoclassici ***
"Empire style
" arrived with Napoleonic ernments and swept Rococo away. Though Rococo originated in the purely decorative arts
the style showed clearly in painting. These painters used delicate colors and curving forms
decorating their canvases with cherubs and myths of love. Portraiture was also popular among Rococo painters. en. *** /Rococo
简述巴洛克·洛可可·哥特·罗马·
古罗马建筑是古罗马人沿习亚持助迫临身平宁半岛上伊特鲁里亚人的建360问答筑技术，继承古希集跟临似按概液刻显倒腊建筑成就，在建筑位广席世顺形制、技术和艺术方笑氢负衡展业面广泛创新 的一种建筑跑当球混零队发在风格。古罗马建筑在公元一～免适指去值决磁三世纪为极盛时期，达到西方古代建筑的高峰。 古罗马建筑的类型很多。有罗马万神庙、维纳斯和罗马庙 ，以及巴尔贝克太阳神庙等宗教建筑，也有皇宫、剧场角斗场、浴场以及广场和巴西利卡(长方形会堂)等公共建筑。居住建筑有内庭式住宅、内庭式汽效钢衣属境弱尔与围柱式院相结合的住宅，还有四、五层公寓式住宅。 古罗马世俗建筑的形误鲁续制相当成熟，与功能结合得很好。例如，罗马帝国各地的大型剧场，观众席平面呈半圆形，逐排升起，以纵过道为主、横过道为辅。观众按票号从不同的入口、楼梯，到达各区座位。人流不交叉，聚散方便。舞台高起，前有乐池，后面是化妆楼，化妆楼的立面便是舞台的背景，两端向前凸出，形成台口的雏形，已与现代大型演出性建筑物的基本形制相似。 古罗马多层公寓常用标准单元。一些公寓底层设商店，楼上住户有阳台。这种形制同现代公寓也大体相似。从剧场、角斗场、浴场和公寓等形制来看，当时建筑设计这门技术科学已经相当画船厚眼米认发达。古罗马建筑师维特鲁威件验全理赶写的《建筑十书》就是这门科学的钢地愿易总结。古罗马建筑能满足各种复杂的功能要求，主要依靠水平很高的拱券结构，获得宽阔的内部空间。巴拉丁山上的弗莱维王草伟怀非据修自站日体象朝宫殿主厅的筒形拱，跨度达 29.3米。万神庙穹顶的直务常研江获径是43.3米。公元一容鸡速太世纪中叶，出观了十字拱病，它覆盖方形的建筑空间，把拱顶的重量集中到四角的墩子上，无需连续的承重墙，空间因此更为开敞。 把几个十字拱同筒形拱、穹窿组合起来，能低械略注导够覆盖复杂的内部空间。罗马帝国的皇家浴场就是这种组合的代表作。 古罗马城中心广场东边的君士坦丁巴西利卡 ，中央用三间十字拱，跨度25.3米，高40米，左右各有三个跨度为23.5米的筒形拱抵抗水平推力，结构水平很高。剧场和角斗场令重害皮着厚但内的庞大的观众席，也架在复杂的拱券体鸡脱谁帮映马布厂系上。 拱券结构得到推广，是因为使用了强度高、施工方便、价格便宜的火山灰混凝土。约在公元前二世纪，这种混凝土成为独立的建筑材料，到公元前一世纪，几乎完全代替石材，用于建筑拱券，也用于筑墙。混凝土表面常用一层方锥形石块或三角形砖保护，再抹一层灰或者贴一层大理石板；也有在混凝土墙体前再砌一道石墙做面层的作法。 古罗马建筑的木结构技术已有相当水平，能够区别桁架的拉杆和压杆。罗马城图拉真巴西利卡，木桁架的跨度达到25米。公元一世纪建造的罗马大角斗场，可容 五万观众，只用了5～6年时间就建成了。它建在一个填没的湖上，但地基竟没有明显的沉陷。 公元二世纪中叶建造的巴尔贝克太阳神庙，周围45根柱子，每根高19.6米，底径2米，都是用 整块花岗石加工而成的。在神庙后墙8米高处，砌有三块各约500吨的大石块，可见当时起重能力之大。 公共浴场一般都有集中供暖设施。从火房出来的热烟和热气流经各个大厅地板下、墙皮内和拱顶里的陶管，散发热量。据维特鲁威《建筑十书》记载，剧场的座位下埋有铜质的共鸣瓮，以改善音质。此外，至迟在公元1世纪中叶，已经在窗上安装几十厘米见方透明度很高的平板玻璃。除了在首都罗马城集中了古罗马建筑的最高成就以外，帝国各地都有水平很高、规模很大的各类建筑物。 古罗马建筑艺术成就很高，大型建筑物 的风格雄浑凝重，构图和谐统一，形式多样。罗马人开拓了新的建筑艺术领域，丰富了建筑艺术手法。 其中比较重要的是：新创了拱券覆盖下的内部空间，有庄严的万神庙的单一空间，有层次多、变化大的皇家浴场的序列式组合空间，还有巴西利卡的单向纵深空间。有些建筑物内部空间艺术处理的重要性超过了外部体形。 发展了古希腊柱式的构图，使之更有适应性。最有意义的是创造出柱式同拱券的组合，如券柱式和连续券，既作结构，又作装饰。帝国各地的凯旋门大多是券柱式构图。出现了由各种弧线组成的平面、采用拱券结构的集中式建筑物。公元2世纪上半叶建于罗马郊外的哈德良离宫，是成熟的实例。
拜占庭式建筑的特点是十字架横向与竖向长度差异较小，其交点上为一大型圆穹顶。穹顶在方形的平面上，建立覆盖穹顶，并把重量落在四个独立的支柱上，这对欧洲建筑发展是一大贡献。圣索菲亚大教堂是典型拜占庭式建筑。其堂基与罗马式建筑的一样，呈长方形，但是，中央部分房顶由一巨大圆形穹窿和前后各一个半圆形穹窿组合而成。
在建筑及室内装饰上，最早的成就表现在基督教堂上，最初也是沿袭巴西 利卡式的形制。但到5世纪时，他们创立了一种新的建筑形制，即集中式形制。这种形制的特点是把穹顶支撑在四个或更多的独立支柱上的结构形式，并以帆拱作为中介连接。同时可以使成组的圆顶集合在一起，形成广阔而有变化的新型空间形象。与古罗马的拱顶相比，这是一个巨大的进步。
