骑士、死亡和魔鬼 - 美国大都会艺术博物馆展品查阅

品名（中）	骑士、死亡和魔鬼
品名（英）	Knight, Death, and the Devil
入馆年号	1943年，43.106.2
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Albrecht Dürer【1471 至 1528】【德国人】
创作年份	公元 1513
创作地区
分类	印刷品（Prints）
尺寸	页: 9 13/16 x 7 11/16 英寸 (25 x 19.6 厘米) Plate: 9 9/16 x 7 3/8 英寸 (24.3 x 18.8 厘米)
介绍（中）	丢勒的《骑士、死亡和魔鬼》是 1513-14 年的三幅大型版画之一，被称为他的 Meisterstiche（雕刻大师）。另外两个是忧郁症I和圣杰罗姆在他的书房。虽然不是严格意义上的三部曲，但这些版画是紧密相互关联和互补的，对应于中世纪经院哲学中的三种美德——神学、智力和道德。被丢勒、骑士、死亡和魔鬼简单地称为路透社（骑士），体现了道德美德的状态。这位艺术家对"基督教骑士"的描绘可能基于伊拉斯谟（Erasmus）于1504年出版的《基督教士兵的指示》（Enchiridion militis Christiani）中的一篇演讲："为了不让你因为美德之路看起来粗糙而沉闷而望而却步......因为你必须不断地与三个不公平的敌人——肉体、魔鬼和世界——作战，所以第三条规则将向你提出：所有那些像在阴间峡谷中一样降临到你身上的幽灵和幽灵都必须被视为徒劳，仿佛你在维吉尔的埃涅阿斯的例子之后......不要看你身后。丢勒的骑士坚定地骑着马穿过黑暗的北欧峡谷，骑着一匹苍白的马经过死神，死神举着沙漏提醒着生命的短暂，紧随其后的是一个猪鼻子的恶魔。作为道德美德的化身，骑手以丢勒在意大利熟悉的英雄马术肖像传统为蓝本，心无旁驭，忠于自己的使命。这幅版画令人难以忘怀地表达了活力或积极的生活，证明了丢勒的思想和技术在"大师版画"中完美融合的方式。
介绍（英）	Dürer's Knight, Death, and the Devil is one of three large prints of 1513–14 known as his Meisterstiche (master engravings). The other two are Melancholia I and Saint Jerome in His Study. Though not a trilogy in the strict sense, the prints are closely interrelated and complementary, corresponding to the three kinds of virtue in medieval scholasticism—theological, intellectual, and moral. Called simply the Reuter (Rider) by Dürer, Knight, Death, and the Devil embodies the state of moral virtue. The artist may have based his depiction of the "Christian Knight" on an address from Erasmus's Instructions for the Christian Soldier (Enchiridion militis Christiani), published in 1504: "In order that you may not be deterred from the path of virtue because it seems rough and dreary ... and because you must constantly fight three unfair enemies—the flesh, the devil, and the world—this third rule shall be proposed to you: all of those spooks and phantoms which come upon you as if you were in the very gorges of Hades must be deemed for naught after the example of Virgil's Aeneas ... Look not behind thee." Riding steadfastly through a dark Nordic gorge, Dürer's knight rides past Death on a Pale Horse, who holds out an hourglass as a reminder of life's brevity, and is followed closely behind by a pig-snouted Devil. As the embodiment of moral virtue, the rider—modeled on the tradition of heroic equestrian portraits with which Dürer was familiar from Italy—is undistracted and true to his mission. A haunting expression of the vita activa, or active life, the print is a testament to the way in which Dürer's thought and technique coalesced brilliantly in the "master engravings."