代写assignment:艺术作品《飞翔的水银》的历史概述
“墨丘利”的脚上长着翅膀，头上戴着旅行家的帽子，从他的脚下可以看到他的脸，就像从基路伯身上吹出的空气一样，使他的脸看起来高得惊人。很久以前，这张脸就被认为是风之神的代表。这座雕像大约有六英尺高，代表的是古代罗马众神的信使墨丘利。在希腊神话中，他也被称为赫尔墨斯。墨丘利也被认为是外交、艺术、商业、口才和学识的赞助人。他手里拿着的魔杖也被称为卡迪修斯杖，象征着和平。在一篇署名为Hyginus(公元一世纪的一位拉丁作家)的文章中，墨丘利在两条蛇之间展开了一场打斗，结果冲突结束了。另一个关于汞元素的观点是，它被加热后变成蒸汽的方式。这可以看作是雕刻家对熔融金属的暗示，熔融金属在新的创作中通过铸造的过程被呼出并转化。墨丘利正用食指把古罗马诸神描绘成安慰、和平与真理的源泉。
墨丘利是俄罗斯唯一已知的有文化价值的人工制品，在战争期间被转移到奥地利(列支敦士登8号)。这件艺术品以其精细的运动和动作感而闻名，随后是一个高度分化和精致的表面处理。手指朝上是借用古典修辞学中保留的一种姿态。这是吉安博洛尼亚马涅拉的关键属性。
雕塑往往表现的是一个身材优美的年轻人的大小，在他最终起飞时发展起来，描绘了一个令人发呆的浪潮，超人和活泼的行动开始于吹，结束时优雅地移动他的食指。手指向上，这是唯一的地方神圣的保护和真正的智慧(斯科尔斯滕778)。吉安博洛尼亚对维纳斯的几幅描绘发展出了一套共同的经典，同时为女神的代表树立了模型，直到北欧和意大利的两代雕塑受到了影响。
这件艺术作品创造了寓言，其主要目的是促进医学政治宣传。图中墨丘利的脚后跟上戴着一顶旅行帽，还长着翅膀。这个姿势描绘了从他优雅地把脚放在上面的脸上吹来的空气的高度。在很长一段时间里，这张脸被认为是风之神的代表。
对于艺术家来说，与雕塑相比，展示绘画至高无上的地位是最紧迫的(Hecht126)。事实上，可以这样说，绘画似乎是一种普遍的真理，它具有尽可能完美地再现不同形式的自然的关键能力。在一系列雄辩的论述中，他将雕塑与绘画的比较扩展到音乐与诗歌的领域，认为绘画是所有艺术形式中最优越、最高贵的艺术形式之一。所有这些方法在雕塑中使用的都是包罗万象和前所未有的。
代写assignment :艺术作品《飞翔的水银》的历史概述
Endowed with wings on his heels, and hat of a traveler, “Mercury” has been shown as elevating air blown out of the cherub as his face can be seen underneath his foot. Since long, this face was known to be representing a wind god. The sculpture, with an approximate height of six feet, is representing Mercury, a messenger for the ancient gods of Rome. In the mythology of Greece, he is also referred to as Hermes. Mercury was also known as the patron of diplomacy, arts, commerce, eloquence and learning. The wand he is carrying is also referred to as a caduceus, identified as symbolizing peace. Within a text in attribution with Hyginus (a Latin author from first century), Mercury has been extending the wand between two snakes in a fight and as a result the conflict came to an end. An additional idea in relation with the element mercury is referred to as the way in which it ends up becoming vaporous on being heated. This might be seen as the allusion of sculptor to molten metal, which is exhaled and transmuted by the process of casting in a new creation. Mercury is pointing his index finger to depict ancient Roman gods as the source of comfort, peace and truth.
Mercury had been the only known cultural valuable artefact of Russia, in displacement through the war that remained in Austria (Lichtenstein 8). This piece of art is well known for its fineness in the sense of movement and action, followed by being a well- differentiated and refined surface finish. The finger pointed upwards is a gesture that one borrows out the repertory aspect in classical rhetoric. This is the key attribute for the maniera of Giambologna.
The sculpture tends to be showing a figure being the size of a sleek youth, developed as he ended up taking flight, depicting a stupefying surge, superhuman and lively action commenced out of the blowing, finished off to elegantly move his index finger. The finger is pointed upwards that is the only place of divine protection and true wisdom (Scholten 778). Several depictions of Venus by Giambologna developed a canon of shares, while setting models for the representation of goddess that influenced until two generations of sculptures from Northern Europe and Italy.
This piece of art resulted in creating allegories with the key purpose to promote Medicean propaganda of Politics. Mercury has been shown with a traveller’ hat and wings on his heels. The posture depicts elevation of air blown from the face on which he has elegantly placed his foot. For a long period of time, this face was known to be representing a wind god.
For the artist, demonstration of supremacy to paint in comparison with sculpture had been the biggest urgency (Hecht126). As a matter of fact, it can be stated that painting seemed to be a universal truth with key capability to recreate different forms of nature as perfectly as possible. In a number of eloquent arguments, he can be seen extending the comparison of sculpture and painting within the realms of music and poetry for arguing that painting is among the most superior and noble one out of all the other forms of art. All of these approaches used in the sculpture are all- encompassing and unprecedented.
