The function of affectivity has generally focused on post-Council of Trent paintings, where artists sought a new visual language to address the imperative function of sacred images in the face of Protestant criticism and iconoclasm, either guided by the Council’s decree on images, post-Tridentine treatises on sacred art, or by the Counter-Reformation climate of late Cinquecento and early Seicento Italy. This essay redirects the origins of the transformation of the function of chiaroscuro from objective to subjective, from corporeal to spiritual, and from rational to affective to a much earlier period in late Quattrocento and early Cinquecento Milan with Leonardo da Vinci. By tracing the transformation of chiaroscuro as a vehicle of affect beginning with Leonardo’s Virgin of the Rocks, it will become evident that chiaroscuro became a device used to focalize the viewers’ experience dramatically and to move viewers visually and mystically toward unification with God under the influence of the Franciscans.

中文翻译：

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从达·芬奇到卡拉瓦乔：情感的黑暗、方济各会的经验及其伦巴第起源

情感的功能通常集中在后特伦特议会的绘画上，艺术家们寻求一种新的视觉语言来解决神圣图像在面对新教批评和反传统时的必要功能，无论是在议会关于图像的法令的指导下，还是在后特伦特议会的绘画中。特里登丁关于神圣艺术的论文，或者是意大利五世纪晚期和七世纪早期的反宗教改革气氛。本文将明暗对比功能从客观到主观、从物质到精神、从理性到情感的转变的起源重新定位到达芬奇在米兰十四世纪晚期和五世纪早期的更早时期。从列奥纳多的《岩间圣母》开始，追溯明暗对比作为情感载体的转变，就会发现，明暗对比已成为一种用于戏剧性地集中观众体验的装置，并在视觉和神秘上推动观众在影响下与上帝统一。方济各会的。