Doge, 威尼斯的统领
威尼斯、热亚那、米兰、弗罗伦萨四大商都是中学课本上的四个地理名词,及至亲
历以后还是四个地理上的名词。弗罗伦萨要感性一点,有文艺复兴的一帮,有但丁
还有马基雅维里。热亚那就只有哥伦布了,米兰有斯卡拉,威尼斯有萨剧威尼斯商
人,写的犹太商,有马可*波罗,不知真伪?有一回去参观威尼斯历史画展,才觉
得威尼斯曾经地中海上的霸主地位,先与东罗马(拜占庭)帝国有承系。君士坦丁
堡易位后,与伊斯兰世界一直联系紧密。毕竟是经商,货源流通,不能没有广大关
系网,当然还有第一流的海军。
The Republic of Venice (shown in orange), its possessions and other surrounding
states in the 15th/16th century.
前不久读了一本伽利略的书,伽利略举止多在威尼斯。记得看威尼斯的电影,历史
片中总有一个叫Doge的名词,中文一般译“统领”。统领的由来很不容易,黄仁宇
的书中说:
“统领之选择以秘密投票方式由41个选举人决定之。但是这41个选举人自身却经过
一个极为复杂而又琐碎的办法产生。自1268年之后,首先在扩大会议有资格的会员
内抽签而产生30人,次在此30人内抽答淘汰而为9人,此9人即开始选举40人此40
人又不是选举人,再用抽签的方法淘汰为12人,此12人又先举25人。再用抽签的方
法淘汰至9人,此9人再选举45人。此45人经过第三次抽签淘汰为11人,这11人才
选举出来上述的41个统领选举人。全部程序一共抽签5次,投名投票4次,有如“三
跪九叩首”,还只产生了41个选举人。”
这个中神秘性跟易经中拨弄蓍草棒--灵蓍出卦有一拚。
统领虽为终身制,但被弹劾的事情常有。威尼斯作为共和国,意愿共同体,相当商
业化。但是统领与同期的国王比就惨一些,拜伦在威尼斯呆了不少时间,写过两部
关于统领的诗剧,都谱成了歌剧。一部是I due Foscari,两个Foscari,统领父子,
是写儿子冤枉遭流放而作为统领的父亲无能为力的。威尔弟作曲。
http://en.wikipedia.org/wiki/I_due_Foscari
最感慨终曲父子同亡,母女共泣的场景。
另一部是统领华立罗(Marino Faliero),拜伦费时经年考据历史,为他申诉并写成
五幕剧。亦由贝里尼作曲,贝里尼是意大利的莫扎特,写有名剧《诺尔玛》
http://en.wikipedia.org/wiki/Marino_Faliero_(opera)
领统华立罗召唤下层民众,尤以兵工厂员工,欲行叛乱被判死刑。拜伦说:“统领
华立罗的阴谋,是现代历史中一个最奇特的政府、城市和人民的年鉴中最得注意的
事件之一。接着他又说:凡事涉及威尼斯就是不平凡。她的容貌像一个梦,她的历
史像一段传奇。”
为统领诉情,也许不够人民大众,但这里是大众。虽是针对贵族情绪,也还是贵族
情绪。也许是发现历史中的戏剧性,这浪漫主义者最热衷于发现并开拓。威尼斯是
共和国,当然统领要多受些委屈,这为以后虚君引为历史之鉴。
威尼斯统领最先由拜占庭帝国任命,从11世纪以来都由本地人士选举产生。自西元
726年至威尼斯1797年亡,全部统领119人。这统领的职务是世界上依选举制而产
生的最久者。
统领中,威尼斯初期中大家巨阀力量显著。811年至942年间,Participazio家7任,
887至979年中Candiano家5任。1096-1172年间有62年内统领不出Michiel及其
女婿。以后遗传力仍是雄厚,如Caontarini有统领8人,Morosini家四人,丹多罗家
也有4人。同一家的统领,不集中于一段紧凑的时间内,表示威尼斯这些有声望的家
庭始终在岛上保持他们的门第,只是最高力不为一家垄断而已。
http://en.wikipedia.org/wiki/Republic_of_Venice
- posted on 09/09/2010
Attributed to Lorenzo Bastiani (Italian, 1449–1512)
Portrait of Doge Francesco Foscari, Venice, ca. 1457–1460 or mid to late 1470s
Tempera on panel; 20 1/2 x 16 1/8 in. (52 x 41 cm)
Museo Civico Correr, Venice
我说的历史画展Venice and the Islamic World, 828–1797
March 27, 2007–July 8, 2007
http://www.metmuseum.org/special/se_event.asp?OccurrenceId={2F178712-5011-4C93-8BE1-05845F1C62E6}
This exhibition examines the relationship between Venice and the Islamic world over a thousand-year period, focusing on artistic and cultural ideas that originated in the Near East and were channeled, absorbed, and elaborated in Venice, a city that represented a commercial, political, and diplomatic magnet on the shores of the Mediterranean. The underlying theme of the exhibition focuses on the reasons why a large number of Venetian paintings, drawings, printed books, and especially decorative artworks were influenced by and drew inspiration from the Islamic world and from its art. "Orientalism" in Venice was based on direct contact with the Islamic world, which brought about new technological, artistic, and intellectual information. These Venetian objects are studied vis-à-vis works of Islamic art, providing an immediate, comparative visual reference. A continuous thread throughout the exhibition deals with the works of Islamic art that entered Venetian collections in historical times and explores the nature of the artistic relationship between Venice and the Mamluks in Egypt, the Ottomans in Turkey, and the Safavids in Iran.
The Reception of the Venetian Ambassadors in Damascus, Venice, 1511
Gentile Bellini (Italian, 1429?–1507)
Portrait of Sultan Mehmet II, Istanbul, dated November 25, 1480
Oil on canvas; 25 5/8 x 20 1/2 in. (65 x 52 cm)
The National Gallery, London, Layard Bequest, 1916
Lorenzo Lotto (Italian, ca. 1480–1556)
Giovanni della Volta with His Wife and Children, Venice, 1547
Oil on canvas; 41 1/8 x 54 1/2 in. (140.5 x 138.5 cm)
Signed: L. Lotto
The National Gallery, London, Bequeathed by Miss Sarry Solly, 1879
for more pictures, here:
http://www.metmuseum.org/special/Venice/Islamic_world_images.asp
thanks! - RE: Doge, 威尼斯的统领posted on 12/07/2017
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