1、AestheticsDetail of the background (right side)Leonardo used a pyramid design to place the woman simply and calmly in the space of the painting. Her folded hands form the front corner of the pyramid. Her breast, neck and face glow in the same light that models her hands. The light gives the variety
2、of living surfaces an underlying geometry of spheres and circles. Leonardo referred to a seemingly simple formula for seated female figure: the images of seated Madonna, which were widespread at the time. He effectively modified this formula in order to create the visual impression of distance betwe
3、en the sitter and the observer. The armrest of the chair functions as a dividing element between Mona Lisa and the viewer.The woman sits markedly upright with her arms folded, which is also a sign of her reserved posture. Only her gaze is fixed on the observer and seems to welcome him to this silent
4、 communication. Since the brightly lit face is practically framed with various much darker elements (hair, veil, shadows), the observers attraction to it is brought to even greater extent. The woman appears alive to an unusual measure, which Leonardo achieved by his new method not to draw the outlin
5、es, “mainly in two features: the corners of the mouth, and the corners of the eyes“ (Gombrich), as firmly as that had been the use, before (sfumato).27 There is no indication of an intimate dialogue between the woman and the observer as is the case in the Portrait of Baldassare Castiglione (Louvre)
6、painted by Raphael about ten years later, and undoubtedly influenced by the work.Detail of Lisas hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.28The painting was among the first portraits to depi
7、ct the sitter before an imaginary landscape and Leonardo was one of the first painters to use aerial perspective.29 The enigmatic woman is portrayed seated in what appears to be an open loggia 门廊 with dark pillar bases on either side. Behind her a vast landscape recedes to icy mountains. Winding pat
8、hs and a distant bridge give only the slightest indications of human presence. The sensuous curves of the womans hair and clothing are echoed in the undulating 波浪起伏的 imaginary valleys and rivers behind her. The blurred outlines, graceful figure, dramatic contrasts of light and dark, and overall feel
9、ing of calm are characteristic of Leonardos style. Owing to the expressive synthesis that Leonardo achieved between sitter and landscape it is arguable whether Mona Lisa should be considered as a traditional portrait, for it represents an ideal rather than a real woman. The sense of overall harmony
10、achieved in the paintingespecially apparent in the sitters faint smilereflects the idea of a link connecting humanity and nature.Mona Lisa has no clearly visible eyebrows or eyelashes. Some researchers claim that it was common at this time for genteel women to pluck these hairs, as they were conside
11、red unsightly.3031 In 2007, French engineer Pascal Cotte announced that his ultra high resolution scans of the painting provide evidence that Mona Lisa was originally painted with eyelashes and with better visible eyebrows, but that these had gradually disappeared over time, perhaps as a result of overcleaning.32 For modern viewers the nearly-missing eyebrows add to the slightly semi-abstract quality of the face.
