在历史艺术语境中，Paragone是一个意大利词，指的是16世纪意大利艺术理论建立过程中的几次理论讨论。这些包括对威尼斯和意大利中心绘画学院的不同美学属性的比较，以及文学或绘画是否是更有描述性和说服力的来源(梅里曼160)。然而，更多的时候，Paragone可以指文艺复兴时期雕塑和绘画的相对优势之间的争论。雕塑是一种汗水、泥土和噪音的艺术。雕塑是由产品构成的，而不是由思想构成的绘画。它被认为是视觉艺术的一个活跃途径，一个思考生命的选择(Scholten 779)。“典范”的建立源于竞争和竞争的基本主题，这有助于为文艺复兴时期的艺术，尤其是意大利的艺术，赋予历史色彩。
文艺复兴时期的艺术家不仅受到赞赏，而且最终发现自己与古代艺术家如吉安博洛尼亚和萨沃尔多竞争。本文选取了这两位艺术家，他们的作品分别是Giambologna的“Flying Mercury”雕塑和Savoldo的“Mary Magdalene”绘画。本文将对这两件艺术作品进行简要的历史回顾，在探讨雕塑与绘画的关系的同时，着重于二者的典范，并涉及几个观点的问题。
在所有其他艺术形式中，具有三维力量的雕塑似乎是绘画至高无上的挑战中最大的挑战(Johnson 62)。许多艺术家声称他们有权主张赞成绘画，因为他对两种艺术形式都很精通。首先，对画家的要求比对雕刻家的要求要多得多。
当画家似乎没有吃不到10考虑建立自己的工作,雕刻家应该只考虑一些因素,如休息、运动位置,形状和身体(Lichtenstein 5)。然而,一个画家必须考虑休息,运动近似、距离、位置、形状、身体、颜色、阴影和光线。对于雕塑来说，与绘画相比，对天赋的要求更少。
其次，与雕塑相比，绘画涉及的体力劳动更少。雕塑具有使大汗转向并与沙粒混合的倾向。雕刻家的脸上到处都是大理石粉末，房子很脏，满是石头和灰尘的碎片(梅里曼156)。
另一方面，画家坐在他的作品前，穿着舒适，笔触细腻，色彩极其轻盈。他的家装饰得很干净，挂满了欢乐的图画，和别人在一起或听着音乐。最后，即使雕塑最大的资产无疑是三维的质量。画家可以成功地在绘画中达到放松的效果，因为它是在阴影和光线的模型。
关于雕塑和绘画的优点的争论在不同的艺术作品中也很明显。这些浮雕可以被认为是文艺复兴早期最受赞赏的作品，对下一代画家和雕塑家(Pardo 67)产生了重大影响。它的工作是并列一个丰富多彩的场景，这是可能的，因为最近采用了绘画的来源，在画家之间，随着一个虚构的石拱与可怕的浮雕和雕像。这似乎是对比自然主义的纹理和颜色所代表的绘画与单色雕塑(斯科尔滕777)。这表明画家也可以在平面上创造雕塑的效果。
也可以从多个角度对图形进行描述，以及在整个组合中加入反射面。其他作品倾向于强调与古代的联系。在材料的运用上，文艺复兴时期的雕刻家公开地引用古代雕塑。这说明了以艺术的形式创造永恒纪念物的好处。
In context of historical art, Paragone is an Italian word that refers to several theoretical discussions informing the establishment of artistic theory in Italy during the 16th century. These included comparison of different aesthetic attributes surrounding central Venetian and Italian institutes of painting, and if literature or painting had been the more descriptive and convincing source (Merriman 160). However, more often, Paragone can be referred to a debating between the relative advantages of sculpture and painting during the period of Renaissance. Sculpture is an art of sweat, dirt and noise. Opposing to painting that is made from the mind, sculpture is made from the products. It has been identified as an active pathway in visual arts, an option for contemplating life (Scholten 779). The establishment of the paragone is stemmed with the fundamental themes of rivalry and competition that helps in coloring history in the art of Renaissance, specifically in Italy.
Artists of renaissance not only admired, but also ended up seeing themselves in competition with, ancient artists such as Giambologna and Savoldo. These two artists have been selected for the purpose of this essay, and the pieces of their work selected are the sculpture of “Flying Mercury” by Giambologna and the painting of “Mary Magdalene” by Savoldo. Providing a brief historical overview about the two artistic pieces, this essay will focus on the paragone of the two while discussing about the relationship between sculpture and painting, and engaging with the question of several viewpoints.
Out of all the other forms of art, sculpture having power of three dimension seemed to be presenting the biggest challenge among the supremacy of painting (Johnson 62). It had been claimed by a number of artists that they hold the right of arguing in favour of painting as he is well-versed equally within both the forms of art. First, the placement of demands on painter had been greater infinitely in comparison with the one requiring the sculptor.
While the painter did not seem to be having less than 10 considerations in the establishment of his work, the sculptor is supposed to consider only some factors such as rest, position motion, shape and body (Lichtenstein 5). However, a painter has to consider rest, motion nearness, distance, position, shape, body, colour, shade and light. For sculpture, less talent is demanded in comparison with painting.
Second, less physical effort is involved in painting in comparison with the sculpture. Sculpture holds the tendency of causing major perspiration turning towards and mingling with the grit. The face of sculptor is smeared all over and pasted with powder of marble, the dwelling being dirty and full of chips of stone and dust (Merriman 156).
On the other hand, the painter ends up sitting before his work comfortably and well- dressed, and there is application of delicate colours with his brush that is extremely light in colour. His home is adorned and clean with pictures of delight, while enjoying the company of others or music. Finally, even though the greatest asset of sculpture is no doubt the quality of three dimension. The painter can be successful in achieving the impact of relieve within the paintings as it is modelled in shade and light.
The debate regarding the merits of sculpture and painting also is well evident in different works of art. The reliefs can be identified as the most admired works during the early period of Renaissance, and having a major effect on the next generation of painters and sculptors (Pardo 67). It works in juxtaposing a colourful and rich scene that is made possible by recently adopting the source of painting among the painters, along with a fictive arch of stone with grisaille reliefs and statues. This seems to be contrasting the naturalistic textures and colours represented in painting with the sculpture of monochrome (Scholten 777). This showed that a painter can also end up creating the impacts of sculpture over a flat surface.
There can also be a depiction of figures out of multiple angles, along with the incorporation of reflective surfaces across the compositions. Other works tend to be laying emphasis on the connections with antiquity. In the utilization of materials, sculptors from Renaissance were known to be overtly referencing ancient sculpture. This illustrated the advantages to create lasting memorials in the form of art.
