多納太羅(Donatello，1388-1466)，全名為多那托‧迪‧尼科羅‧迪‧貝托‧巴蒂(Donato di Niccolò di Betto Bardi)，是十五世紀文藝復興初期最富盛名的雕塑家。綜觀他將近八十年的創作生涯，從早期、成熟期到晚年的作品皆表現出不同的特質，其中包含歌德、自然寫實、古典…等不同風格典範；創作的媒材與類型更幾乎囊括所有雕塑的種類。豐富的創作產量和多元的創造力，不僅為他奠定全方位雕塑大師的地位，多變且富含創意的巧思與創新，更是帶領十五世紀初期佛羅倫斯雕塑不斷向前邁步的能量來源。

　　《青銅大衛》在文藝復興初期雕塑史中有著重要的指標意義。多納太羅精確地表現出一位等身比例的裸體少年，並呈現完整的觀賞視角。其中裸像的形式以及獨立式的構造，皆是古代希臘羅馬時期人物雕像的重要特徵。因此，這尊獨立式的裸像，不僅象徵文藝復興時期雕塑作品首度脫離次要於建築物附屬地位；裸體人物的形式更是十五世紀仿古風格雕塑的代表作。為了探究多納太羅創作《青銅大衛》時所受的刺激與靈感來源，本論文首先將從義大利人文學興起後，影響佛羅倫斯人崇尚古代文化的背景架構，探討古典文化的精神從文學蔓延至藝術風格的影響。接續則是以多納太羅在十五世紀上半葉創作的等身壁龕人像，與《青銅大衛》進行比較，以了解多納太羅在不同時代背景下，重新詮釋古典裸像的形式特質。

　　由於裸像在西方藝術中有著淵遠流長的歷史，多納太羅《青銅大衛》仿古風格人體形式的背後，正反映出古代希臘羅馬的文化思想與藝術品味在十五世紀初期重生後的樣貌。在針對《青銅大衛》進行風格分析之後，本論文還將深入探究《青銅大衛》人體比例和動勢中所涉及古代的哲學思想，以論證《青銅大衛》結合古典與十五世紀自然主義的理論，對同時代其它藝術家展現的示範性質，以及對佛羅倫斯仿古藝術理論之影響。

Donato di Niccolò di Betto Bardi, called Donatello, was one of the most famous sculptors in Quattrocento. Surveying the whole works in Donatello’s eighty years in career, the various styles include the Gothic, Naturalism and the Classical, the characteristics of different stages between the early time, the mature period and the work. When he was old, they were obvious different. Furthermore, his creation of materials and types are nearly included all kinds of sculptures. With his abundant works and endless creativities, the art of Quattrocento sculpture was born anew and kept a step forward.

　　With Bronze David, Donatello created a new sculpture landmark in the earlier Renaissance. This free-standing nude represented that the statue was independent for the architecture or decoration; the form of nude was the demonstration of all’antica style in Quattrocento. In order to understand the stimulation and the inspiration of Donatello’s originality; firstly, this essay will talk about the influence on culture of Humanismus in Italy on both literature and the visual art. Next, it will focus on the niche statues of Donatello during the first half of 15th century, and will compare these works with Bronze David and discuss the special features of Donatello’s new interpretation of classical forms of nude in his era.

　　The art of nude has a long history in Western art. The form of nude in Donatello’s Bronze David reflected a new appearance of Greece and Rome’s ancient culture and thoughts in 15th century. After the form analysis of our statue, this essay concerns with the human proportion and movement of the statue, and then with the theories of classical and Naturalism involved in it. In the end, author will concentrate on Donatello’s influence upon other artists, and the all’antica style of Florence Renaissance art which was affected by Bronze David.

(一)、西文專書

1. 文藝復興時期文獻
Alberti, Leone Battista. The Architecture of Leon Batista Alberti. In Ten Books. Of Painting. In Three Books. And of Statuary. In One Book. Translated in Italian by Cosimo Bartoli; in English by James Leoni. London, 1755.
Alberti, Leon Battista. On Painting. Translated by Cecil Grayson. London , New York Penguin, 2004.
Boccaccio, Giovanni. "Decameron."
Ghiberti, Lorenzo. "The Commentaries." In A Documentary History of Art, edited by Elizabeth Gilmore Holt. N.J.: Princeton University Press, 1981.
Valla, Lorenzo. "Elegantiae Linguae Latinae." edited by Lyons, 1548.
Vasari, Giorgio. Lives of the Most Eminent Painters, Sculptors & Architects. Translated by Gaston du C De Vere. 10 vols. Vol. 2. New York: AMS Press, 1976.
Vitruvius, Pollio. Vitruvius : Ten Books on Architecture. Translated by Ingrid D. Rowland. Edited by Ingrid D. Rowland & Thomas Noble Howe. 9th ed. New York: Cambridge University Press, 2007.

2. 文藝復興時期社會背景之研究
Baron, Hans. The Crisis of the Early Italian Renaissance : Civic Humanism and Republican Liberty in an Age of Classicism and Tyranny. Princeton, N.J.: Princeton University Press, 1966.
Brucker, Gene A. Florence, the Golden Age, 1138-1737. New York Abbeville Press, 1984.
———. Renaissance Florence. Berkeley: University of California Press, 1983.
Burke, Peter. The European Renaissance : Centres and Peripheries. Oxford, UK: Blackwell Publishers, 1998.
———. The Italian Renaissance Culture and Society in Italy. 2 ed. UK: Polity Press, 1999.
Durant, Will. The Renaissance, The Story of Civilization. New York: Simon and Schuster, 1935.
———. The Renaissance: A History of Civilization in Italy from 1304- 1576 A.D. New York: Simon and Schuster, 1953.
Fernand, Braudel. A History of Civilizations. Translated by Richard Mayne. New York: Penguin, 1993.
Hay, Denys, ed. The Age of the Renaissance. New York: Bonanza Books, 1986.
———. The Italian Renaissance in Its Historical Background. Cambridge: Cambridge University Press, 1977.
Najemy, John M., ed. Italy in the Age of the Renaissance : 1300-1550. Oxford ; New York: Oxford University Press, 2004.
Palmieri, Matteo. " Della Vita Civile." In Studies in Education during the Age of the Renaissance. Cambridge: CUP Archive, 1906.
Rocca, Cristina La, ed. Italy in the Early Middle Ages : 476-1000. New York: Oxford University Press, 2002.

3. 文藝復興時期藝術通論
Ames-Lewis, Francis. The Intellectual Life of the Early Renaissance Artist. New Haven: Yale University Press, 2002.
Gilbert, Creighton E., ed. Italian Art, 1400-1500 : Sources and Documents. Englewood Cliffs, N.J. : Prentice-Hall, 1980.
Gombrich, E. N. "From the Renaissance: Period or Movement." In Renaissance Thought: A Reader, edited by Robert Black. USA: Routledge, 2001.
———. "From the Revival of Letters to the Reform of the Arts." In Gombrich on the Renaissance. London: Phaidon Press, 1966.
———. "Norm and Form." In Gombrich on the Renaissance. London: Phaidon Press, 1966.
———. "The Renaissance Conception of Artistic Progress." In Gombrich on the Renaissance. London: Phaidon Press, 1966.
———. "The Renaissance: Period or Movement?" In Renaissance Thought: A Reader, edited by Robert Black. USA: Routledge, 2001.
———. The Story of Art. Lodon: Phadon, 1995.
———. "Style." In The Art of Art History: A Citical Anthology,. Oxford ; New York: Oxford University Press, 1998.
———. "The Style 'All'antica': Imitation and Assimilation." In Gombrich on the Renaissance. London: Phaidon Press, 1966.
Hall, James. A History of Ideas and Images in Italian Art. London: John Murray, 1983.
Hartt, Frederick. "Art and Freedom in Quattrocento Florence." In Essays in Memory of Karl Lehmann, edited by Lucy Freeman Sandler, 114-31. N. Y.: Locust Valley, 1964.
Hartt, Frederick and David G. Wilkins. History of Italian Renaissance Art : Painting, Sculpture, Architecture. 6th ed. N.J.: Prentice Hall, 2006, c2007.
Holt, Elizabeth Gilmore, ed. A Documentary History of Art. Vol. I. N.J.: Princeton University Press, 1981.
Klein, Robert and Henri Zerner, ed. Italian Art, 1500-1600 : Sources and Documents. Evanston, Ill.: Northwestern University Press, 2001.
Lightbown, Ronald W. Donatello & Michelozzo : An Artistic Partnership and Its Patrons in the Early Renaissance London: Harvey Miller, 1980.
McHam, Sarah Blake. "Public Sculpture in Renaissance Florence." In Looking at Italian Renaissance Sculpture, edited by Sarah Blake McHam. N.Y.: Cambridge University Press, 1998.
Motture, Peta, ed. Large Bronzes in the Renaissance. Washington, D.C.: New Haven, 2003.
Panofsky, Erwin. Idea : A Concept in Art Theory. Translated by Joseph J. S. Peake. Columbia: University of South Carolina Press, 1968.
———. Renaissance and Renascences in Western Art. New York, Hagerstown, San Francisco, London: Harper & Row, 1972.
———. Studies in Iconology. New York: Harper & Row, 1939.
Paoletti, John T., and Gary M. Radke. Art in Renaissance Italy. 2nd ed. New York: H.N. Abrams, 2002.
Pope-Hennessy, John. Italian Gothic Sculpture: An Introduction to Italian Sculpture. London: Phadion Press Limited, 1985.
———. Italian Renaissance Sculpture. London: Phaidon Press, 2000.
———. The Study and Criticism of Italian Sculpture. New York: Metropolitan Museum of Art, 1980.
Randolph, Adrian W. B. Engaging Symbols: Gender, Politics, and Public Art in Fifteenth-Century Florence. London: Yale University Press, 2002.
Rubin, Patricia Lee. Images and Identity in Fifteenth-Century Florence. London: Yale University Press, 2007.
Seymour, Charles. Sculpture in Italy : 1400 to 1500. Baltimore: Penguin Books, 1966.
Shearman, John. Only Connect... : Art and the Spectator in the Italian Renaissance. N.J.: Princeton University Press, 1992.
Stemp, Richard. The Secret Language of the Renaissance : Decoding the Hidden Symbolism of Italian Art London: Duncan Baird, 2006.
Summers, David. Michealngelo and the Language of Art. New Jersey: Princeton University Press, 1981.
Valentiner, Wilhelm Reinhold. Studies of Italian Renaissance Sculpture. London: Phaidon Press, 1950.
Weiss, Roberto. The Renaissance Discovery of Classical Antiquity. 2 ed. New York: Basil Blackwell, 1988.
Williams, Robert. Art, Theory, and Culture in Sixteenth-Century Italy : From Techne to Metatechne. Cambridge ; New York : Cambridge University Press, 1997.
Wolfflin, Heinrich. Classic Art : An Introduction to the Italian Renaissance. Translated by Peter and Linda Murray. 4th ed. Oxford Phaidon, 1980.

4. 研究多納太羅之著作
Avery, Charles. Donatello: An Introduction. New York: IconEditions, 1994.
Baxandall, Michael. Painting and Experience in Fifteenth Century Italy : A Primer in the Social History of Pictorial Style. New York: Oxford University Press, 1988, c1972.
Bober, Phyllis Pray and Ruth Rubinstein. Renaissance Artists & Antique Sculpture : A Handbook of Sources. London: H. Miller, 1986.
Catterson-Silver, Lynn. "Donatello's Legacy and the Training of Michelangelo: Sculpture Practice in Quattrocento Florence." Columbia University, 2002.
Janson, H.W. The Sculpture of Donatello. New Jersey: Princeton University Press, 1963.
Janson, H.W. "The Image of Man in Renaissance Art: From Donatello to Michelangelo." In The Renaissance Image of Man and the World, edited by Bernard O'Kelly. Columbus: Ohio State University Press, 1966.
———. "Revival of Antiquity in Early Renaissance Sculpture." In Looking at Italian Renaissance Sculpture, 40-59. New York: Cambridge University Press, 1998.
Poeschke, Joachim. Donatello and His World: Sculpture of the Italian Renaissance. Translated by Russell Stockman. New York: H.N. Abrams, 1993.
Pope-Hennessy, John. Donatello : Sculptor. New York: Abbeville Press, 1993.

5. 其他相關著作
Adler, Kathleen and Marcia Pointon, ed. The Body Imaged : The Human Form and Visual Culture since the Renaissance. Cambridge ; New York: Cambridge University Press, 1993.
Ceysson, Bernard; Antoinette Le Normand-Romain. Sculpture : From the Renaissance to the Present Day : From the Fifteenth to the Twentieth Century. New York: Taschen, 1999.
Clark, Kenneth. The Art of Humanism. London: J. Murray, 1983.
———. The Nude: A Study in Ideal Form. 2nd ed. London: The Reprint Society, 1958.
Haskell, Francis and Nicholas Penny. Taste and the Antique : The Lure of Classical Sculpture, 1500-1900. New Haven: Yale University Press, 1981.
Isager, Jacob. Pliny on Art and Society. London: Routledge, 1991.
Janson, H.W. History of Art for Young People. 3rd ed. London: Thames and Hudson Ltd, 1988.
Jarzombek, Mark. On Leon Baptista Alberti: His Literary and Aesthetic Theories. Cambridge, Massachusetts: The MIT Press, 1989.
Kemp, Martin. Behind the Picture : Art and Evidence in the Italian Renaissance. New Haven Yale University Press, 1997.
———. "Introduction." In On Painting. London; New York: Penguin, 2004.
Krautheimer, Richard. Lorenzo Ghiberti. Princeton, N.J: Princeton University Press, 1982.
Murray, Charles. Human Accomplishment : The Pursuit of Excellence in the Arts and Sciences, 800 B.C. To 1950. New York: HarperCollins, 2003.
Pollitt, J. J. The Art of Greece, 1400-31 B.C.: Sources and Documents. Englewood Cliffs, N.J.: Prentice-Hall, 1965.
Rowland, Ingrid D. The Place of the Antique in Early Modern Europe. Chicago: David and Alfred Smart Museum of Art, 1999.
Schapiro, Meyer. "Style " In Theory and Philosophy of Art: Style, Artist, and Society, 51-102. New York: G. Braziller, 1994.
Summers, David. "Form and Gender." In Visual Culture : Images and Interpretations edited by Norman Bryson, 384-412. Hanover, NH: University Press of New England, 1994.
———. "'Form,' Nineteenth-Century Metaphysics, and the Problem of Art Historical. Description." In The Art of Art History : A Critical Anthology, edited by Donald Preziosi. Oxford ; New York: Oxford University Press, 1998.
———. The Judgment of Sense : Renaissance Naturalism and the Rise of Aesthestics. Cambridge, New York Cambridge University Press, 1987.
———. Real Spaces: World Art History and the Rise of Western Modernism New York: Phaidon Press, 2003.
Thornton, Bruce. Greek Ways: How the Greeks Created Western Civilization. San Francisco: Encounter Books, 2000.
Tatarkiewica, Wladyslaw, ed. History of Aesthetics. Edited by J. Harrell. Bristol, Eng. ; Sterling, Va.: Thoemmes Press, 1999.

6. 百科全書類
Encyclopaedia Britannica, Inc. "Renaissance." In The New Encyclopaedia Britannica, 1019. Chicago: Encyclopaedia Britannica, 1990.

(二)、中文專書

E. H. 貢布里希 著，李本正、范景中 編，《文藝復興：西方藝術的偉大時代》， 杭州：中國美術學院出版社，2000。
E. H. 貢布里希 著 ，〈佛羅倫薩的光榮〉，《文藝復興: 西方藝術的偉大時代》， 杭州：中國美術學院出版社，2000。
Erwin Panofsky 著，《造型藝術的意義》，李元春 譯，台北市：遠流，1997。
Hanno-Walter Kruft 著，《建築理論史：從維特魯威到現在》，王貴祥 譯，北京市：中國建築工業出版社出版，2005。
Leau Philippe 著，《文藝復興藝術觀：1250-1450》，劉增泉 譯，台北：編譯館，1989。
帕雷提， 約翰‧T. 和 加里‧M. 拉德克 著，《義大利文藝復興時期的藝術》，朱璇 譯，桂林：廣西師範大學出版社，2005。
邵大箴、洪洋、邵亮 編，《圖式與精神 ： 西方美術的歷史與審美》，北京：中國人民大學出版社，1999。
哈伊‧丹尼斯，《 義大利文藝復興的歷史背景》，李玉成 譯，北京：三聯，1988。
雅各‧布克哈特，《義大利文藝復興時代的文化》，花亦芬 譯，台北：聯經，2007。
楊永源，〈西方藝術中的裸體與裸露問題〉，《視覺藝術與文化》，吳方正 編，桃園：中央大學，2005。
溫克爾曼，《希臘人的藝術》，紹大箴 譯，桂林：廣西師範大學出版社，2001。
雷梅治， 南希‧H‧和 安德魯‧雷梅治，《羅馬藝術-從雷慕斯到君士坦丁》，王蕾、郭長剛 譯，桂林：廣西師範大學出版社，2005。
維楚菲厄斯，《建築十書 ：維楚菲厄斯上奧古斯都大帝之奏摺》，台北市： 洪葉文化， 1998。
賴瑞鎣，《早期基督教藝術》，臺北市：雄獅，2001。
韓瑞屈‧沃夫林，《藝術史的原則》，曾雅雲 譯，台北市：雄獅圖書，1987。

二、 期刊

(一)、西文期刊

1. 多納太羅及《青銅大衛》相關研究
Baskins, Cristelle L. "Donatello's Bronze David: Grillanda, Goliath, Groom?" Studies in Iconography 15 (1993): 113-35.
Berstein, Mary. "Donatello's Gattamelata and Its Humanist Aduience." Renaissance Quarterly 55, no. 3 (2002): 833-68.
Butterfield, Andrew. "New Evidence for the Iconography of David in Quattrocento Florence." I Tatti Studies: Essays in the Renaissance 6 (1995): 115-33.
Crum, Roger J. "Donatello's Bronze David and the Question of Foreign Versus Domestic Tyranny." Renaissance Studies 10, no. 4 (1996): 440-50.
Lavin, Irving. "The Source of Donatello's Pulpits in San Lorenzo: Revival and Freedom of Choice in the Early Renaissance." The Art Bullentin 41, no. 1 (1959).
McHam, Sarah Blake. "Donatello’s Bronze David and Judith as Metaphors of Medici Rule in Flrence." Art Bulletin (2001): 32-47.
Schneider, Laurie. "Donatello's Bronze David." Art Bulletin 55, no. 2 (1973): 213-16.
Sperling, Christine M. "Donatello's 'Bronze 'David' and the Demands of Medici Politics." The Burlington Magazine 134, no. 1069 (1993): 218-24.
Tarr, Roger. "Brunelleschi and Donatello Placement and Meaning in Sculpture." Artibus et Historiae 16, no. 32 (1995): 101-40.
Terrance Walsh, S.J. "Donatello's David or Flesh Made Spirit." Religion and the Arts 1, no. 1 (1997): 8-33.
Trachtenberg, Marvin. "An Antique Model for Donatello's Marble David." The Art Bullentin 50, no. 3 (1986): 268-9.

2. 文藝復興時期藝術研究
Becker, Marvin B. "Individualism in Early Renaissance: Burden and Blessing." Studies in the Renaissance 19 (1972): 273-97.
Lee, Rensselaer W. "Ut Pictura Poesis:" The Humanistic Theory of Painting." Art Bulletin XXII (1940): 197-269.
Morselli, Piero. "The Proportions of Ghiberti's Saint Stephen: Vitruvius's De Architectura and Alberti's De Statua " The Art Bulletin 60, no. 2: 235-41
Rubenstein, N. "Florence and the Despots in Fifteenth Century." Transactions of the Royal Historical Society II (1952).
Summers, David. "Contrapposto: Style and Meaning in Renaissance Art." The Art Bullentin 59, no. 3 (1977): 336-61.

(二)、中文期刊

花亦芬，〈從瓦撒利(Vasari)諭“淺平浮雕”(Rilievo Schiacciato)談東拿帖羅(Donatello)浮雕創作的特色〉，《中央研究院歷史語言研究所集刊》 71, no. 4 (2000)：745-805。
——— ，〈「殘軀」—藝術創作的源頭活水：Torso Belvedere對米開朗基羅的啟發與影響〉，《人文學報》no. 26 (2002)：143-211。
賴瑞鎣，〈十五世紀上半葉義大利與尼德蘭繪畫之寫實主義〉，《藝術評論》 no. 9 (1998 ): 143-55。
———，〈十五世紀西洋繪畫的寫實主義和和理想－以早期尼德蘭和文藝復興繪畫為研究對象〉，《藝術評論》no. 15 (2004)：191-218。
———，〈盛期文藝復興繪畫成就的探討－構圖中完美與和諧的分析〉，《藝術評論》no. 16 (2006)：151-80。