圖1 喬托，《聖母子》，約1310—1315年，楊木板蛋彩、金地。繪畫表面85.4×61.8釐米；含後加木條的整體尺寸87.7×63.2×1.3釐米。美國國家美術館，Samuel H. Kress Collection，藏品號1939.1.256。圖像：Courtesy National Gallery of Art, Washington，CC0。館藏記錄前往館方作品頁查看原圖 ↗
The essays are principally independent close readings of the image. These sources support object data, technical and historical statements, material context, and the optional SAE exercise. Interpretive claims remain those of the essays.
作品及史料 / The work and its history
1. National Gallery of Art, Giotto, Madonna and Child. - 当前归属乔托；约1310—1315年；杨木板蛋彩；绘画表面85.4×61.8厘米，含后加木条87.7×63.2×1.3厘米；Samuel H. Kress Collection，1939.1.256。 - Object identification, collection data, dimensions, the white rose’s association with Marian purity, and the image’s public-domain designation.
2. Miklós Boskovits, Italian Paintings of the Thirteenth and Fourteenth Centuries: Madonna and Child, c. 1310/1315, National Gallery of Art, online publication 2016-03-21. - 中央画板的可能归属、未定的同组侧板与安放地点、画板削薄与顶部修整、玫瑰图像学、肌肤底色与薄层画法。 - The probable central-panel function; uncertainties about reconstruction and destination; alteration of the support; rose iconography; the technical account of flesh underpainting and thin paint layers. - 技术总结与注9须合读：复杂纹样徒手刻划，边缘点列为压点。本文不把它们一概写成用成形印模冲压的图案。 - The technical summary and note 9 distinguish freely incised motifs from impressed dot borders. These are not collectively described as repeated stamped motifs.
工艺与用途 / Materials and function
3. Royal Collection Trust, Making a Panel Painting, in Italian Altarpieces in the Royal Collection: 1300–1500. - 木板准备、蛋彩、贴金、打磨、刻线与压点怎样处理表面；一般工艺背景，不作为乔托这件画每一道工序均经检测的证据。 - General technical context for panel preparation, egg tempera, gilding, burnishing, and worked ornament. It is not a technical examination of this specific Giotto panel.
4. Royal Collection Trust, Function, in the same series. - 祭坛画的祈祷、礼仪和叙事用途。本文未据其他作品的观看环境，推定这件乔托画的确切烛光、距离或悬挂高度。 - Context for devotion and the functions of altarpieces. No exact illumination, viewing distance, or installation height is reconstructed for the Giotto panel from this general account.
SAE
5. Han Qin (秦汉), SAE Judgment and Aesthetics — In Tribute to Kant. - 可选当代观看框架；区分个人趣味与关于可共同辨认根据的判断。 - Optional contemporary framework, distinguishing personal response from a claim about what can be recognized in the work.
6. Han Qin (秦汉), The Beauty of Causation — SAE Aesthetics, Ray 5. - 核心参照是过去怎样以痕迹与依赖关系留在后来之物中。本文的练习辨别制作痕与可见裂纹，不以“古老”“受损”或“有来历”自动证明美。 - The essay concerns the legible persistence of earlier events in later things. Our exercise distinguishes ornamental production from the present crack network; age, damage, and historical interest do not automatically establish beauty.
图像权利 / Image rights
7. National Gallery of Art, Terms and Notices: Open Access Policy. - 符合条件的公有领域作品数字图像按CC0开放。图片政策不等于研究文章文字的开放许可。 - Eligible public-domain artwork images are available under CC0. The image policy does not place the museum’s scholarly prose under the same permission.
The package does not reproduce museum articles, comparative illustrations, or images with unverified rights. Its visual judgments, structure, and viewing exercises are independently written.
Giotto, Madonna and Child, c. 1310–1315. Tempera on poplar panel. National Gallery of Art, Washington; Samuel H. Kress Collection; accession 1939.1.256.
The full image is byte-identical to the downloaded original. Details are rectangular crops of its decoded RGB pixels, stored as PNG. No resampling, color adjustment, sharpening, retouching, restoration, or generated content has been applied. The original ICC profile is preserved.
坐标原点为左上；裁切框格式为(left, top, right, bottom)，右与下边界不包含。 / Crop coordinates start at the upper-left; right and bottom are exclusive.
The photograph records the gold surface under one illumination. It cannot reproduce the changing reflection of the physical gold as a viewer or light moves. White outside the upper outline belongs to the photographic background, not to a painted sky.
NGA开放图像政策不表示该馆参与或认可本包。 / Use of the NGA image does not imply the museum’s participation or endorsement.
