Ipotesi attributive
​Attributive hypothesis
فرضيات الإسناد (النَّسْب الفني)
归属假设

​

La scoperta di tale disegno è recente (2019) e su questa opera si sono già espressi vari studiosi vinciani.

Il disegno - dal giugno 2021 - è stato fatto oggetto di un approfondito studio accademico da parte del critico e storico dell'arte italiano Prof. Rolando Bellini, già professore di storia dell'arte, graphic art, museologia ed estetica presso l'Accademia delle belle Arti di Brera, il quale in sede della giornata di studi interdisciplinari dal titolo "EPISTEMOLOGIA DELLA BELLEZZA - Leonardo un caso-studio", svoltosi a Milano presso il Palazzo Stelline di Milano in data 14.10.2022 ha presentato le conclusioni di detto studio affermando che il disegno il "Cristo di Lecco "  è un autentico testo grafico di Leonardo Da Vinci.    

I primi ad aver visionato questo disegno dal vivo nel giugno del 2019  erano stati gli studiosi vinciani statunitensi prof. Jean-Pierre Isbout,  professore in Scienze Sociali della Fielding Graduate University di Santa Barbara, in California,  e il dott. Christopher Heat Brown, Ceo della Brown Discoveries LCC della North Carolina, autori di diversi libri e film documentari su Leonardo, i quali avevano sollecitato la Proprietà del disegno a valutare l'opportunità di iniziare a studiare e ad approfondire gli studi su questa opera.

Dal 2019 ad oggi, oltre al sopra riportato parere attributivo si possono già riportare in merito alcune prese di posizione. Tra le principali: 

​

Previa visione e studio dal vivo del disegno:

• L'esperta e studiosa leonardiana Annalisa Di Maria, membro del comitato di arte e letteratura del Centro per l'Unesco di Firenze, in una conferenza tenutasi a Milano in data 14.1.2021, previa presentazione di un proprio approfondito studio sull’opera in questione, ha espresso (come in precedenza già anticipato sia dalla stampa che dai media nazionali ed internazionali - novembre/dicembre 2020) il proprio personale convincimento che l’opera in questione possa essere attribuita in autografia al Maestro Da Vinci;

​

Sulla base di una valutazione preliminare esclusivamente resa tramite analisi delle foto pubblicate dalla stampa/media nazionali e internazionali (e quindi con riserva di poter studiare e valutare dal vivo il disegno in questione e fatta eccezione per il prof. Atila Soares che ha operato il suo giudizio su analisi di foto in alta definizione e documentazione scientifica a quest'ultimo inoltrata):

• Il professor Atila Soares Da Costa Filho, studioso e storico dell'arte brasiliano, membro del comitato scientifico della Monna Lisa Foundation di Zurigo e della Fondazione Leonardo da Vinci di Milano, nonché del nonché del comitato Nazionale per la Valorizzazione dei Beni Storici Culturali e Ambientali di Roma nel progetto "L'invisibile nell'arte" curato dal prof. Silvano Vinceti, ha anch'egli ipotizzato che il disegno possa essere ricondotto/ascritto alla mano di Leonardo (vedasi per motivazioni preliminari fra vari articoli quello dal titolo Mostrar outra face scritto sulla rivista Humanitas edizione n° 145); di recente è entrato a far parte quale membro del Consiglio Scientifico della rivista "Conservazione Scienza in Patrimonio Culturale", pubblicata dall'Università di Bologna, dallUniversità La Sapienza di Roma e dall'Università di Siviglia;  

• lo storico dell'arte prof. Martin Kemp dell'Università di Oxford, esperto vinciano di fama internazionale, sulla possibile paternità leonardiana del disegno ha espresso una valutazione preliminare dubitativa in un'intervista rilasciata al quotidiano The Telegraph sostenendo però che non può essere "esclusa a priori" la paternità leonardiana ( vedasi articolo "Italian researchers attribute newly discovered sketch of Christ to Leonardo Da Vinci", in The Telegraph, 17 novembre 2020);

• il prof. Pietro Marani e la prof.ssa Chiara Rostagno, tra i massimi esperti vinciani italiani, in un'intervista sul quotidiano il Sole 24 Ore, hanno espresso forti dubbi sull'ipotesi che possa essere un'opera leonardiana attribuendo il disegno a qualche allievo della cerchia dei cosiddetti leonardeschi ( Sole 24 Ore "Il mistero di Leonardo che affascina", 20 novembre 2020.);

• il prof. Ernesto Solari, esperto vinciano, alla luce della scritta sul retro ritenuta una firma, oltre che per altre motivazioni riportate in uno studio pubblicato sul sito del Museo Solari, è orientato a considerarlo opera dell'allievo prediletto di Leonardo, Gian Giacomo Caprotti detto "Salaì"(vedasi "Il Cristo di Lecco non può essere di Leonardo" (PDF), su museosolari.net.)

• la prof.ssa Maike Vogt-Lüerssen, storica di fama internazionale, ed esperta del medioevo e rinascimento italiano, con all'attivo numerose pubblicazioni, si è espressa per la possibile attribuzione del "Cristo di Lecco" a Leonardo da Vinci e che il soggetto effigiato non sia un Cristo o il volto di Leonardo ma il volto di Lorenzo da Vinci, fratellastro di Leonardo (vedasi " Portrait of Lecco. A new drawing, made by Leonardo da Vinci, has been found", 11 febbraio 2022);

• nel febbraio 2023 in un nuovo studio (https://www.openscience.fr/Mesures-et-proportions-dans-l'oeuvre-peint-de-Leonard-de-Vinci) pubblicato su "OpenScience", una delle più importanti riviste scientifiche al mondo, a firma prof.emerito della Università Sorbonne di Parigi Jean Charles Pomerol, della dott.ssa Nathalie Popis, esperta della matematica applicata all'arte, nonché dalla studiosa vinciana Annalisa di Maria, già sopra ricordata, è stato dimostrato e sostenuto che il  Cristo di Lecco  sia da considerarsi opera certa di Leonardo condividendo lo stesso sistema di proporzioni geometriche-matematiche nella costruzione del disegnato volto, che si rinvengono esclusivamente nelle opere attribuite in certezza alla mano di Leonardo Da Vinci;

• settembre 2023: sempre lo studioso accademico brasiliano Atila Soares da Costa Fhilio, sopra citato, attraverso una nuova tecnologia/programma di i.a. utilizzata denominata "Luminari", basata su un sistema con architettura di rete neurale convoluzionale, oltre a quelli di "Max Pooling", specificatamente adatta a svolgere compiti predittivi in ambito delle opere d'arte, ha dichiarato che l'autenticità  del Cristo di Lecco  come opera di Leonardo Da Vinci è stata confermata essendo stato accertato che gli elementi grafici di compatibilità nella riproduzione utilizzata del Ritratto di Lecco (o Cristo di Lecco o del Lario) corrispondenti a quelli precedentemente identificati dalla i.a. (Maschine Learning) come propri dello stile di Leonardo hanno raggiunto una percentuale del 84%;

• ottobre 2023: l'artista, studioso e ricercatore scientifico in campo dell'arte dott. Luciano Buso ha sostenuto essere il Cristo di Lecco  opera autentica di Leonardo Da Vinci,  in quanto tramite il proprio omonimo metodo scientifico da esso elaborato, ha potuto rintracciare in questo disegno diversi elementi celati dallo stesso autore, tra i quali alcune piccole scritte celate nell'occhio sinistro, tra cui ci sarebbe anche la data - 1503 - di realizzazione del disegno e la firma di Da Vinci.

• dicembre 2023 : lo studioso e esperto di arte Max Sukharev tramite una propria recente tecnologia di miglioramento delle immagini ha anch'esso individuato nel disegno in questione diverse firme di Leonardo Da Vinci confermando così l'associazione del disegno stesso a questo massimo autore.

• febbraio 2024 - prof. Roberto Manescalchi, storico dell’arte, considerato uno dei principali studiosi di Piero della Francesca (a lui si devono la ristampa di un manoscritto inedito di Piero e la riscoperta di opere di Giotto, Botticelli, Paolo Uccello, Michelozzo, Morto da Feltre, Leonardo (nel 2005 la sua scoperta dello studio di Leonardo fece il giro del mondo) e Rembrandt) dopo aver studiato tutta la documentazione richiesta e ad esso inoltrata, ma solo dopo aver potuto visionare ed esaminare  dal vivo in data 5 febbraio 2024 il disegno a sanguigna in questione, esprimeva la sua personale convinzione che detto disegno sia un opera autografa di Leonardo da Vinci (vedasi sezione dedicata);

• 15.6.2024 - prof. Xante Battaglia,  artista di fama internazionale e professore della prima cattedra di pittura dell'Accademia della Belle Arti di Brera di Milano, dopo circa 9 mesi di studio/analisi del disegno, autentica e attribuisce questo già famoso e discusso disegno a sanguigna denominato il Cristo di Lecco alla mano di Leonardo da Vinci, affermando in particolare che detto disegno riscontra il "concetto d'aria" da esso già teorizzata con riguardo alle opere di Leonardo anni addietro (2019)  presso l'Universita' di Salerno: un disegno in cui il Maestro individua la maestria del tratto, la morbidezza del disegno per suo sfumato quali segni altrettanto distintivi del genio toscano oltre all'acutezza di uno sguardo "messianico".

• 22.6.2024 - il prof. James Constable ( Harvard Undergraduate Master’s Harvard University, Boston College Masters and London School of Economics. Senior Fellow Harvard Kennedy School Senior Fellowships Harvard Art Museums Cambridge Scholars Publishing 2018, 2024 Advances in Historical Research 2015. “The Da Vinci Globe”Editor. Scientific analysis at special technique art research Switzerland, France, Italy, the United States, at MIT and Harvard University. Expertise Last Supper Metalcuts engravings. Research at FOGG Art Museum, Harvard. Family with others sponsored mountain climbing of Sir Edmund Hillary to Mount Everest. Descendant Member Garter Windsor and USA, Manorial Society London, and many art societies. Book on Da Vinci nomenclature, perceptions, and codes in progress. License from Christie’s research Salvator Mundi) ha espresso sul proprio personale profilo facebook la sua convinzione che il disegno del Cristo di Lecco sia di mano e di paternità di Leonardo da Vinci (vedasi sezione ad esso dedicata)  

* * * 

The discovery of this design is recent (2019) and various Vincentian scholars have already expressed themselves on this work.

The drawing - since June 2021 - has been the subject of an in-depth academic study by the Italian art critic and historian Prof. Rolando Bellini, professor of art history, graphic art, museology and aesthetics at the Accademia delle belle Arti di Brera, which during the day of interdisciplinary studies entitled "EPISTEMOLOGY OF BEAUTY - Leonardo a case study", held in Milan at Palazzo Stelline in Milan on 14.10.2022, presented the conclusions of this study, stating that the drawing "Christ of Lecco "  is an authentic graphic text by Leonardo Da Vinci.

The first to have seen this drawing live in June 2019 were the American Vincentian scholars prof. Jean-Pierre Isbout, Professor of Social Sciences at Fielding Graduate University in Santa Barbara, California, and Dr. Christopher Heat Brown, CEO of Brown Discoveries LCC of North Carolina, authors of several books and documentary films on Leonardo, who had urged the Property of the drawing to evaluate the opportunity to start studying and deepening the studies on this work.

From 2019 to today, in addition to the aforementioned attribution opinion, some positions can already be reported on the matter. Among the main ones:

After viewing and live study of the drawing:

The expert and Leonardo scholar * * Annalisa Di Maria, member of the art and literature committee of the Unesco Center of Florence, in a conference held in Milan on 14.1.2021, subject to the presentation of her own in-depth study on the work in question , expressed (as previously already anticipated by both the press and the national and international media - November / December 2020) his personal belief that the work in question can be attributed in autograph to Maestro Da Vinci;

​

On the basis of a preliminary evaluation made exclusively through analysis of the photos published by the national and international press / media (and therefore subject to being able to study and evaluate the drawing in question live and with the exception of Prof. Atila Soares who carried out his opinion on high definition photo analysis and scientific documentation forwarded to the latter):

* Professor Atila Soares Da Costa Filho, Brazilian art historian and scholar, member of the scientific committee of the Mona Lisa Foundation of Zurich and of the Leonardo da Vinci Foundation of Milan, as well as the National Committee for the Valorization of the Historical, Cultural and Environmental Heritage of Rome in the project "The invisible in art" curated by prof. Silvano Vinceti, also hypothesized that the drawing could be traced back / ascribed to the hand of Leonardo (for preliminary reasons, among various articles, see the one entitled Mostraar outra face written in the Humanitas magazine edition n ° 145); he recently joined as a member of the Scientific Council of the magazine "Conservazione Scienza in Patrimonio Culturale", published by the University of Bologna, the La Sapienza University of Rome and the University of Seville;

* the art historian prof. Martin Kemp of the University of Oxford, an internationally renowned expert from Vinci, on the possible Leonardian authorship of the drawing expressed a preliminary dubious assessment in an interview with the newspaper The Telegraph, arguing, however, that Leonardo's authorship cannot be "excluded a priori" ( see article "Italian researchers attribute newly discovered sketch of Christ to Leonardo Da Vinci", in The Telegraph, November 17, 2020);

* the professor. Pietro Marani and Professor Chiara Rostagno, one of the leading Italian experts from Vinci, in an interview in the newspaper Il Sole 24 Ore, expressed strong doubts on the hypothesis that it could be a Leonardo's work by attributing the drawing to some pupil of the circle of the so-called Leonardo (Sole 24 Ore "The mystery of Leonardo that fascinates", 20 November 2020.);

* the professor. Ernesto Solari, an expert from Vinci, in the light of the writing on the back considered a signature, as well as for other reasons reported in a study published on the website of the Solari Museum, is oriented to consider it the work of Leonardo's favorite pupil, Gian Giacomo Caprotti known as "Salaì" (see "Christ of Lecco o) cannot be by Leonardo" (PDF), on museosolari.net.)

* The prof. Maike Vogt-Lüerssen, historian of international fame, and expert of the Italian Middle Ages and Renaissance, with numerous publications to her credit, expressed herself for the possible attribution of the "Christ of Lecco" to Leonardo da Vinci and that the subject portrayed is not a Christ or the face of Leonardo but the face of Lorenzo da Vinci, Leonardo's half-brother (see "Portrait of Lecco. A new drawing, made by Leonardo da Vinci, has been found", 11 February 2022.); 

* in February 2023 in a new study (https://www.openscience.fr/Mesures-et-proportions-dans-l'oeuvre-peint-de-Leonard-de-Vinci) published in "OpenScience", one of the most important scientific journals in the world, signed by professor emeritus of the Sorbonne University of Paris Jean Charles Pomerol, by Dr. Nathalie Popis, expert in mathematics applied to art, as well as by the Vincian scholar Annalisa di Maria, already mentioned above, it has been demonstrated and argued that the Christ of  Lecco is to be considered a certain work by Leonardo, sharing the same system of geometric-mathematical proportions in the construction of the drawn face, which are found exclusively in the works attributed with certainty to the hand of Leonardo Da Vinci;

* September 2023:  Again the Brazilian academic scholar Atila Soares da Costa Fhilio, mentioned above, through a new AI technology/program. used called "Luminari", based on a system with convolutional neural network architecture, in addition to those of "Max Pooling", specifically suitable for carrying out predictive tasks in the field of works of art, declared that the

authenticity of the Christ of  Lecco as a work by Leonardo Da Vinci was confirmed having been ascertained that the graphic elements of compatibility in the reproduction used of the Christ of Lario or Lecco correspond to those previously identified by the i.a. (Maschine Learning) as typical of Leonardo's style reached a percentage of 84%;

* October 2023: the artist, scholar and scientific researcher in the field of art Dr. Luciano Buso claimed that the Christ of  Lecco) is an authentic work by Leonardo Da Vinci, as through his homonymous scientific method developed by him, he was able to trace in this drawing various elements hidden by the author himself, including some small writings hidden in the left eye, among which there would also be the date - 1503 - of creation of the drawing and Da Vinci's signature.

* December 2023: the scholar and art expert Max Sukharev, using his own recent image enhancement technology, has also identified several signatures of Leonardo Da Vinci in the drawing in question, thus confirming the association of the drawing itself with this greatest author.

* febbraio 2024 - prof. Roberto Manescalchi art historian, he is considered one of the main scholars of Piero della Francesca. (He was responsible for the reprinting of an unpublished manuscript by Piero and the rediscovery of works by Giotto, Botticelli, Paolo Uccello, Michelozzo, Morto da Feltre, Leonardo (in 2005 his discovery of Leonardo's study went around the world) and Rembrandt ) after having studied all the documentation requested and forwarded to him, but only after having been able to view and examine the sanguine drawing in question live on 5 February 2024, expressed his personal belief that said drawing is an autograph work by Leonardo da Vinci (see dedicated section).

* 15.6.2024 prof.Xante Battaglia, internationally renowned artist and professor of the first chair of painting at the Brera Academy of Fine Arts in Milan, after approximately 9 months of study/analysis of the drawing, authenticates and attributes this already famous and discussed sanguine drawing called the Christ of Lecco in the hand of Leonardo da Vinci, stating in particular that said drawing reflects the "concept of air" already theorized by it with regard to Leonardo's works years ago (2019)  at the University of Salerno: a drawing in which the Master identifies the mastery of the line, the softness of the drawing for its nuance as equally distinctive signs of the Tuscan genius in addition to the sharpness of a "messianic" gaze;

* 22.6.2024 - the prof. James Constable ( Harvard Undergraduate Master's Harvard University, Boston College Masters and London School of Economics. Senior Fellow Harvard Kennedy School Senior Fellowships Harvard Art Museums Cambridge Scholars Publishing 2018, 2024 Advances in Historical Research 2015. “The Da Vinci Globe”Editor. Scientific analysis at special technique art research Switzerland, France, Italy, the United States, at MIT and Harvard University. Expertise Last Supper Metalcuts Research at FOGG Art Museum, Harvard Family with others sponsored mountain climbing of Sir Edmund Hillary to Mount Everest Member Garter Windsor and USA, Manorial Society London, and many art societies. Book on Da Vinci nomenclature, perceptions, and codes in progress. License from Christie's research Salvator Mundi) expressed his belief on his personal Facebook profile that the drawing of Christ of Lecco is by the hand and authorship of Leonardo da Vinci (see the section dedicated to it)

 

* * * 

اكتشاف هذا الرسم حديث نسبيًا (عام 2019)، وقد عبّر بالفعل عدد من الباحثين المتخصصين في دراسات ليوناردو عن آرائهم بشأن هذا العمل.

ومنذ يونيو 2021، خضع الرسم لدراسة أكاديمية معمّقة أجراها الأستاذ رولاندو بيلّيني، الناقد ومؤرخ الفن الإيطالي، والأستاذ السابق لتاريخ الفن، والفنون الغرافيكية، والمتاحف، وعلم الجمال في أكاديمية بريرا للفنون الجميلة. وقد عرض بيلّيني نتائج هذه الدراسة خلال يوم دراسي متعدد التخصصات بعنوان «إبستمولوجيا الجمال – ليوناردو: حالة دراسية»، الذي عُقد في ميلانو بقصر ستيلّيني بتاريخ 14 أكتوبر 2022، مؤكّدًا أن رسم «مسيح ليكو» يُعدّ نصًا غرافيكيًا أصيلًا من إبداع ليوناردو دا فينشي.

وكان أول من شاهد هذا الرسم مباشرة في يونيو 2019 الباحثان الأمريكيان المتخصصان في دراسات ليوناردو: البروفيسور جان-بيير إيسبو، أستاذ العلوم الاجتماعية في جامعة فيلدينغ للدراسات العليا في سانتا باربرا – كاليفورنيا، والدكتور كريستوفر هيت براون، الرئيس التنفيذي لشركة Brown Discoveries LLC في ولاية نورث كارولاينا، وهما مؤلفان لعدة كتب وأفلام وثائقية عن ليوناردو. وقد شجّعا مالكي الرسم على النظر في إمكانية الشروع بدراسة هذا العمل وتعميق البحث فيه.

ومنذ عام 2019 وحتى اليوم، وإلى جانب الرأي الإسنادي المذكور أعلاه، صدرت عدة مواقف علمية أخرى، من أبرزها:

بعد المعاينة والدراسة المباشرة للرسم:

• أنّاليزا دي ماريا، الباحثة والمتخصصة في دراسات ليوناردو، وعضو لجنة الفن والأدب في مركز اليونسكو في فلورنسا، أعربت خلال مؤتمر عُقد في ميلانو بتاريخ 14 يناير 2021 — بعد تقديم دراسة معمقة خاصة بها عن العمل — عن قناعتها الشخصية بإمكانية نسبة الرسم توثيقيًا (أوتوغرافيًا) إلى ليوناردو دا فينشي، وهو ما كانت قد أشارت إليه الصحافة ووسائل الإعلام الوطنية والدولية سابقًا (نوفمبر/ديسمبر 2020).

بناءً على تقييم أولي من خلال الصور فقط:

• البروفيسور أتيلا سواريس دا كوستا فيليو، الباحث والمؤرخ الفني البرازيلي، وعضو اللجنة العلمية لمؤسسة موناليزا (زيورخ) ومؤسسة ليوناردو دا فينشي (ميلانو)، وعضو اللجنة الوطنية لتثمين التراث التاريخي والثقافي والبيئي في روما ضمن مشروع «اللامرئي في الفن»، افترض بدوره إمكانية إسناد الرسم إلى يد ليوناردو، كما ورد في عدة مقالات من بينها مقال بعنوان Mostrar outra face نُشر في مجلة Humanitas (العدد 145). وقد انضم مؤخرًا إلى المجلس العلمي لمجلة «Conservazione Scienza in Patrimonio Culturale» الصادرة عن جامعات بولونيا، وروما «لا سابينزا»، وإشبيلية.

• البروفيسور مارتن كِمب، مؤرخ الفن من جامعة أكسفورد وأحد أبرز خبراء ليوناردو عالميًا، عبّر عن تقييم أولي متحفظ في مقابلة مع صحيفة The Telegraph، مؤكدًا مع ذلك أنه «لا يمكن استبعاد» النسبة إلى ليوناردو مبدئيًا (17 نوفمبر 2020).

• البروفيسور بيترو ماراني والبروفيسورة كيّارا روستاغنو، من أبرز الخبراء الإيطاليين في دراسات ليوناردو، أعربا في مقابلة مع صحيفة Il Sole 24 Ore عن شكوك قوية بشأن النسبة، مرجّحين أن يكون العمل لأحد تلامذة المدرسة الليناردية (20 نوفمبر 2020).

• البروفيسور إرنستو سولاري، المتخصص في دراسات ليوناردو، وبناءً على الكتابة الموجودة على ظهر الرسم والتي يراها توقيعًا، اعتبر أن العمل يعود إلى التلميذ المقرّب من ليوناردو جيان جاكومو كابروتي (سالاِي).

• البروفيسورة مايكه فوغت-لويرسن، المؤرخة المتخصصة في العصور الوسطى وعصر النهضة الإيطالية، رجّحت نسبة الرسم إلى ليوناردو، لكنها ترى أن الوجه المرسوم ليس وجه المسيح ولا ليوناردو، بل وجه لورينزو دا فينشي، الأخ غير الشقيق لليوناردو (11 فبراير 2022).

• في فبراير 2023، نشر جان-شارل بوميرول (جامعة السوربون)، وناتالي بوبيس، وأنّاليزا دي ماريا دراسة في مجلة OpenScience أثبتت أن مسيح ليكو يتبع النظام نفسه من النسب الهندسية-الرياضية الذي يظهر حصريًا في أعمال ليوناردو المؤكدة.

• في سبتمبر 2023، أعلن أتيلا سواريس أن الذكاء الاصطناعي Luminari أكد بنسبة توافق بلغت 84٪ نسبة العمل إلى ليوناردو.

• في أكتوبر 2023، صرّح الباحث لوتشيانو بوزو بأن الرسم عمل أصيل لليوناردو، بعد تحديد عناصر خفية من بينها كتابات صغيرة وتاريخ محتمل (1503) وتوقيع.

• في ديسمبر 2023، أكد الباحث ماكس سوخاريف، باستخدام تقنيات متقدمة لتحسين الصور، وجود عدة تواقيع لليوناردو في الرسم.

• في فبراير 2024، وبعد معاينة مباشرة، أعرب البروفيسور روبرتو مانيسكالكي عن قناعته بأن الرسم عمل أوتوغرافي لليوناردو.

• في 15 يونيو 2024، صادق البروفيسور زانتي باتّاليا، أستاذ الرسم في أكاديمية بريرا، على نسبة العمل إلى ليوناردو، مشيرًا إلى «مفهوم الهواء» و«السفوماتو» كسمات ليوناردية أصيلة.

• في 22 يونيو 2024، أعلن البروفيسور جيمس كونستابل عبر حسابه الشخصي على فيسبوك قناعته بأن رسم مسيح ليكو هو من إبداع ليوناردو دا فينشي.

​​

* * * 

归属假设

该素描的发现时间较为近期（2019 年），围绕这件作品，已有多位列奥纳多研究学者发表了看法。

自 2021 年 6 月起，该素描成为意大利艺术评论家与艺术史学者 罗兰多·贝利尼教授（Prof. Rolando Bellini）开展深入学术研究的对象。贝利尼教授曾任教于布雷拉美术学院，教授艺术史、版画艺术、博物馆学与美学。在 2022 年 10 月 14 日于米兰 斯泰利内宫（Palazzo Stelline）举行的跨学科研讨日——“美之认识论——列奥纳多：一个案例研究”上，他公布了研究结论，明确指出：《莱科的基督》是一件列奥纳多·达·芬奇的真实原创图像作品。

最早于 2019 年 6 月亲自观摩该素描的，是两位美国列奥纳多研究学者：
让-皮埃尔·伊斯布（Jean-Pierre Isbout）教授，加州圣塔芭芭拉 菲尔丁研究生大学社会科学教授；
以及 克里斯托弗·希特·布朗博士（Christopher Heat Brown），北卡罗来纳州 Brown Discoveries LLC 的首席执行官。二人均为多部关于列奥纳多的著作与纪录片作者，并曾建议作品所有方认真评估并启动对该作品的系统研究。

自 2019 年至今，除上述明确的归属意见外，学界亦出现了多种立场，主要包括：

在亲自观摩并研究原作之后：

安娜丽莎·迪·玛丽亚（Annalisa Di Maria），列奥纳多研究专家、佛罗伦萨联合国教科文组织中心艺术与文学委员会成员，于 2021 年 1 月 14 日在米兰举行的一场会议上，在展示其对该作品所作的深入研究后，表达了她的个人确信：该作品应被视为列奥纳多·达·芬奇的亲笔真迹。这一立场此前亦已通过国内外媒体在 2020 年 11—12 月间有所披露。

基于仅对媒体公开图片的初步评估

（即未曾亲自观摩原作；惟独 Atila Soares 教授例外，其判断基于高清图像与所提供的科学文档）：

• 阿蒂拉·苏亚雷斯·达·科斯塔·菲略（Atila Soares da Costa Filho）教授，巴西艺术史学者，苏黎世蒙娜丽莎基金会与米兰列奥纳多·达·芬奇基金会科学委员会成员，同时亦为罗马国家历史文化与环境遗产促进委员会成员（“艺术中的不可见性”项目）。他提出该素描可能出自列奥纳多之手（参见《Humanitas》杂志第 145 期文章 Mostrar outra face）。近期，他还成为《文化遗产保护与科学》期刊科学委员会成员，该刊由博洛尼亚大学、罗马第一大学及塞维利亚大学联合出版。

• 马丁·坎普（Martin Kemp）教授，牛津大学艺术史学者、国际知名列奥纳多专家，在接受《每日电讯报》采访时对该作品的列奥纳多归属表达了谨慎保留态度，但亦指出其作者身份**“不能先验地被排除”**（参见 2020 年 11 月 17 日《Italian researchers attribute newly discovered sketch of Christ to Leonardo Da Vinci》）。

• 彼得罗·马拉尼（Pietro Marani）教授与 基娅拉·罗斯塔尼奥（Chiara Rostagno）教授，意大利列奥纳多研究领域的权威学者，在《Il Sole 24 Ore》的采访中对该素描的列奥纳多归属表示强烈怀疑，并倾向将其归于某位列奥纳多派画家（2020 年 11 月 20 日，《Il mistero di Leonardo che affascina》）。

• 埃内斯托·索拉里（Ernesto Solari）教授，列奥纳多研究学者，基于作品背面题写内容及其研究成果，认为该素描更可能是列奥纳多最钟爱的学生 詹·贾科莫·卡普罗蒂（Salaì） 的作品（参见 museosolari.net：《Il Cristo di Lecco non può essere di Leonardo》）。

• 迈克·福格特-吕尔森（Maike Vogt-Lüerssen），国际知名历史学家、中世纪与意大利文艺复兴专家，认为该素描可能出自列奥纳多之手，但所描绘对象并非基督或列奥纳多本人，而是其同父异母兄弟 洛伦佐·达·芬奇（2022 年 2 月 11 日，《Portrait of Lecco》）。

科学与技术研究支持：

• 2023 年 2 月，发表于国际重要科学期刊《OpenScience》的一项研究（作者包括巴黎索邦大学荣休教授 让-夏尔·波默罗尔、应用艺术数学专家 娜塔莉·波皮斯博士，以及列奥纳多研究学者 安娜丽莎·迪·玛丽亚）指出：《莱科的基督》在面部构建中采用了仅见于列奥纳多真迹作品的几何—数学比例体系，因此应被视为列奥纳多的确定作品。

• 2023 年 9 月，阿蒂拉·苏亚雷斯通过其开发的人工智能系统 “Luminari”（基于卷积神经网络与 Max Pooling 架构，专用于艺术作品预测分析）宣布：该系统确认《莱科的基督》的列奥纳多归属，其与列奥纳多风格要素的匹配度达 84%。

• 2023 年 10 月，艺术家兼科学研究者 卢恰诺·布索（Luciano Buso）博士，依据其个人研发的方法，认为该作品为列奥纳多真迹，并指出在左眼中发现了作者隐藏的微型文字，包括创作日期 1503 与达·芬奇署名。

• 2023 年 12 月，艺术专家 **马克斯·苏哈列夫（Max Sukharev）**通过其图像增强技术，同样在该素描中识别出多处列奥纳多署名，进一步支持其归属。

• 2024 年 2 月，艺术史学者 罗伯托·马内斯卡尔基（Roberto Manescalchi）教授，在全面研究资料并于 2024 年 2 月 5 日亲自观摩原作后，表达了其个人确信：该红粉笔素描为列奥纳多·达·芬奇的亲笔作品。

• 2024 年 6 月 15 日，国际知名艺术家、布雷拉美术学院绘画首席教授 赞特·巴塔利亚（Xante Battaglia），在历经约 9 个月的研究后，确认并归属该作品于列奥纳多之手，指出作品体现了其“空气概念”、柔和的渐隐法以及“弥赛亚式的目光”。

• 2024 年 6 月 22 日，詹姆斯·康斯特布尔（James Constable）教授（哈佛大学、波士顿学院、伦敦政经学院背景，哈佛艺术博物馆与肯尼迪学院高级研究员），亦在其个人 Facebook 页面上公开表达其确信：《莱科的基督》为列奥纳多·达·芬奇真迹。

​