「超級月亮」並非天文學術名詞，在天文學上也沒有嚴格定義，近年來已成為全球廣泛用語，一般是把發生在距離地球36萬公里以內，或者與過近地點時間相差不到24小時的滿月、新月都算是「超級月亮」。從6月中旬到月底，肉眼可見到「水星、金星、火星、木星和土星」等五顆行星，依序由下而上，從東北方低空到南方天空﹐在曙光前橫跨半個天幕排成一列，是能夠一次飽覽五星的難得機會，而19、20日黎明前則是這次「五星同現」的最佳觀賞時機，平均約十年上下才出現一次。那週五晚上來賞月吧! 嗯 也賞星星。
人文書吧
作品名称：Self-Portrait with Fur-Trimmed Robe.艺术家：Albrecht Dürer.材料：oil on wood.尺寸：67.1x48.9cm.创作年代：1500.
As modern as the work is in its confidently presented individuality, it still recalls the strong Christian influences prevalent in the Middle Ages. The frontal depiction quotes representations of the Salvator Mundi (Jesus Christ, Redeemer of the World). Dürer's artistic work can also be linked to the Christian theme, for drawing, graphics, or painting are able to create a world, even to "create" it anew. The Latin inscription on the right side of the picture reads in translation: "Thus I, Albrecht Dürer from Nuremberg, painted myself with imperishable colors at the age of 28." This is already his third self-portrait, but the first to break so radically with the traditions of painting.
The shoulder-length hair can be understood as an intended analogy to the figure of Christ. It is customary to show him as a young man with a center parting and a neck-length hairstyle. Dürer thus adapts a sacred motif and shows himself with a certain likeness to Christ. The immaculate and idealized appearance, as well as the noble clothing, correspond to this.
The painter positions his hand centrally in the portrait. It reaches into the fur of the marten, which, according to the dress code of the time, was reserved for the highest classes and was actually forbidden to him as an artist working with his hands. So, this gesture can be understood as an expression of his intent to rise up the ranks.
Albrecht Dürer used his famous monogram on his works for trademark protection: A for Albrecht and D for Dürer. In this way he marked his authorship and documented his high standards. At the time of Dürer, artists were still organized in guilds and their status was similar to that of craftsmen. The modern artist, who was new by the standards of the time, was to be regarded as ingenious and inventive. A self-portrait bears witness to this process of discovery like no other work by artists of the time.
During Dürer's lifetime, the picture probably hung in his house in Nuremberg, was later moved to the city's town hall, and was sold to Munich in 1805. From the private sphere, the painting found its way into the city's representation room and then into the royal collection of paintings. In this way, it transforms from an individual portrait to the city's pride in the "son of the city" and finally to a classic in art history.
作品名称：The Death of Hyacinthus.艺术家：Giovanni Battista Tiepolo.材料：oil on canvas.尺寸：287x232cm.创作年代：1752-53.
The subject of this large canvas is taken from Ovid’s Metamorphoses (Book X) and relates the fatal outcome of the love of the god Apollo for the mortal Hyacinthus. According to this classical tale, Hyacinthus died as a result of his own clumsiness when he threw a discus during a competition, wounding himself mortally in the head. Another version of the tale has it that it was Apollo who threw the discus, accidentally killing the youth as it rebounded off the ground or a rock. In other versions it was the wind Zephyrus who deflected the discus towards Hyacinthus out of jealously and unrequited love. Unable to bring the youth back to life, Apollo transformed him into a flower that Tiepolo depicts in a beautiful clump in the right-hand corner.
Tiepolo offered a rather free interpretation about the object that killed Hyacinthus, which here seems to be one of the tennis balls located next to a racquet beside him. A third ball, which, to judge from the position of his fingers, Hyacinthus seems to have been holding just before the accident, has rolled across the tiled floor to end up on the left of the composition. In addition, we see part of a net behind the closely packed group of onlookers on the left. This license regarding the story derives from the translation of Ovid of 1561 by Giovanni Andrea dell’Anguillara. In that text the discus is replaced by a tennis ball. Known at the time as pallacorda, the game was popular among the nobility in the 16th century and at the time when Tiepolo painted this canvas. The Querini Stampalia Foundation in Venice has a canvas by Gabriel Bella in which pairs of players are engaged in the sport in an enclosed court.
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