法国科尔马医院François Sellal团队研究了文艺复兴时期绘画中的巴彬斯基征标志——《基督幼年之画像》中的脚趾现象。2020年12月10日，该研究发表在《英国医学杂志》上。

为了系统研究文艺复兴时期最伟大的画家在幼年基督的绘画中使用巴彬斯基征标志的情况，研究组检索公元1400至1550年间，从佛兰德、礼贤会和意大利学校创作的大量描绘幼年基督的绘画收藏，进行了一项观察性分析。研究样本包括302幅描绘幼年基督的文艺复兴时期绘画（由19位画家创作）。主要结局为巴彬斯基征，定义为拇指外展，幅度大于30°。还注意到脚底刺激的存在。

302幅画中有90幅（30％）毫无疑问地出现脚趾外展。罗吉尔·凡·德尔·维登、汉斯·梅姆林、 马丁·施恩高尔和马蒂亚斯·格鲁内瓦尔德的幼年基督画中，有60％以上都带有巴彬斯基征标志。在三幅画中还观察到双侧巴彬斯基征标志。

研究组在48/90（53％）的绘画中观察到了对鞋底的刺激，并且在安德烈·德尔·韦罗基奥、莱昂纳多·达芬奇和乔尔乔内的绘画中始终存在。巴彬斯基征标志的存在与画家活跃时期之间没有相关性。

幼年基督绘画中出现巴彬斯基征标志主要有四个因素：婴儿期的生理脚趾现象、15世纪的画家用基督实体表现来展示其化身、文艺复兴时期的画家需要精确的解剖观察、以及一些礼贤会和佛兰德画家描绘非常现实的细节的职业愿望。但意大利文艺复兴时期的大部分画家都倾向于将人体的美感理想化，他们通常不复制巴彬斯基征标志。

附：英文原文

Title: The Babinski sign in Renaissance paintings—a reappraisal of the toe phenomenon in representations of the Christ Child: observational analysis

Author: Franois Sellal, Laurent Tatu

Issue&Volume: 2020/12/10

Abstract:

Objective To investigate systematically the presence of the Babinski sign in paintings of the Christ Child by the greatest painters of the Renaissance.

Design Observational analysis.

Setting Large collection of paintings depicting the Christ Child from Flemish, Rhenish, and Italian schools between 1400 and 1550 CE, searched using published catalogues and Google.

Study sample 302 Renaissance paintings (by 19 painters) depicting the Christ Child.

Main outcome measure Babinski sign, defined as a hallux extension with an amplitude greater than 30°. The presence of foot sole stimulation was also noted.

Results An unquestionable upgoing toe was apparent in 90 (30%) of the 302 paintings. The Babinski sign was present in more than 60% of Christ Child paintings by Rogier van der Weyden, Hans Memling, Martin Schongauer, and Matthias Grünewald. A bilateral Babinski sign was observed in three paintings. Stimulation of the sole was noted in 48/90 (53%) paintings and was always present in paintings by Andrea del Verrocchio, Leonardo da Vinci, and Giorgione. No association existed between the presence of the Babinski sign and the period during which the painter was active.

Conclusions Four main factors were noted in relation to the representation of the Babinski sign in paintings of the Christ Child: the physiological toe phenomenon in infants, the representation of the nudity of the Christ by painters during the 15th century to demonstrate the incarnation, Renaissance painters’ need for precise observation of anatomy, and the desire of some Rhenish and Flemish painters to depict very realistic details. Italian Renaissance painters, whether Mannerist or not, tended to idealise the beauty of human body, and they often did not reproduce the Babinski sign.

DOI: 10.1136/bmj.m4556

Source: https://www.bmj.com/content/371/bmj.m4556