陀思妥耶夫斯基的“高级现实主义”--艺术批评中的圣像美学

Higher Realism:Icon Aesthetics in Dostoevsky’s Art Criticism

陀思妥耶夫斯基的美学观介于功利主义美学观和纯艺术论之间,既肯定艺术的绝对价值,也认为艺术有其“观念性”和“倾向性”,具有超出美学的道德和社会价值。陀思妥耶夫斯基称自己的创作是“高级现实主义”或者说“更深刻的、真正的现实主义”,他并不满足于自然主义式地、准确地再现现实生活的事实,而更强调人的精神世界的现实,认为物质的现实应该向着精神现实“变容”。基督教思想及美学是贯穿他一生创作的审美偏好,他对绘画作品的评论以圣像画的创作和观看方式为批评标准,圣像画力图表现的不是此世的现实和人体的优美,而是指向肉眼看不见的“另一个世界”,传达基督教的精神内涵和教义。陀思妥耶夫斯基要求艺术家具有“看”的能力、对不可见精神世界的洞见,即看见“更大、更广、更深的东西”的“视力”。陀思妥耶夫斯基的审美判断的根据是基督教美学观,他对现实的看法根本上是宗教性的,他的“最高现实”概念是神学话语“变容的世界”的美学表述。

Dostoevsky’s aesthetic view is somwhere between that of an and pure art theories,recognizing the absolute value of art and believing in the"conceptuality"and"proneness"of arts,which has moral and social values beyond aesthetics.By defining his works as"high-level realism"or"more profound,real realism",Dostoevsky is unsatisfied with reproducing the life that occurs in the real world naturally and accurately,but emphasizes the reality of the human spiritual world,thinking that material reality should be"transcended"toward spiritual reality.With a preference for Christian thoughts and aestheticsthroughout his life,he takes the creating and viewing of icon paintings as the criteria for painting comments,and holds that iconic paintings do not represent the reality of this world or the beauty of the human body,but the"other world"that is invisible to the naked eye,and therefore conveys the spiritual connotation and doctrine of Christianity.Dostoevsky thinks the artists should have the ability to"see"and the insight into the invisible spiritual world,namely,being able to see the"bigger,wider,deeper things".In all,his view of reality is fundamentally religious and his concept of"the highest reality"is the aesthetic expression of the theological discourse named"the transfigured world".