《追忆似水年华》中维米尔的三重出现及绘画的隐喻

Vermeer’s Triple Presence and Painting as a Metaphor in Proust’s In Search of Lost Time

绘画艺术在小说《追忆似水年华》中占据着非常重要的位置,维米尔作为普鲁斯特本人最喜爱的画家,在整部作品中有着独一无二的崇高地位。本文将对维米尔在作品中的反复出现作全面的梳理和分析,将之归纳为三种情况:一、融入情节、刻画小说人物的性格特质;二、以场景描写来复现维米尔的画面;三、通过贝戈特之死直接阐发维米尔绘画的启示。通过上述分析讨论维米尔在不同文本层面的隐喻意义,并指出维米尔绘画、尤其是其代表作《德尔夫特小景》对写作者普鲁斯特的启示:如何于日常中发现真理、艺术品所能矫正的视野及艺术家的天职等。

The art of painting occupies a very important position in Proust’s In Search of Lost Time. As Proust’s favorite painter, Jan Vermeer enjoys a unique and high status in the whole novel. This article will make a comprehensive survey and analysis of Vermeer’s numerous appearances in the novel, and categorise them into three main themes: firstly, Vermeer as a reference for portraying the personality traits of the characters in the novel;secondly, the image of Vermeer’s painting as model for scenic description;thirdly, Bergotte’s death as a direct manifestation of revelation from Vermeer’s paintings.Through the above analysis, I will discuss the Vermeer’s metaphorical significance on different textual levels, and point out in what aspects Vermeer’s paintings, especially his representative work View of Delft, inspired Proust: truth in everyday life, the vision that artworks offer, and the real vocation of the artist.