摘要
陀思妥耶夫斯基的观图之道主要体现在《美术学院1860-1861年画展》和《从博览会说起》两篇文章中。通过这两篇文章我们发现,陀思妥耶夫斯基厌恶表现负面情绪与极端场景的画作,推崇表现“美与崇高”的画作。陀氏强调画作的艺术真实,而要达到艺术真实,需要作者主观感受的参与,并“用心灵的眸子看世界”。画家要拥有这种感受则需要拒绝艺术创作的模式化与倾向性,即艺术创作需要有创作自由,这是艺术创作的第一要义。同时,陀氏认为人物画应当能够“发现人身上的人”,这与他探索人性的秘密的创作理念相关,也与其根基主义中“人民性”的思想观念有关。另外,陀氏认为欧洲人不能理解那些体现民族特征的俄罗斯最优秀的画作,这体现出他的民族主义的观念。
Dostoyevsky's manner of viewing paintings is mainly reflected in the two articles"Exhibition at the Academy of the Arts:1860-1861"and"From the Exposition".A review of these two essays reveals that he favored paintings that showed"grace and dignity"but hated those that showed negative emotions and extreme scenes.Dostoyevsky emphasizes the artistic reality of the painting,which requires the artist to observe the world with the subjective perception and"the eyes of the soul".The artist can obtain artistic reality only by rejecting the pattern and tendency of artistic creation.Artistic creation needs creative freedom,which is the first essence of artistic creation.Dostoyevsky considers that figure painting should be able to"see a person in any man",which is impacted by his creativity theory of exploring the secret of human nature and the ideological concept of"affinity to the people"in Pochvennichestvo.In addition,Dostoyevsky believes that the Europeans cannot understand those outstanding paintings that indicate national characteristics,which reflects his nationalism.
出处
《俄罗斯文艺》
2024年第2期39-50,共12页
Russian Literature & Arts
