nav emailalert searchbtn searchbox tablepage yinyongbenwen piczone journalimg journalInfo searchdiv qikanlogo popupnotification paper paperNew
2024, 02, 12-26
20世纪初俄国先锋派美术对民族文化符号的再创造
基金项目(Foundation):
邮箱(Email):
DOI: 10.16238/j.cnki.rla.2024.02.010
摘要:

20世纪初俄国先锋派在俄罗斯艺术史上发挥着举足轻重的作用。它不仅为十月革命后的先锋派提供了重要的理论与实践准备,将俄国艺术推上世界现代艺术舞台并成为其重要组成部分,而且在20世纪初俄国致力于精神复兴的时代背景下,参与并有效推动了知识分子对民族身份的重新思考和民族精神的重构。本文将分析在西欧现代主义思潮的冲击下,20世纪初俄国先锋派如何对本土传统的民族文化符号进行再创造,形成代表俄国身份、具有现代审美特征的原创性视觉艺术。

Abstract:

The Russian avant-garde at the beginning of the 20th century played a pivotal role in the entire art history in Russia. It not only provided important theoretical and practical preparations for the post-October Revolution avant-garde,pushed Russian art onto the stage of the world's modern art and became its important part, but also participated in and effectively promoted the intellectuals' rethinking of the national identity and the reconstruction of the national spirit in the context of Russia's commitment to spiritual revival at the beginning of the 20th century. In this paper, we will analyze how the Russian avant-garde in the early 20th century, under the impact of the modernist trend in Western Europe, re-created the national cultural symbols of the local tradition and formed an original visual art that represented the Russian identity and had modern aesthetic characteristics.

参考文献

[1] Sarabianov D. V. Russian and Soviet Painting[M]. J.E. Bowlt trans. New York:Metropolitan Museum of Art,1977.

[2]Бердяев Н.А.Самопознание.Опым философской автоблиографии[M].Москва:Издательство Книга. 1991.

[3]Сарабьянов Д. B.История Русского Искусства[M].Москва:Aст-Пресс, 2001.

[4]Сарабьянов Д.В.Русская живопись.Пробуждение памяти[N].М.:Искусствозна-ние. 1998.с. 276-277.

[5] Charlotte Cummings Douglas. Swans of Other World:Kazimir Malevich and The Origins of Suprematism:1908-1915[D]. Austin:The University of Texas at Austin,1975.

[6] John E. Bowlt. Russian Art of the AvantGarde:Theory and Criticism. 1902-1934[M].London:Thames&Hudson. 2017.

[7]Сарабьянов Д.В.Русская живопись.Пробуждение памяти[M].М.:Искусствозн-ание. 1998.

[8] Anthony Smith. Nationalism and Modernism[M]. London:Routledge. 1998.

[9] Evgueny Kovtun. Russian Avant-Garde[M].Parkstone Press, 2007.

[10] Günter Berghaus. International Yearbook of Futurism Studies 2016[M]. Berlin:De Gruyter.2016.

[11][法]福柯,哈贝马斯,布尔迪厄:激进的美学锋芒[M],周宪译,中国人民大学出版社,2003。

[12] Leonid Ouspensky. Theology of the Icon[M].trans. Anthony Gythiel,Crestwood. N.Y.:St.Vladimir’s Seminary Press. 1992(2).

[13] Jefferson J.A. Gatrall. Douglas Greenfield.Alter Icons:The Russian Icon and Modernity[M]. University Park. PA:Penn State University Press. 2010.

[14] Sarah Warren. Mikhail Larionov and the Cultural Politics of Late Imperial Russia[M].Farnham:Ashgate. 2013.

[15] Murray Natalia. The unsung hero of the Russian avant-garde the life and times of Nikolay Punin[M]. Leiden; Boston:Brill. 2012.

[16] Malevich K.S. Essays on art[M]. Xenia Glowacki-Prus. Arnold Mcmillin trans. Troels Andersen ed. Borgen Copenhagen. 1971.

[17] Myroslava M. Mudrak. Byzantium/Modernism:The Byzantine as Method in Modernity[M].Bill. 2015.

[18]Малевич Казимир.Черный квадрат[M].СПб.:Азбука. 2001.

[19][俄]马列维奇:非具象世界[M],张含译,中国建筑工业出版社,2018。

[20]Флоренский П.А.Иконостас[M].М.:Искусство,1995.

[21]Бенедикт Лившиц.Полутораглазый Стрелец[M].Ленинградское:Издательство《Советскийписатель》. 1989.

[22]徐凤林:东正教圣像史[M].北京,北京大学出版社,2012。

[23] Bissera Pentcheva. The Sensual Icon:Space.Ritual. and the Senses in Byzantium[M].University Park. Pennsylvania State University Press. 2010.

[24]Котович Т.В.Модернистские театральные эксперименты К.Малевича[J]//Дом Бурганова.Пространство культуры. 2012.№3.

[25]Тарабукин Н.М.Смысликоны[M].Москва:Издательство Православного Братства Святителя Филарета Московского. 1999.

[26]Малевич К.С.Государственникамотискусства[M].МалевичК.С.Собраниесочиненийв5томах, 1995.

[27]Ампилова А.А.Супрематизм и иконопись:К Проблеме формы и содержания в изобразит ельном искусстве начала хх века[J]//Преподаватель XXI век. 2009.№4.

[28]Бычков В.В.Икона и русский авангард начала ХХ века[M].Коревище О.Б.Книга неклассической эстетики[M].М:ИФ РАН.1998.

[29] Yu. A. Rusakov and John E. Bowlt. Matisse in Russia in the Autumn of 1911[J]//The Burlington Magazine. May. 1975. Vol. 117.№866.

[30] Lloyd Jill. German Expressionism.Primitivism and Modernity[M]. New Haven:Yale University Press. 1991.

①“给公众品味一记耳光”是1912年由大卫·布尔柳克、阿列克谢·克鲁契尼赫、弗拉基米尔·马雅可夫斯基和维利米尔·赫列勃尼科夫共同签名的俄国立体未来主义者第一份宣言的标题。

基本信息:

DOI:10.16238/j.cnki.rla.2024.02.010

中图分类号:J209.9;K512.4

引用信息:

[1]孙媛媛.20世纪初俄国先锋派美术对民族文化符号的再创造[J].俄罗斯文艺,2024(02):12-26.DOI:10.16238/j.cnki.rla.2024.02.010.

基金信息:

检 索 高级检索

引用

GB/T 7714-2015 格式引文
MLA格式引文
APA格式引文