马可夫斯基艺术作品中的“艺术文本”:修辞修辞与视觉修辞

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie Pub Date : 2023-01-01 DOI:10.21638/spbu15.2023.203
I. A. Afanaseva
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引用次数: 0

摘要

本文致力于研究著名艺术家弗拉基米尔·马可夫斯基(Vladimir Makovsky, 1846-1920)作品中的视觉语义学。这位画家以杰出的“小流派”大师的身份进入了俄罗斯美术史,他在绘画中创作了一个简短而迷人的故事。当代人把马可夫斯基画作中的人物与果戈理、屠格涅夫、奥斯特洛夫斯基、托尔斯泰、高尔基、契诃夫作品中的英雄人物进行比较,这并非巧合。作者尝试跨学科的研究,从语言学的角度分析马可夫斯基绘画中的“艺术文本”,运用适当的方法论和术语,并触及对马可夫斯基艺术作品的心理感知和理解问题。本文将马可夫斯基绘画中的修辞手法(对偶、比较、隐喻、转喻、夸张)与视觉修辞进行了比较,并通过具体的例子,考察了心理景观、引用、艺术细节、镜子、观察者的位置、“故事中有故事”(“画中有画”)在绘画中的作用。语言作为一种文化密码,具有两种形式上相反的功能:一方面,它保存和再现传统,另一方面,它通过创造性创新提供动力。言语语言在时间上对观者的影响是逐步的,语言要素的顺序是明确的,视觉语言对观者的影响是一步一步的,复杂的。在马可夫斯基的艺术作品中,有一种强烈的技术渗透和与文学传统相关的形象联想参考。文学和视觉艺术的艺术表现手段反映了与创造和转化活动有关的一般心理操作者的行为。
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‘Artistic Text’ in the Artworks of V.E.Makovsky: Rhetorical Figures and Visual Tropes
The article is devoted to the study of visual semantics in the artworks of the famous artist Vladimir Makovsky (1846–1920). This painter entered the history of Russian art as an outstanding master of “small genre”, the author of a short, fascinating story in painting. It is no coincidence that the contemporaries compared the characters in V. Makovsky’s paintings with the heroes of N. Gogol’s, I. Turgenev’s, A. Ostrovsky’s, L. Tolstoy’s, M. Gorky’s, A. Chekhov’s works. The author makes an attempt of interdisciplinary research, analyzing the “Artistic text” in V.Makovsky’s paintings in the aspect of philological problems, using the appropriate methodology and terminology, as well as touching upon the issues of psychological perception and comprehension of his works of art. The article draws parallels between the rhetorical figures (antithesis, comparison, metaphor, metonymy, hyperbole) and the visual tropes in V.Makovsky’s paintings and, using specific examples, examines the role of the psychological landscape, quotation, artistic detail, mirror, observer’s position, the techniques of “story in a story” (“picture in a picture”) in painting. Language — a cultural code — performs two formally opposite functions: on the one hand, it preserves and reproduces traditions, and on the other, it provides dynamics through creative innovation. Verbal language affects the viewer gradually in time, with a clear sequence of language elements, visual language affects the viewer one-step and complex. It is argued that in V. Makovsky’s artworks there is an intense penetration of techniques and image-associative references associated with literary tradition. The means of artistic expression in literature and in visual arts reflect the action of general mental operators associated with creation and transformation activities.
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来源期刊
CiteScore
0.20
自引率
50.00%
发文量
9
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