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18世纪初基督教衰落后,欧洲诗画中出现了自然崇拜的倾向。该倾向最初见于英国的自然诗和自然画,而后延及欧洲其它国家。该时期的英国诗画表现出对自然美和忧郁情调的神往,其中包括诗人汤普森、格雷、柯林斯的自然诗和画家根兹博罗、威尔逊的自然画。受英国自然诗画的启发,卢梭和歌德形成他们独特的自然艺术观,尤其卢梭将自然观融入他的社会思想。华兹华斯和科勒律治则运用纯灵感的方式来写自然诗,尤其华兹华斯的诗将自然与人性相融合。根兹博罗的画在表现自然上与华兹华斯十分相似。特纳的自然画更被认为是对格雷诗歌的注解。此后,自然画又经库尔贝的自然主义风景画,发展到印象派莫奈等人的自然画,从而演绎了欧洲绘画艺术中的自然崇拜。历史上还是第一次通过自然崇拜将欧洲的诗画紧密地联系在一起。
After the decline of Christianity in the early 18th century, there appeared a tendency of natural worship in European poetry and painting. This tendency was first seen in natural poetry and natural paintings in the United Kingdom, and later extended to other European countries. The British poems and paintings during this period showed a fascination with natural beauty and melancholy, including the poet Thompson, Gray, Collins’s natural poetry and painter Gendzboro and Wilson’s natural paintings. Inspired by the British natural poetry and painting, Rousseau and Goethe formed their unique concept of natural art. In particular, Rousseau integrated nature into his social thoughts. Wordsworth and Coleridge used purely inspirational ways to write natural poems, especially Wordsworth’s poems that merge nature with humanity. Genz Boluo’s paintings are very similar to Wordsworth’s in nature. Turner’s natural painting is more considered to be a comment on Gray’s poetry. Since then, natural paintings have developed into the natural paintings of Monet and the Impressionist by Courbet’s naturalistic landscape, thus deducing the natural worship in the European painting art. It is the first time in history that European poetry and painting is closely linked through natural worship.