肖像学:乌克兰人的巴洛克心态

O. Bogomolets
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引用次数: 0

摘要

本文以Radomysl城堡博物馆展出的专业和民间巴洛克图标为实证背景,揭示了乌克兰巴洛克图标绘画的构图、艺术和思想特征。它的形象和理想与乌克兰人的民族性格和公众愿望的巧合也被描述。正是由于这一点,在长期无国籍和文化去中心化的时期,乌克兰巴洛克图标绘画(无论是专业的还是民间的)成为了呈现集体回忆的主要手段,这是保存民族和文化身份以及社会理想的基础。随着时间的推移,后者转变为无意识地决定乌克兰人意识形态和价值优先事项的心智模式。从Radomysl城堡博物馆收藏的巴洛克式图标的构图规范可以看出,他们深受世界变革的思想影响,并通过英雄的苦行活动在地球上实现天国,这是巴洛克世界观的基础。对于一个“巴洛克时代”的人来说,这样的英雄不仅是东正教圣人,还有宗教和政治人物。此外,有人认为他们甚至可以无视基督教道德家的要求,以促进人民的具体切身利益。他们的苦行活动被认为是改造世界的主要先决条件之一,改造世界的原型是上帝之母。对乌克兰人来说,她不仅是弱势群体和受苦者不知疲倦的保护者,而且是无私的爱的原型,这种爱将统治世界(“神圣的乌克兰土地”),这是乌克兰转型的结果。乌克兰人对圣徒保护的真诚希望,加上对神圣“无所不在”和上帝智慧充满整个世界的不可动摇的信仰,导致在乌克兰意识中建立了本体论乐观主义。这意味着相信不需要个人努力就能最终克服生活中的所有障碍。由于19世纪民族复兴的精神领袖(以塔拉斯·舍甫琴科及其文学和艺术遗产为绝对主导地位),乌克兰巴洛克图标绘画形成和传播的思想和心理模型获得了世俗特征。他们继续决定着乌克兰人的思维方式和行为方式。即使在今天,他们仍然真诚地相信,世界的复兴和新的公正秩序的形成不需要任何个人的努力,而是需要一些他们称之为英雄的力量来实现。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
ICONOGRAPHY: ON BAROQUE MENTALITY OF UKRAINIANS
Based upon the empirical background of professional and folk baroque icons represented in the Radomysl Castle Museum’s exhibitions, this article reveals the compositional, artistic and ideological characteristics of the Ukrainian baroque icon painting. The coincidence of its images and ideals with the national character and public aspirations of Ukrainians is also described. It is due to this that the Ukrainian baroque icon painting (both professional and folk) in the time of long statelessness and cultural decentralization became the main means of rendering collective reminiscences that are basic for the preservation of ethnic and cultural identity, and social ideals with them. The latter transformed over time into mental models that unconsciously determined the ideological and value priorities of Ukrainians. They, as evidenced by the compositional specification of the baroque icons presented in the Radomysl Castle Museum’s collection, were much influenced by the ideas of the world’s transformation and achieving the Kingdom of Heaven on earth through the ascetic activity of heroes, which was basic for the baroque worldview. For a man of the “Baroque era,” such heroes were not only Orthodox saints, but also religious and political figures. Moreover, it was assumed that they could even ignore the demands of Christian moralists for the sake of promoting the specific vital interests of the people. Their ascetic activity was considered one of the main prerequisites for the transformation of the world, the prototype of which was the Mother of God. For Ukrainians, she was not only a tireless patron for disadvantaged and suffering ones, but also a prototype of the selfless love that would rule the world (“the holy Ukrainian land”), as the result of its transformation. The sincere hope of Ukrainians for the protection of saints, combined with an unshakable faith in the divine “omnipresence” and the fullness of the whole world with God’s wisdom led to the establishment of ontological optimism in the Ukrainian consciousness. This means the belief in the ultimate overcoming of all life obstacles without personal efforts. Ideas and mental models formed and transmitted by Ukrainian baroque icon painting, due to the spiritual leaders of the 19th century’s national revival (with the absolute primacy of Taras Shevchenko and his both literature and art heritage) acquired secular features. They continued to determine the way of thinking and behavior of Ukrainians. Even today, they sincerely believe that the renewal of the world and the formation of new and just order does not require any personal effort and is to be achieved by the forces of some heroes they would call.
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