解读布莱克的《坟墓里的抹大拉

Q3 Arts and Humanities

Blake - An Illustrated Quarterly Pub Date : 2020-10-05 DOI:10.47761/biq.269

G. Rosso

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引用次数: 0

摘要

1805年，布莱克为他的朋友兼赞助人托马斯·巴茨画了一幅美丽庄严的水彩画《坟墓里的抹大拉》。它描绘了约翰福音中关于复活的一个场景，捕捉到了玛利亚意识到出现在她面前的那个人是复活的耶稣之前的那一刻。抹大拉在坟墓是一个完美的例子，布莱克的化身美学和一个惊人的可视化他的解释方法，经文。通过选择说明约翰福音中的这一特定章节，他援引了著名的诺利我tangere传统，而背离了它，或者更准确地说，他完全拒绝进入它。

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Interpreting Blake’s The Magdalene at the Sepulchre

In 1805, Blake painted the beautiful, solemn watercolor The Magdalene at the Sepulchre for his friend and patron Thomas Butts. It illustrates a scene from the resurrection narrative in the gospel of John, capturing the moment before Mary recognizes that the figure who appears to her, outside the tomb, is the risen Jesus. The Magdalene at the Sepulchre is a consummate example of Blake’s incarnational aesthetic and a striking visualization of his interpretive approach to scripture. By choosing to illustrate this specific episode from John’s gospel, he invokes the illustrious Noli me tangere tradition while departing from it, or, more accurately, by refusing to enter it at all.

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来源期刊

Blake - An Illustrated Quarterly Arts and Humanities-Literature and Literary Theory

CiteScore

0.10

自引率

0.00%

发文量

期刊介绍： Blake/An Illustrated Quarterly was born as the Blake Newsletter on a mimeograph machine at the University of California, Berkeley in 1967. Edited by Morton D. Paley, the first issue ran to nine pages, was available for a yearly subscription rate of two dollars for four issues, and included the fateful words, "As far as editorial policy is concerned, I think the Newsletter should be just that—not an incipient journal." The production office of the Newsletter relocated to the University of New Mexico when Morris Eaves became co-editor in 1970, and then moved with him in 1986 to its present home at the University of Rochester.