Andrzej Franaszek
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摘要

这篇文章的作者描述了Józef Czapski在1930年的一次西班牙之行。这位杰出的画家和散文家,见证了卡蒂奇大屠杀,巴黎《文化》杂志的共同创刊人,波兰流亡知识分子的生活,在游历马德里及其周边地区近两个月时,仍是一位年轻的艺术家,寻找着最贴近自己灵魂的绘画诗学。参观普拉多给他带来了两大发现:埃尔·格列柯和戈雅的作品。对查普斯基来说,格列柯是宗教绘画的迷人典范,同时又忠实于视觉,忠实于看待世界的方式。戈雅的艺术主题和风格范围令查普斯基着迷——从“官方”宫廷肖像到近乎超现实的景象的戏剧性记录,反映了艺术家对人类堕落的基本信念。西班牙之旅对查普斯基来说还有另一个意义——在某种程度上,这是一次追随阿维拉的圣特蕾莎修女的脚步的旅行,从广义上讲:对神秘体验在人类精神生活中的作用的反思。从艺术和宗教这两个角度来看,与西班牙文化的相遇似乎是Józef查普斯基传记中更重要和决定性的情节之一。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Królestwo Boże (Józefa Czapskiego podróż do Hiszpanii w roku 1930)
The author of the article describes a trip to Spain made by Józef Czapski in 1930. This outstanding painter and essayist, witness to the Katyń massacre, co-creator of the Parisian magazine "Kultura" [Culture] and Polish intellectual life in exile, at the time of visiting Madrid and its nearby areas for nearly two months was still a young artist, looking for the painting poetics closest to his soul. The visits to the Prado brought him two great discoveries: the works of El Greco and Goya. For Czapski, El Greco is a captivating example of religious painting and simultaneously – fidelity to the vision, the way of seeing the world. Goya fascinated Czapski with the thematic and stylistic range of his art – from “official” court portraits to dramatic records of nearly surreal visions, reflecting the artist’s fundamental belief in human depravity. The trip to Spain also had another meaning for Czapski – it was in a way a journey in the footsteps of St. Teresa of Avila, broadly: a reflection on the role of mystical experience in the spiritual life of man. From these two perspectives: artistic and religious, the encounter with the Spanish culture appears to be one of the more important and fateful episodes in the biography of Józef Czapski.
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