本文選題：彼得一世　切入點：形象　出處：《北京外國語大學》2017年碩士論文　論文類型：學位論文

【摘要】：彼得一世(1672年一1725年),后世稱其為"彼得大帝",1682年即位,1689年掌握實權(quán)發(fā)動改革。彼得大帝一般被認為是俄羅斯最杰出的皇帝�？梢哉f,近代俄國的政治、經(jīng)濟、文化、教育、科技等方面的發(fā)展史無不源于彼得大帝時代。普希金曾說,"至于彼得大帝,他一個人就是一整部歷史! "1毫不夸張地說,沒有彼得一世和他實行的改革措施,就不會有18世紀中后期強大的俄羅斯帝國。然而,彼得一世的改革用極其野蠻和殘暴的手段強行割斷俄羅斯的傳統(tǒng)生活方式,代之以歐洲生活典范的做法也引起了許多人的不滿和歷史學家的爭議。從彼得時代至今,歷史學家對彼得一世及其改革的評價依然褒貶不一。他既是殘忍的暴君,復雜多變、獨斷專行,又是偉大的政治家,勵精圖治、大膽改革。就是這樣一個充滿爭議、矛盾、又極其重要的歷史人物吸引了諸多俄羅斯和外國畫家的興趣。從彼得大帝時期至今,在俄羅斯共計近200幅有關(guān)沙皇改革家的各類畫作,其中包括肖像畫、歷史畫、風俗畫、諷刺漫畫作品等等。不同時代的畫作反映不同時代對彼得一世的社會主流評價和看法,因此本論文的主要任務在于以18—20世紀初不同時代歷史學家和哲學家對彼得一世的主流評價為基礎(chǔ),按照時間順序全面客觀地分析不同時代俄羅斯繪畫作品中所塑造的不同的彼得一世形象,并由此總結(jié)從18至20世紀初不同時代藝術(shù)家畫筆下彼得一世形象的演變規(guī)律。本論文的創(chuàng)新之處主要體現(xiàn)在以下三點:首先,目前在國內(nèi)外,關(guān)于18-20世紀初俄羅斯繪畫作品中的彼得一世形象還處于少有人研究的階段,尤其國內(nèi)在這方面的研究還處于空白階段,因此本論文的選題頗具新意,在一定程度上為國內(nèi)彼得一世的研究添磚加瓦。其次,本論文以俄羅斯不同時代的史學理論為基礎(chǔ),所研究繪畫作品也前所未有地涵蓋了 18到20世紀初,無論在分析的深度,還是研究材料的時間跨度上,都有本質(zhì)突破。最后,本論文將各自獨立的歷史研究領(lǐng)域與繪畫研究領(lǐng)域有機地結(jié)合起來,是一種跨學科的新型研究思路,為彼得大帝研究提供了新的研究方法和研究視角。本論文由前言、主體部分三章、結(jié)語、參考文獻和論文所涉繪畫作品附錄組成:前言部分闡明了該選題的意義,指明了論文的理論和實際意義,提出了論文的研究目的和研究任務,指出了論文的材料來源和創(chuàng)新之處,并介紹了論文的主體結(jié)構(gòu)。論文的第一章主要分析18世紀俄羅斯繪畫作品中的彼得一世形象。這一章由三個部分組成,第一部分主要研究18世紀被彼得一世邀請到俄國作畫的外國畫家的作品,其中包括德國畫家約翰·戈特弗里德·唐納烏艾爾、法國畫家路易斯·卡拉瓦克等畫家的作品。第二部分則主要探討18世紀俄羅斯本土畫家安德烈·馬特維耶夫和伊凡·尼基金的繪畫作品中所體現(xiàn)的彼得一世形象,第三部分為本章小結(jié)。論文的第二章主要分析19世紀俄羅斯繪畫作品中的彼得一世形象。在這一章中我們在前兩個小節(jié)中分別研究了彼得一世在19世紀俄羅斯繪畫作品中被理想化的君主形象和沒有被理想化的"人"的形象。艾瓦佐夫斯基、列賓、蓋、蘇里科夫等一系列著名畫家的繪畫作品在本章中都有涉及。論文的第三章主要探討19世紀末至20世紀初俄羅斯藝術(shù)世界派畫家作品中的彼得一世形象。該章主要分為三小節(jié)。第一小節(jié)主要以亞歷山大·貝努阿、多布任斯基的繪畫作品為例,分析了俄羅斯藝術(shù)世界派畫家作品中戲劇性的彼得一世形象。在第二小節(jié)中,著重分析了謝洛夫作品中充滿矛盾的彼得一世形象�；谏鲜鰧�18至20世紀初不同時代藝術(shù)家畫筆下的彼得一世形象所進行的分析,該論文得出以下幾點結(jié)論:一、在18世紀被彼得一世邀請到俄國作畫的外國畫家的作品中,在象征性背景(如天使、勝利花環(huán)、勛章、戰(zhàn)爭場面等)的襯托下,彼得一世大多被塑造為一個偉大、英勇、強有力的君主形象。而在18世紀俄國本土畫家的作品中,畫家更傾向于不借助任何象征性背景體現(xiàn)彼得大帝本身的人格魅力,以及彼得一世內(nèi)心世界的描寫,如尼基金向我們展示了一個面對死亡無力的矛盾的彼得一世形象。二、在19世紀的俄羅斯繪畫作品中,除了大部分畫家,如艾瓦佐夫斯基、列賓等繼續(xù)延續(xù)彼得一世傳統(tǒng)理想化君主的形象刻畫外,部分畫家選擇為自己的作品中注入更多的現(xiàn)實主義元素和心理刻畫的成分。在蓋和蘇里科夫的作品中,我們看到了一個像普通人一樣、內(nèi)心處于巨大矛盾沖突中的彼得一世形象。三、19世紀末至20世紀初,主要由于變革時代背景的特殊性以及俄羅斯藝術(shù)世界派本身所具有的革命性和創(chuàng)新性的特點,彼得一世成為了藝術(shù)世界派畫家的關(guān)注對象。這個時代的俄羅斯繪畫藝術(shù)總體呈現(xiàn)戲劇性、裝飾性的特點,如在貝努阿的作品中,彼得一世的形象并不是一個真實的存在,而更像是一個不明的幻影,是一種改革和西歐主義的象征。而謝洛夫筆下的彼得一世則是沖突和矛盾的:他既偉大又可怕,既充滿神話色彩又像普通人一般孤獨。四、綜上所述,從18世紀至20世紀初的俄羅斯繪畫作品中的彼得一世形象自始至終都呈現(xiàn)多面性的特點,每個時代都有兩種繪畫風格相對立。但是不管畫家們對彼得一世的形象進行了怎樣地刻畫,不可否認的是彼得一世對俄羅斯整個歷史進程的發(fā)展具有不可替代的重大意義。愿本文能幫助中國的俄語學習者們更深入地了解彼得一世和俄羅斯的繪畫藝術(shù)。
[Abstract]:Peter Thi (1672 1725), later known as the "emperor Peter", in 1682 1689 launched a powerful throne, reform. Emperor Peter is generally considered to be the most outstanding Russian emperor. It can be said that the modern Russian political, economy, culture, education, science and technology and other aspects of the history from the time of Peter the great. Pushkin once said, "as for the emperor Peter, he is a person of a whole history of 1!" it is no exaggeration to say that without Peter and his implementation of the reform measures, there will be no Russian Empire in the late eighteenth Century strong. However, Peter Thi's reforms with extremely brutal and cruel means to cut the traditional way life in Russia, the European model of life has aroused many people's dissatisfaction and historians dispute. Since the Peter era, historians evaluation of Peter Thi and the reform is still not appraise 1. He is a cruel tyrant, complex, autocratic, and a great politician, good governance, bold reform. Is such a controversial and contradictory, and extremely important historical figures attracted many Russian and foreign artists from Peter the great period of interest. So far, in Russia a total of nearly 200 works on the Tsar all kinds of reformer paintings, including a portrait painting, history painting, genre painting, caricature works and so on. In different times, different era paintings reflect the mainstream of social evaluation of Peter Thi and the view, so the main task of this thesis is that from 18 to early twentieth Century the mainstream historians and philosophers in different times of Peter Thi as the foundation, comprehensive and objective analysis of the shape of different era of Russian paintings in different Peter I image according to the time order, and then analyzes from 18 to early twentieth Century Evolution of the image of Peter Thi painted by artists in different times. This thesis innovation is mainly reflected in the following three points: first, at present, about 18-20 century Russian paintings in the image of Peter Thi is still much research stage, especially the domestic research in this area is still in the blank stage. The topic is new, to a certain extent for the domestic research of Peter I do. Secondly, this thesis is based on the different times of the Russian Historiography, the paintings also unprecedented coverage of the 18 to the beginning of twentieth Century, regardless of the depth of analysis, or the research materials on time span, there are essential breakthroughs. Finally, this paper will separate the history of research and research in the field of painting organically, is a new interdisciplinary research way of thinking, is he Provides a new research method and perspective to the research. This thesis consists of the introduction, the main part of the three chapter, conclusion, references and papers involved in painting the appendix: the preface expounds the significance of the topic, points out the theoretical and practical significance, put forward the research aim and task. It pointed out the material sources and innovations, and introduces the main structure of the thesis. The first chapter mainly analyzes the eighteenth Century Russian paintings in the image of Peter Thi. This chapter consists of three parts, the first part of eighteenth Century invited by Peter Thi to the Russian foreign painting painter's works, including the German painter John Gottfried Donauil, French painter Luis Caravac and other artists. The second part is to discuss the eighteenth Century Russian painter. The embodiment of Andre Matveyev and Ivan, the fund's paintings in the image of Peter Thi, the third part is the summary of this chapter. The second chapter mainly analyzes the nineteenth Century Russian paintings in the image of Peter Thi. In this chapter we in the first two sections were studied in Peter Thi in nineteenth Century the Russian paintings are ideal the monarch was not the ideal image and the image of "people". Aivazovsky, Repin, Surikov cover, and a series of famous paintings are involved in this chapter. The third chapter mainly discusses the late nineteenth Century to early twentieth Century Russian art world painter works in the image of Peter Thi. This chapter divided into three sections. The first section mainly by Alexander Benoit, dobrzyn's paintings as an example, analysis of the Russian art world as a painter In the dramatic Peter I image. In the second section, this thesis analyzes the contradiction between the image of Peter Thi is full of love works. By analyzing the 18 to early twentieth Century artists in different times under the brush based on the image of Peter Thi, the paper draws the following conclusion: first, in eighteenth Century Peter Thi was invited to Russia. Foreign artists, in the symbolic background (such as angels, victory wreath, medal, war scenes etc.) the background, Peter I was mostly portrayed as a great, brave, powerful monarch image. In eighteenth Century the Russian local artists, painters tend to reflect Peter's own the charm of personality without the aid of any symbolic background, and Peter I of the description of the inner world, such as: the fund gives us a contradiction in the face of death to Peter I of the image. Two, in the works of Russian painting in nineteenth Century, in addition to most artists, such as Aivazovsky, Repin and Peter Thi continue to follow the traditional ideal monarch image portray, some artists for his works into more realistic elements and psychological components. Depicted on the cover and the Surikov works, we see a heart like ordinary people in great conflict in the image of Peter Thi. In three, at the end of nineteenth Century to early twentieth Century, mainly due to the special nature of the change of era background and characteristics of Russian art world to send the body of revolutionary and innovative, Peter Thi became a painter of the art world. Russia shows an overall concern in this era of dramatic art, decorative features, such as in the works of Benoit, Peter Thi's image is not a true existence In, it is more like a clear vision, is a symbol of reform and western humanism. And love under the pen of Peter Thi is the conflict and contradiction: he is great and terrible, is full of myth like ordinary people alone. Four, to sum up, from eighteenth Century to early twentieth Century Russian painting works the image of Peter Thi in the show features from first to last multi-faceted, every era has two kinds of painting style opposite. But no matter the painters to Peter Thi's image of how to describe, it is undeniable that the irreplaceable significance of Peter Thi Russia throughout the course of history development. This article can help Chinese Russian learners have a deeper understanding of Peter and Russia's art of painting.

【學位授予單位】：北京外國語大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J205

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