本文選題：彼得一世　切入點(diǎn)：形象　出處：《北京外國(guó)語(yǔ)大學(xué)》2017年碩士論文　論文類型：學(xué)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(shí)權(quán)發(fā)動(dòng)改革。彼得大帝一般被認(rèn)為是俄羅斯最杰出的皇帝�？梢哉f(shuō),近代俄國(guó)的政治、經(jīng)濟(jì)、文化、教育、科技等方面的發(fā)展史無(wú)不源于彼得大帝時(shí)代。普希金曾說(shuō),"至于彼得大帝,他一個(gè)人就是一整部歷史! "1毫不夸張地說(shuō),沒(méi)有彼得一世和他實(shí)行的改革措施,就不會(huì)有18世紀(jì)中后期強(qiáng)大的俄羅斯帝國(guó)。然而,彼得一世的改革用極其野蠻和殘暴的手段強(qiáng)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(xué)家的爭(zhēng)議。從彼得時(shí)代至今,歷史學(xué)家對(duì)彼得一世及其改革的評(píng)價(jià)依然褒貶不一。他既是殘忍的暴君,復(fù)雜多變、獨(dú)斷專行,又是偉大的政治家,勵(lì)精圖治、大膽改革。就是這樣一個(gè)充滿爭(zhēng)議、矛盾、又極其重要的歷史人物吸引了諸多俄羅斯和外國(guó)畫(huà)家的興趣。從彼得大帝時(shí)期至今,在俄羅斯共計(jì)近200幅有關(guān)沙皇改革家的各類畫(huà)作,其中包括肖像畫(huà)、歷史畫(huà)、風(fēng)俗畫(huà)、諷刺漫畫(huà)作品等等。不同時(shí)代的畫(huà)作反映不同時(shí)代對(duì)彼得一世的社會(huì)主流評(píng)價(jià)和看法,因此本論文的主要任務(wù)在于以18—20世紀(jì)初不同時(shí)代歷史學(xué)家和哲學(xué)家對(duì)彼得一世的主流評(píng)價(jià)為基礎(chǔ),按照時(shí)間順序全面客觀地分析不同時(shí)代俄羅斯繪畫(huà)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(jì)初不同時(shí)代藝術(shù)家畫(huà)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(diǎn):首先,目前在國(guó)內(nèi)外,關(guān)于18-20世紀(jì)初俄羅斯繪畫(huà)作品中的彼得一世形象還處于少有人研究的階段,尤其國(guó)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(guó)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(shí)代的史學(xué)理論為基礎(chǔ),所研究繪畫(huà)作品也前所未有地涵蓋了 18到20世紀(jì)初,無(wú)論在分析的深度,還是研究材料的時(shí)間跨度上,都有本質(zhì)突破。最后,本論文將各自獨(dú)立的歷史研究領(lǐng)域與繪畫(huà)研究領(lǐng)域有機(jī)地結(jié)合起來(lái),是一種跨學(xué)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(yǔ)、參考文獻(xiàn)和論文所涉繪畫(huà)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(shí)際意義,提出了論文的研究目的和研究任務(wù),指出了論文的材料來(lái)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(jì)俄羅斯繪畫(huà)作品中的彼得一世形象。這一章由三個(gè)部分組成,第一部分主要研究18世紀(jì)被彼得一世邀請(qǐng)到俄國(guó)作畫(huà)的外國(guó)畫(huà)家的作品,其中包括德國(guó)畫(huà)家約翰·戈特弗里德·唐納烏艾爾、法國(guó)畫(huà)家路易斯·卡拉瓦克等畫(huà)家的作品。第二部分則主要探討18世紀(jì)俄羅斯本土畫(huà)家安德烈·馬特維耶夫和伊凡·尼基金的繪畫(huà)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(jì)俄羅斯繪畫(huà)作品中的彼得一世形象。在這一章中我們?cè)谇皟蓚�(gè)小節(jié)中分別研究了彼得一世在19世紀(jì)俄羅斯繪畫(huà)作品中被理想化的君主形象和沒(méi)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(huà)家的繪畫(huà)作品在本章中都有涉及。論文的第三章主要探討19世紀(jì)末至20世紀(jì)初俄羅斯藝術(shù)世界派畫(huà)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(huà)作品為例,分析了俄羅斯藝術(shù)世界派畫(huà)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�(duì)18至20世紀(jì)初不同時(shí)代藝術(shù)家畫(huà)筆下的彼得一世形象所進(jìn)行的分析,該論文得出以下幾點(diǎn)結(jié)論:一、在18世紀(jì)被彼得一世邀請(qǐng)到俄國(guó)作畫(huà)的外國(guó)畫(huà)家的作品中,在象征性背景(如天使、勝利花環(huán)、勛章、戰(zhàn)爭(zhēng)場(chǎng)面等)的襯托下,彼得一世大多被塑造為一個(gè)偉大、英勇、強(qiáng)有力的君主形象。而在18世紀(jì)俄國(guó)本土畫(huà)家的作品中,畫(huà)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(xiě),如尼基金向我們展示了一個(gè)面對(duì)死亡無(wú)力的矛盾的彼得一世形象。二、在19世紀(jì)的俄羅斯繪畫(huà)作品中,除了大部分畫(huà)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(huà)外,部分畫(huà)家選擇為自己的作品中注入更多的現(xiàn)實(shí)主義元素和心理刻畫(huà)的成分。在蓋和蘇里科夫的作品中,我們看到了一個(gè)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(jì)末至20世紀(jì)初,主要由于變革時(shí)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(diǎn),彼得一世成為了藝術(shù)世界派畫(huà)家的關(guān)注對(duì)象。這個(gè)時(shí)代的俄羅斯繪畫(huà)藝術(shù)總體呈現(xiàn)戲劇性、裝飾性的特點(diǎn),如在貝努阿的作品中,彼得一世的形象并不是一個(gè)真實(shí)的存在,而更像是一個(gè)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(dú)。四、綜上所述,從18世紀(jì)至20世紀(jì)初的俄羅斯繪畫(huà)作品中的彼得一世形象自始至終都呈現(xiàn)多面性的特點(diǎn),每個(gè)時(shí)代都有兩種繪畫(huà)風(fēng)格相對(duì)立。但是不管畫(huà)家們對(duì)彼得一世的形象進(jìn)行了怎樣地刻畫(huà),不可否認(rèn)的是彼得一世對(duì)俄羅斯整個(gè)歷史進(jìn)程的發(fā)展具有不可替代的重大意義。愿本文能幫助中國(guó)的俄語(yǔ)學(xué)習(xí)者們更深入地了解彼得一世和俄羅斯的繪畫(huà)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(xué)位授予單位】：北京外國(guó)語(yǔ)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J205

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