掩面的伤悲:叙事画中悲痛者的形象与角色  

Sorrow Hidden Beneath the Covered Face:The Image and Role of the Grieving in Narrative Painting

作　　者：占跃海[1] Zhan Yuehai

机构地区：[1]中南民族大学美术学院,湖北武汉430074

出　　处：《艺术探索》2023年第2期47-55,共9页Arts Exploration

摘　　要：自古典时代开始,在献祭伊菲革涅亚题材作品的献祭场景中,最为悲痛者一直被认为是伊菲革涅亚的父亲阿伽门农,她的母亲很少被提及。对一个母亲失去骨肉真实反应的重视,始于文艺复兴时期人们对基督受难题材的情感化处理。大卫1789年油画《扈从给布鲁图斯带回他儿子的尸体》中,母亲独处一角,以布巾遮面。大卫让这个因失去孩子而无比悲痛的典型姿态回到一个母亲身上。30多年后,庞贝古城“悲剧诗人之家”的壁画《献祭伊菲革涅亚》被考古学家发现。Since classical times,in the depiction of the"Sacrifice of Iphigenia",the most sorrowful person has always been considered to be Iphigenia's father,Agamemnon,while the giiTs mother is only rarely mentioned.Valuing a mother's true reaction to the loss of her loved ones began with the emotional treatment of subjects related to the Passion of Christ during the Renaissance.In David's 1789 painti ng The Lictors Bring to Brutus the Bodies of His Sons,the mother is depicted alone in a corner,covering her face with a cloth.This classic gesture of grief over the loss of a child returns to the mother.More than 30 years later,the fresco The Sacrifice of Iphigenia was discovered by archaeologists in House of the Tragic Poet in Pompeii.

关 键 词：母亲 悲痛 伊菲革涅亚 阿伽门农 克吕泰涅斯特拉 

分 类 号：J205[艺术—美术]