安德烈·塔可夫斯基的艺术宗教观--从电影《安德烈·鲁布廖夫》的圣像元素说起  

Andrei Tarkovsky’s religious perspective on art:on the example of the elements of icons in the film Andrei Rublev

作　　者：杨琪 Yang Qi(Nankai University)

机构地区：[1]南开大学文学院

出　　处：《欧亚人文研究（中俄文）》2024年第2期67-75,88,91,92,共12页Eurasian Humanities Studies

摘　　要：电影《安德烈·鲁布廖夫》是安德烈·塔可夫斯基转折性的作品。本文以圣像为切入点,从《安德烈·鲁布廖夫》说起,结合东正教圣像的历史与文化探究圣乔治屠龙像、《圣三位一体》等圣像元素在塔可夫斯基的多部电影中的重复出现所表达出的精神内涵,从而进一步理解塔可夫斯基的艺术思想。受到俄罗斯宗教文化,以及安德烈·鲁布廖夫和陀思妥耶夫斯基等人的作品的影响,基于对二十世纪末俄罗斯社会问题的观察,塔可夫斯基认为艺术家应当作为见证者发现当代社会弊病,他通过作品引导人民思考对抗精神匮乏和灵魂虚无问题的途径,帮助人们在经历失去家园和寻找家园的过程后,仍能以朝圣者的信念与殉道者的勇气找到精神的根基,即爱与牺牲的思想。Andrei Rublev is a turning point in the work of Andrei Tarkovsky.Taking icons as the starting point,this article analyzes Andrei Rublev and explores the spiritual connotation of the recurrent icon elements,such as St George and the dragon and The Holy Trinity,in many Tarkovsky’s films,in a way that combines the history and culture of Orthodox icons,so as to further understand Tarkovsky’s artistic thinking.Influenced by Russian religious culture and the works of Andrei Rublev and Dostoevsky and based on his observations of the problems of Russian society at the end of the twentieth century,Tarkovsky believed that an artist should act as a witness to the problems of the times,guide people to find ways of combating spiritual deprivation and the emptiness of soul through his or her work,and enable them to find their spiritual roots,i.e.,the ideals of love and sacrifice,with the faith of pilgrims and the courage of martyrs even after the process of losing and finding their homes.

关 键 词：安德烈·塔可夫斯基 安德烈·鲁布廖夫 圣像 宗教 艺术 

分 类 号：J90[艺术—电影电视艺术]