从圣像的凝视到神圣时空体的真理——对弗洛连斯基反透视理论的一种扩展性解读  

From the Gaze of the Icon to the Truth of Holy Chronotope:An Ampliative Interpretation of Pavel Florensky’s Theory of Reverse Perspective

作　　者：李雪 LI Xue(School of Chinese Language and Literature,Shaanxi Normal University)

机构地区：[1]陕西师范大学文学院

出　　处：《基督教文化学刊》2023年第2期81-102,共22页Journal for the Study of Christian Culture

摘　　要：与文艺复兴以来兴盛的“透视法”(perspective,перспектива)相对的“反透视”(reverseperspective,обратнаяперспектива)是拜占庭和俄国东正教圣像画重要的空间视觉形式。反透视的概念源自于德国学者奥斯卡·武尔夫(OskarWulff),而后经由俄国思想家帕维尔·亚历山德罗维奇·弗洛连斯基(Павел Александрович Флоренский, 1882-1937)的详述而得到了广泛关注。In response to the classical Western spatial form of painting known as“perspective,”Pavel Florensky holds in high regard the principle of“reverse perspective”found in Russian Orthodox icons.Reverse perspective primarily manifests in the scale of objects and the arrangement of shadows,imparting a sense of holiness to the icon’s visage.By combining the theories of Marion and Bakhtin,it becomes evident that the face of the icon,within the space of reverse perspective,serves as an intermediary between the religion and the truth.It forms a“crossing of gazes”with the viewer,giving rise to a sacred chronotope between them.At an individual level,this chronotope influences the viewer,while in a universal sense,it criticizes the inherent subjectivity of human perspective,paving the way to the universal truth of God and resonating with the desire to solve the problems of the times and seek a path through Orthodox spirituality within Russian religious philosophy.The sense of mission that arises from artistic theory reflects Florensky’s unique contribution to Russian religious philosophy.

关 键 词：俄国东正教 拜占庭 圣像画 空间视觉 透视法 时空体 

分 类 号：B976.2[哲学宗教—宗教学]