崇高的显与隐:普桑风景画中的差异与过度问题  

The Apparent and Hidden Sublime:Difference and Excess in Poussin's Landscape Paintings

作　　者：刘子琦 诸葛沂 Liu Ziqi;Zhuge Yi

机构地区：[1]上海师范大学哲学系,上海200030 [2]杭州师范大学艺术教育研究院,浙江杭州311100

出　　处：《艺术探索》2025年第1期39-46,共8页Arts Exploration

基　　金：2024年国家留学基金委“国家建设高水平大学公派研究生联合培养博士生”资助项目(202408310302);上海师范大学高水平地方高校建设一流研究生教育博士研究生拔尖人才创新人才培育项目“路易·马兰再现理论研究”(209-AC9103-23-368072025)。

摘　　要：“崇高”这一源自修辞学而拓展至美学领域的概念,因其内在蕴含一种难以精确描绘的独特性质,很难被确切界定或具象化为符号形象,然而,它往往以或隐或显的方式巧妙存在于艺术作品的深层结构之中。对此议题,路易·马兰以尼古拉·普桑的风景画作为研究切入点,将崇高自身假定为再现的不可再现性进行论述,进而探究普桑如何通过显于静处、隐于动处、显隐绞结这三种不同形式将崇高呈现在绘画之中。这一探讨不仅实现了不可再现的崇高在绘画中得以再现这一颇具挑战性的理论设想,同时也为深入分析绘画艺术的局限性问题提供新的思辨向度。The concept of"the sublime,"which originates from rhetoric and extends into the field of aesthetics,is difficult to precisely define or concretize into a symbolic image due to its inherent unique qualities that are hard to depict accurately.However,the"sublime"is often subtly present in the deep structure of a work of art,either implicitly or explicitly.On this topic,Louis Marin,a famous French philosopher and art theorist,takes the landscape paintings of Nicolas Poussin as the starting point of his research,assumes and discusses the sublime itself to be reproducible,and then explores how Poussin presents the sublime as an intention in three different forms in his paintings:revealed in stillness,concealed in motion,and then in the compound revealed-concealed.The discussion not only realizes the challenging theoretical idea of representing the unrepresentable sublime in painting,but also provides a new speculative dimension for in-depth analysis of the limitations of painting art.

关 键 词：尼古拉·普桑 崇高 绘画再现 过度 路易·马兰 

分 类 号：J205[艺术—美术]