摘要
作为巴洛克时期最伟大的艺术家,不论生前还是死后,卡拉瓦乔都备受争议。他的生命是一场逃亡,其作品似乎也在逃亡之中。有鉴于此,如果把逃亡视为隐喻,那通过这个视角,我们能够更好地理解卡拉瓦乔赋予身体、剧场、节奏及时空的意义。身体不仅是变化的身体,而且是不断地试图逃离确证的身体。同样,卡拉瓦乔的"剧场"在上演着各种逃亡的同时,剧场本身也是逃亡的一种呈现。除去他所涉及的音乐主题,卡拉瓦乔的绘画本身就堪称音乐,并且是难以固定的音乐,不仅如此,时间在他那里开始拥有空间的形态,空间拥有时间的律动,它们同样在逃亡之中。
Being the greatest artist of baroque era,Caravaggio,whether before his death or after it,never escaped the controversial fate.His life could be nothing but the continuous escape,and his works share the same fate.Apart from that,those things such as body,theater,rhythm,time and space could make sense,if they are viewed as metaphor from this perspective.The Body is always changing,apart from that,it defies identification.The same can be applied to Caravaggio＇s theatre.The topic of music has been touched here and there in Caravaggio＇s paintings,more than that,the painting itself could be viewed as music per se properly.Finally,the time and the space exchange their positions and forms alternatively,they are also on the process of escaping.
出处
《社会科学》
CSSCI
北大核心
2011年第10期187-192,共6页
Journal of Social Sciences
关键词
卡拉瓦乔
隐喻
逃亡
Caravaggio
Metaphor
Escape
