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篇名 |
音樂與視覺藝術的類比:史特拉汶斯基‧貢查羅娃‧畢卡索
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並列篇名 | The Analogy between Music and Visual Art: Stravinsky, Goncharova, and Picasso |
作者 | 彭宇薰 |
中文摘要 | 雖然聽覺對於音樂家是最重要的傳媒感官,但對俄國音樂家史特拉汶斯基而言,他藉由視覺藝術的啟迪,深化與闊延音樂的可能性與連結性,使他成為二十世紀現代音樂的先鋒性人物。誠然,藝術間相互地給予力量,以超出原有的侷限,分享與讓渡其中奧秘的元素,史氏音樂與視覺藝術的類比關係探討,恰是人類藝術文化史上的絕佳例證。本文由俄羅斯現代藝術文化之啟蒙運動開始,先敘述俄羅斯批判寫實主義的「巡迴畫派」與音樂「五人團」的時代背景及其平行關係,接下來從俄國的新原始主義談及史氏與貢查羅娃的風格呼應及二人合作關係,《春之祭》與《婚禮》是為其例。但是另一方面,《春之祭》原始性格道地到位之感,又常與畢卡索的〈亞維儂姑娘〉相互引述,因此筆者再把史氏作品置放於立體主義的發展脈絡中,處理史氏與畢卡索在技巧與風格表現的類比性,並援引他們的重要作品作為案例。最後,筆者以史氏「把自我置放於古典傳承脈絡中的期許」作為結論,意指史氏在藝術文化脈絡中,以古典理想為其終極依歸,並期許自己成為古典傳統家族之一員。 |
英文摘要 | Even though the sense of hearing is the most important transmission media for musicians, it was the visual art that inspired Igor Stravinsky (1882-1971) to expand the possibility of the music and made him the pioneer of the modern music in the 20th century. Indeed, the arts share their secrets and transfer to each other beyond their limitation. There would be no doubt that the analogy between music and visual art is best demonstrated by the Stravinsky’s case. This article starts with the discussion of the Russian modern art movements: from the critical realism known as Peredvizhniki (Wanderers) , the musical Kuchkism (the Mighty Handful), to the Neo-primitivism. In addition to the discussion of Le Sacre du printemps, the cooperation between Stravinsky and Natalia Goncharova (1881-1962) will be the focus while Les noces serves as the sample. However, since Le Sacre du printemps is often referred to Les Demoiselles dAvignon by Pablo Picasso (1881-1973), it is necessary to put the former in the context of the French Cubism. In order to draw the analogy between Stravinsky’s and Picasso’s arts, the author examines the styles and the techniques applied in their essential works. Finally, the author concludes that Stravinsky wished to position himself in the heritage of Classicism, a tradition he admired for most of his life. |
起訖頁 | 077-105 |
關鍵詞 | 史特拉汶斯基、藝術跨領域研究、音樂與視覺藝術、貢查羅娃、畢卡索 |
刊名 | 藝術評論 |
期數 | 201507 (29期) |
出版單位 | 國立臺北藝術大學 |
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