前女性主义观点对定式思维的挑战
摘要
在当今西方艺术史研究中，17世纪意大利女艺术家阿特米西亚·真蒂莱斯琦(Artemisia Gentileschi，1593-1652)堪称为一位焦点人物。本文将把这位在西方“传统艺术史”和西方女性艺术史中都极具特殊性和重要性的女画家引入我们尚处空白的视野中。文章通过分析阿特米西亚在艺术中对女英雄形象的建构，考察她对艺术史传统主题作出的极富原创性的阐释；探讨她在强大的视觉传统和社会体制压力下所激发出的创造性所具有的独特历史意义和普遍意义；并通过分析艺术史惯常认可的女性形象价值的缺陷，引申出对更广泛的文化问题的思索。
本文的第一、二章以女画家对女英雄形象的建构为切入点，并以其由潜在(对神话人物朱迪斯的诠释)到明晰的自我表达(对自画像的描绘)为脉络，考察艺术史中相关传统主题表现的局限性以及阿特米西亚对此的独特阐释和意义。第三章将借用历史学研究新成果，将阿特米西亚的艺术置于前女性主义的历史背景中，对其所表现出的与众不同的思想和观念做出新的历史判断。
通过研究，本文对阿特米西亚在塑造女英雄方面的杰出成就给予如下结论：一，她以卡拉瓦乔自然主义为基调，将女英雄典范与普通女性形象连接起来，提供了一种新颖的视觉模式；二，她将自身性别经验融入艺术创作中，以可视的形式提出了她与众不同的前女性主义观点，使得其作品具有了超越个人表达的历史和普遍意义；三，她打破了以往的性别刻板定型(Gender stereotypes)，以对人性本质和人类经验更加忠实的关注，将女英雄从以往的偏狭陈旧表现中释放出来，挑战了我们对英雄、对女性的定式思维；四，她在继承卡拉瓦乔自然主义表现传统的基础上，以非凡的创新精神使得这种现实主义更加饱满和引人入胜；五，她以自己笔下富于深意的女性角色表明并且深化了卡拉瓦乔现实主义的哲学空间。
本文在研究方法上借鉴了现今西方趋于成熟的女性艺术史研究典型方法，即图像分析、风格分析、心理学和社会学的结合。
Artemisia Gentileschi( 1593-1652), a famous woman artist in Italy whose work and life are a challenge to humanist constructions of feminine education and deportment .Today, discussion on her has became the focus of art-historical study. The core of This thesis is to study that how Gentileschi adapted the bold and dramatic style of Caravaggesque realism to expressive purposes that differed categorically from those of her male contemporaries, and gave us the most consistently original interpretations of the many traditional themes that she treated. Especially, I have discussed that Gentileschi's considerable role in constructing a female hero who transcends the female norm by displaying a capacity for moral behavior in the public realm that is normally denied to woman .
The core of the study is the first and second chapter, in which two themes treated in paintings by Gentileschi are examined in relation to their respective iconographic traditions. Each of the themes-Judith and the Allegory of Painting has presented her flamboyantly divergent interpretation of popular biblical or classical themes. We saw that a female artist was uniquely equipped to speak with an original voice! To make a judgment of history, the three chapter places her in another context, one newly created by historians, that of historical feminism-the evolving dialogue on the subject of woman.
In an era when the modern struggle for women's social equality was taking shape, Artemisia Gentileschi was distinguished, because: firstly, she bound the female heroic archetype to everywoman and presented a new visual model; secondly, she applied her own life experience to represent her female roles, and set up her distinctive proto-feminist narrative voice; thirdly, she liberated the female roles from the confining stereotypes of heroine and seductress , imbue the heroine with human complexity and defy our conventional sense of heroine and women; fourthly, she has developed the Caravaggesque realism into more saturated realization; fifthly, she has through her works indicated the philosophical significance of Caravaggesque naturalistic forms.
Here, I combine a number of methodological approaches: iconography, style analysis, sociology and psychology.
本文的第一、二章以女画家对女英雄形象的建构为切入点，并以其由潜在(对神话人物朱迪斯的诠释)到明晰的自我表达(对自画像的描绘)为脉络，考察艺术史中相关传统主题表现的局限性以及阿特米西亚对此的独特阐释和意义。第三章将借用历史学研究新成果，将阿特米西亚的艺术置于前女性主义的历史背景中，对其所表现出的与众不同的思想和观念做出新的历史判断。
通过研究，本文对阿特米西亚在塑造女英雄方面的杰出成就给予如下结论：一，她以卡拉瓦乔自然主义为基调，将女英雄典范与普通女性形象连接起来，提供了一种新颖的视觉模式；二，她将自身性别经验融入艺术创作中，以可视的形式提出了她与众不同的前女性主义观点，使得其作品具有了超越个人表达的历史和普遍意义；三，她打破了以往的性别刻板定型(Gender stereotypes)，以对人性本质和人类经验更加忠实的关注，将女英雄从以往的偏狭陈旧表现中释放出来，挑战了我们对英雄、对女性的定式思维；四，她在继承卡拉瓦乔自然主义表现传统的基础上，以非凡的创新精神使得这种现实主义更加饱满和引人入胜；五，她以自己笔下富于深意的女性角色表明并且深化了卡拉瓦乔现实主义的哲学空间。
本文在研究方法上借鉴了现今西方趋于成熟的女性艺术史研究典型方法，即图像分析、风格分析、心理学和社会学的结合。
Artemisia Gentileschi( 1593-1652), a famous woman artist in Italy whose work and life are a challenge to humanist constructions of feminine education and deportment .Today, discussion on her has became the focus of art-historical study. The core of This thesis is to study that how Gentileschi adapted the bold and dramatic style of Caravaggesque realism to expressive purposes that differed categorically from those of her male contemporaries, and gave us the most consistently original interpretations of the many traditional themes that she treated. Especially, I have discussed that Gentileschi's considerable role in constructing a female hero who transcends the female norm by displaying a capacity for moral behavior in the public realm that is normally denied to woman .
The core of the study is the first and second chapter, in which two themes treated in paintings by Gentileschi are examined in relation to their respective iconographic traditions. Each of the themes-Judith and the Allegory of Painting has presented her flamboyantly divergent interpretation of popular biblical or classical themes. We saw that a female artist was uniquely equipped to speak with an original voice! To make a judgment of history, the three chapter places her in another context, one newly created by historians, that of historical feminism-the evolving dialogue on the subject of woman.
In an era when the modern struggle for women's social equality was taking shape, Artemisia Gentileschi was distinguished, because: firstly, she bound the female heroic archetype to everywoman and presented a new visual model; secondly, she applied her own life experience to represent her female roles, and set up her distinctive proto-feminist narrative voice; thirdly, she liberated the female roles from the confining stereotypes of heroine and seductress , imbue the heroine with human complexity and defy our conventional sense of heroine and women; fourthly, she has developed the Caravaggesque realism into more saturated realization; fifthly, she has through her works indicated the philosophical significance of Caravaggesque naturalistic forms.
Here, I combine a number of methodological approaches: iconography, style analysis, sociology and psychology.
引文
1、罗斯林·罗斯：《历史上的女艺术家——妇女在美术发展史上的地位》，《世界美术》，第10页，1985·1：
2、Mary D. Garrard: Artemisia Gentileschi, Princeton Univ Pr, Reprint edition , 1991;
3、Alfred Moir: Caravaggio (Masters of Art), Harry N Abrams, Reprint edition, October 1989;
4、Richard E., Spear: Caravaggio and His Followers, Cleveland Museum of Art, 1971;
5、Ann Sutherland Harris, Linda Nochlin: Women artists, 1550-1950, Los Angeles County Museum of Art ; distributed by Random House, 1976;
6、Eleanor Tufts: Our hidden heritage: five centuries of women artists, Paddington Press;
7、Mary D. Garrard: Artemisia Gentileschi around 1622: The Shaping and Reshaping of an Artistic Identity, University of California Press, 2001;
8、Keith Christiansen: Orazio and Artemisia Gentileschi, Yale Univ Press, 2001;
9、Norma Broude and Mary D. Garrard: The Expanding Discourse: Feminism and Art History, 1992;
10、Whitney Chadwick: Women、Art and Society, Thames and Hudson, Third edition2002;
11、丁宁：《绵延之维——走向艺术史哲学》，三联书店，1997：
12、Pollock: Differencing The Canon: Feminist Desire And The Writing Of Art's Histories, London:Routledge, 1999;
13、R. Ward Bissell:Artemisia Gentileschi and The Authority of Art:Critical Reading and Catalogue Raisonne,Pennsylvania State Univ Pr , 2001;
14、Emil G.Kraeling: The Old Testament Since the Reformation, New York: Harper, 1955;
15、Artur Weiser: The Old Testament: Its Formation and Development, New York: Association Press, 1961;
16、Edna Purdie: The Story of Judith in German and English Literature, Paris:H.Champion, 1927;
17、王焕宝编著：意大利近代文学史．17世纪至19世纪，外语教学与研究出版社，1997：
18、Delio Cantimori :Italy and the Papacy, in New Cambridge Modem Hisory, Cambridge , University Press, 1958.;
19、童道明主编；吴正仪编．：世界经典戏剧全集．18，意大利卷，浙江文艺出版社，1999；
20、Mina Gregori: The Age of Caravaggio, 1590-1610, Metropolitan Museum of Art, 1985;
21、Alessandra Comini: GustavKlimt, NewYork: G.Braziller, 1975;
22、E.P. Richardson: A Masterpiece of Baroque Drama, The Art Quarterlyl6, 90-92, 1953;
23、Rozsika Parker and Griselda Pollock: Old Mistresses: Women, Art and Ideology, Rivers Oram Press, 1981;
24、Gill Perry: Gender and Art, Yale University Press, 1999;
25、Rensselaer W.Lee: Ut Pictura Poesis:The Humanistic Theory of Painting, W.W.Norton, 1967;
26、Lynn Sheehan: Early Italian Engravings from the National Gallery of Art, National Gallery of Art, 1972;
27、Jean Paul Richter: The Literary Works of Leonardo da Vinci, Oxford University Press, 1939;
28. Carl Goldstein: Vasari and the Florentine Accademia del Disegno, 1975;
29. Christopher White: Rembrandt by Himself, The Hague and National Gallery , 1999;
30、Donald Posner: The Picture of Painting in Poussin's Self-Portrait, Phaidon, 1967;
31、杨身源：《西方画论辑要》，江苏美术出版社，1998；
32、大卫·卡里尔(David Carrier)：《艺术史写作原理》，人民大学出版社，2004；
33、Joan Kelly: Early Feminist Theory and the Querelle des Femmes1400-1789, Signs 8, 1982;
34、Bonnie G.Smith: The Contribution of Women to Modern Historiography in Great Britain,France,and the United States, 1750-1940, American Historical Review89, 1984;
35、Giovanni Boccaccio: Concerning Famous Woman, Rutgers University Press, 1963;
36、Baldesar Castiglione: The Book of Courtier, Doubleday, 1959;
37、Rosemary R.Ruether: Religion and Sexism:Images of Woman in the Jewish and Christian Traditions, Simon and Schuster, 1974;
38、Hugh R.Trevor-Roper: The European Witchcraze of the Sixteenth and Seventennth Centuries, Penguim, 1969;
39、Jacque Thuillier and Deborah Marrow: The Art Patronage of Maria de'Medici, UMI Research Press, 1982;
40、Elaine Rubin: The Heroic Image: Woman and Power in Early Seventeenth-Century France, George Washington University, 1977;
41、Renate Bridenthal and Claudia Koonz: Becoming Visible: Woman in European Hisory, Houghton Mifflin, 1977;
42、Pierre Le Moyne: The Gallery of Heroick Women, Henry Seile, 1652;
43、J.R,Brink: Female Ssholars:A Tradition of Learned Women before 1800, Eden Press, 1980;
44、Elizabeth Hamilton: Henrietta Maria, Coward, 1976;
45、埃托奥(Claire A.Etaugh)、布里奇斯(Judith S.Bridges)：《女性心理学》，北京大学出版社，2003。
2、Mary D. Garrard: Artemisia Gentileschi, Princeton Univ Pr, Reprint edition , 1991;
3、Alfred Moir: Caravaggio (Masters of Art), Harry N Abrams, Reprint edition, October 1989;
4、Richard E., Spear: Caravaggio and His Followers, Cleveland Museum of Art, 1971;
5、Ann Sutherland Harris, Linda Nochlin: Women artists, 1550-1950, Los Angeles County Museum of Art ; distributed by Random House, 1976;
6、Eleanor Tufts: Our hidden heritage: five centuries of women artists, Paddington Press;
7、Mary D. Garrard: Artemisia Gentileschi around 1622: The Shaping and Reshaping of an Artistic Identity, University of California Press, 2001;
8、Keith Christiansen: Orazio and Artemisia Gentileschi, Yale Univ Press, 2001;
9、Norma Broude and Mary D. Garrard: The Expanding Discourse: Feminism and Art History, 1992;
10、Whitney Chadwick: Women、Art and Society, Thames and Hudson, Third edition2002;
11、丁宁：《绵延之维——走向艺术史哲学》，三联书店，1997：
12、Pollock: Differencing The Canon: Feminist Desire And The Writing Of Art's Histories, London:Routledge, 1999;
13、R. Ward Bissell:Artemisia Gentileschi and The Authority of Art:Critical Reading and Catalogue Raisonne,Pennsylvania State Univ Pr , 2001;
14、Emil G.Kraeling: The Old Testament Since the Reformation, New York: Harper, 1955;
15、Artur Weiser: The Old Testament: Its Formation and Development, New York: Association Press, 1961;
16、Edna Purdie: The Story of Judith in German and English Literature, Paris:H.Champion, 1927;
17、王焕宝编著：意大利近代文学史．17世纪至19世纪，外语教学与研究出版社，1997：
18、Delio Cantimori :Italy and the Papacy, in New Cambridge Modem Hisory, Cambridge , University Press, 1958.;
19、童道明主编；吴正仪编．：世界经典戏剧全集．18，意大利卷，浙江文艺出版社，1999；
20、Mina Gregori: The Age of Caravaggio, 1590-1610, Metropolitan Museum of Art, 1985;
21、Alessandra Comini: GustavKlimt, NewYork: G.Braziller, 1975;
22、E.P. Richardson: A Masterpiece of Baroque Drama, The Art Quarterlyl6, 90-92, 1953;
23、Rozsika Parker and Griselda Pollock: Old Mistresses: Women, Art and Ideology, Rivers Oram Press, 1981;
24、Gill Perry: Gender and Art, Yale University Press, 1999;
25、Rensselaer W.Lee: Ut Pictura Poesis:The Humanistic Theory of Painting, W.W.Norton, 1967;
26、Lynn Sheehan: Early Italian Engravings from the National Gallery of Art, National Gallery of Art, 1972;
27、Jean Paul Richter: The Literary Works of Leonardo da Vinci, Oxford University Press, 1939;
28. Carl Goldstein: Vasari and the Florentine Accademia del Disegno, 1975;
29. Christopher White: Rembrandt by Himself, The Hague and National Gallery , 1999;
30、Donald Posner: The Picture of Painting in Poussin's Self-Portrait, Phaidon, 1967;
31、杨身源：《西方画论辑要》，江苏美术出版社，1998；
32、大卫·卡里尔(David Carrier)：《艺术史写作原理》，人民大学出版社，2004；
33、Joan Kelly: Early Feminist Theory and the Querelle des Femmes1400-1789, Signs 8, 1982;
34、Bonnie G.Smith: The Contribution of Women to Modern Historiography in Great Britain,France,and the United States, 1750-1940, American Historical Review89, 1984;
35、Giovanni Boccaccio: Concerning Famous Woman, Rutgers University Press, 1963;
36、Baldesar Castiglione: The Book of Courtier, Doubleday, 1959;
37、Rosemary R.Ruether: Religion and Sexism:Images of Woman in the Jewish and Christian Traditions, Simon and Schuster, 1974;
38、Hugh R.Trevor-Roper: The European Witchcraze of the Sixteenth and Seventennth Centuries, Penguim, 1969;
39、Jacque Thuillier and Deborah Marrow: The Art Patronage of Maria de'Medici, UMI Research Press, 1982;
40、Elaine Rubin: The Heroic Image: Woman and Power in Early Seventeenth-Century France, George Washington University, 1977;
41、Renate Bridenthal and Claudia Koonz: Becoming Visible: Woman in European Hisory, Houghton Mifflin, 1977;
42、Pierre Le Moyne: The Gallery of Heroick Women, Henry Seile, 1652;
43、J.R,Brink: Female Ssholars:A Tradition of Learned Women before 1800, Eden Press, 1980;
44、Elizabeth Hamilton: Henrietta Maria, Coward, 1976;
45、埃托奥(Claire A.Etaugh)、布里奇斯(Judith S.Bridges)：《女性心理学》，北京大学出版社，2003。