In Russia at the symbolism of the 1893 years, may burning sun, another radio in the contemporary literature of the decline of the causes and trendy, "a book of inductive symbolism is one of the three elements of mysticism content". Here the mysticism is neither the French symbolism of early fuzzy, also not the implied and hazy beauty later, but a kind of religious mysticism. This religious mysticism in Russia symbolism young generation of the main representatives don't lay and Bob rock in the creation of get completely sure, and become the main art Russian symbolism features. Don't ray is provided with the Russian in religious mysticism the tendency of the poet, he thinks, art creation inevitable zone have religious and even think art also means of religion. Don't lay in poetry, novels and memoirs, literature and art, and thus the extraordinary achievement. He fruitful achievements and creation of many beyond time and space creation concept, make him in times of dust in the sudden, become the contemporary world, especially the western literary world wide concern writer. People don't ray in symbolism work and personal life end performance of religious art, there are many discusses, such as his long poem "Christ from the dead" (Х р и с т о с в о с к р е с), his German anthroposophy founder, rudolph giuliani, frank-walter crush. This paper attempts to use the first a ray of don't poetry text analysis, show at the show in the creation of the poet's concept of art religious, explore the poet's poetry view source. 在俄国象征主义伊始的1893 年,梅烈日科夫斯基在《论当代文学的衰落原因及其新潮》一书中归纳的象征主义的三大要素之一就是“神秘主义内容”。这里的神秘主义既不是法国象征主义早期的扑朔迷离,也不是后来法拉美的暗示和朦胧,而是一种宗教的神秘主义。这种宗教的神秘主义在俄国象征主义年轻一代主要代表人物别雷和勃洛克的创作中得到完全的确定,并成为俄国象征主义的主要艺术特征。别雷是俄国象征派中最具有宗教神秘主义倾向的诗人,他认为,艺术创作不可避免地带有宗教性,甚至认为艺术的意义也是宗教的。别雷在诗歌、小说、文艺学和回忆录等方面都取得了非凡的成就。他丰硕的创作成果和诸多超越时空的创作理念,使他在时代的尘埃中陡然而出,成为当代世界,尤其是西方文坛广泛关注的作家。人们对别雷在象征主义末期著作及个人生活中表现出的宗教艺术观有诸多论述,如他的长诗《基督复活了》( Христосвоскрес) ,他对德国人智学创始人鲁道夫•施泰纳的迷恋。本文尝试通过对别雷第一部诗集的文本略论,展示诗人在创作伊始表现出的艺术理念的宗教性,探析诗人的诗艺观之源。 别雷的宗教艺术观弗•索洛维约夫是俄国著名的宗教哲学家、俄国象征主义的创始人之一,也是别雷青年时代崇拜的偶像。别雷在回忆录中曾写道:“索洛维约夫总是沐浴在照耀着他的曙光之中。他那神秘哲学之神秘的缪斯就源生于曙光。在对他的学说加以译解之际,我们便领教到渊博的学识和惊人的辩才。索洛维约夫绝对不是一个哲学家,而是一个听命于上帝的朝圣者”。①索洛维约夫认为,艺术是连接物质和精神的力量。“艺术也是一种神性的行为, 艺术创造是与神的创造对等的”。②艺术创作既然有通神的力量,那么艺术就不仅仅具有美学功能,还兼有宗教使命。弗•索洛维约夫的这种通神术艺术思想对别雷的思维方式和艺术维度的探究产生深远作用。在纪念这位导师的诗中,别雷曾写道;“你烛台的灯光,正把我们的黄昏照明”。在1909 年的长达200 页的《作为世界观的象征主义》评论中,别雷明确地表达了他把诗歌创作作为通往神秘真理之路的思索。“他(别雷) 认为艺术追求具有双重性:艺术能为恶魔力量服务--—在《论法术》一文中他写道,但是,艺术还赋有通过神密宗教改造世界的使命。”③别雷的通神术宗教艺术观的另一个源头是俄罗斯东正教的神秘性。俄罗斯东正教神学家认为:“东正教是人类思想和行为的‘先知先觉’,是融会知识和精华的真理 真理和真神存在于信徒的信仰之中; 虔诚的信徒在祈祷时可以看见来自上帝的“永恒之光”,这种，俄语专业论文，俄语论文题目 |
