罗斯金美学思想中的宗教观
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摘要
本文旨在阐发约翰·罗斯金美学思想中的宗教观,试图从绘画和建筑美学思想两大方面入手,分别论述罗斯金的宗教观在其中所发挥的重要作用。
研究发现,罗斯金的美学思想至少存在两个主要向度,一是强调上帝是世间万物的本源,亦是一切美的形式的源泉,由此断言人作为上帝的最高造物,必须服从并热爱上帝,在艺术创作中虔心模仿上帝所造之自然。二是强调人类的主观能动性、创造性与想象力。在艺术创作过程中,人不仅要模仿自然,更要加入自身的解读与诠释。有鉴于此,罗斯金始终从道德角度审视艺术,认为其作用并不在于自身,而是要增强人类的宗教信仰,提高其道德追求。可以说,他对于艺术作品的宗教性关注与道德性关注是密不可分的。
在绘画美学论述中,罗斯金认为典型美是上帝神性的彰显,而活力美则是指世间生物(包括动植物和人类)由上帝赋予的灼灼生命力,以及它们在履行上帝赋予职能时所显现的幸福感和愉悦精神,特别体现在人类的情感和道德追求方面。由于此时个人宗教信仰的变化,罗斯金己逐渐从对上帝的关注转向对人类自身的评述。
建筑美学论述主要以《建筑的七盏明灯》为主要研究文本,侧重分析了罗斯金提出的七个重要原则。应该注意的是,该部著作虽然是在罗斯金放弃福音派信仰之后所撰,但在论述奉献明灯和美之明灯时,他依然念念不忘上帝的重要作用,指出在进行建筑艺术创作时,就心绪而言,人类要怀有一种奉献情绪,即一种源自对上帝进行献祭的情感。就艺术形式而言,人类应模仿自然界中上帝神性的表现——美的形式这一范本。而在真实明灯、力量明灯、生命明灯、记忆明灯、服从明灯这五个原则的论述中,他的视角则完全转向与艺术创作者息息相关的各方面,譬如自身的创造力和主观能动性、道德诉求、社会体系影响、历史传承、如何遵循法则等等。
本文在研究上述问题的过程中,除了细读文本、分析艺术作品与考察宗教信仰变化之外,同时还尝试借鉴了历史语境、圣经注释学和注解学以及对比分析等相关方法,这一切都有助于推进理论思索的深入进行,并由此得出言之有据的结论。
This dissertation looks into John Ruskin's religious views in and their impact on his aesthetic ideas and tries to discuss with particular reference from two scopes, namely his aesthetic ideas in painting and those in architecture.
On the one hand, Ruskin emphasizes that God created the universe and all things. He is the source of all forms of beauty. Human beings, as the highest of His earthly creatures, must love Him and obey Him. They must take Him as the ultimate Beauty, Truth, and Goodness. Ruskin argues that the principal role of the artists is "truth to nature". They should imitate from God's creation, Nature. On the other hand, Ruskin attaches great importance to originality, creativity, imagination, and initiative of human beings. During art creating, they should not only imitate from Nature, but also invest their own interpretations and give full scope to their creativities. Further, Ruskin's morality is also inseparable from his aesthetic thoughts just as his religious views are. To him, all great art is "the expression of the spirits of great men". Only the morally and spiritually healthy are capable of admiring the noble and the beautiful, and transforming them into great arts by imaginatively penetrating their essence.
With regard to his aesthetic ideas in painting, Ruskin deems that Typical Beauty is "the symbolizing of divine attributes in matter" and Vital Beauty is "the beauty of living things", embodied in their happiness in the lives given by God and their fulfillment in their own functions by Him. Each species has its God-given ends and each creature performs its natural and moral functions contentedly. Vital Beauty of human beings is reflected in their moral pursuits and all healthy emotions. During this stage, Ruskin's interest has gradually shifted in emphasis from a theocentric aestheticism to a deep probe of human beings as self-contained thinking and creating beings.
Ruskin's aesthetic ideas in architecture are somewhat condensed in the seven lamps or seven canons in architecture art. These lamps include that of Sacrifice, of Truth, of Power, of Beauty, of Life, of Memory, and of Obedience. In Lamps of Sacrifice and Beauty, he still mentions God's role in human art. Early human architectures took shape from their offerings to God. Therefore the artists are required to maintain same devotional mind in architectural creations. With regard to forms of architecture, the architects should also imitate from the forms of Beauty embodying divine attributes in Nature. However, in the Lamps of Truth, Power, Life, Memory, and Obedience, Ruskin has turned to several aspects closely associated with the artist himself including his own creativity and emotion, his moral pursuits, the social system in which he creates, how to pass down history, and how to deal with the laws. From this, it can be seen that Ruskin's focus has already turned to the earthly world where human beings live and create art, leaving Heaven and God behind, but never in oblivion.
During the research process, I make a close-reading of Ruskin's writings, analyze relating works of art, and examine the changes of his religious beliefs. Besides, I also apply to historic context study, hermeneutic interpretation, and comparative analysis. All these approaches push the theoretical explorations to arrive at a reasonable conclusion.
研究发现,罗斯金的美学思想至少存在两个主要向度,一是强调上帝是世间万物的本源,亦是一切美的形式的源泉,由此断言人作为上帝的最高造物,必须服从并热爱上帝,在艺术创作中虔心模仿上帝所造之自然。二是强调人类的主观能动性、创造性与想象力。在艺术创作过程中,人不仅要模仿自然,更要加入自身的解读与诠释。有鉴于此,罗斯金始终从道德角度审视艺术,认为其作用并不在于自身,而是要增强人类的宗教信仰,提高其道德追求。可以说,他对于艺术作品的宗教性关注与道德性关注是密不可分的。
在绘画美学论述中,罗斯金认为典型美是上帝神性的彰显,而活力美则是指世间生物(包括动植物和人类)由上帝赋予的灼灼生命力,以及它们在履行上帝赋予职能时所显现的幸福感和愉悦精神,特别体现在人类的情感和道德追求方面。由于此时个人宗教信仰的变化,罗斯金己逐渐从对上帝的关注转向对人类自身的评述。
建筑美学论述主要以《建筑的七盏明灯》为主要研究文本,侧重分析了罗斯金提出的七个重要原则。应该注意的是,该部著作虽然是在罗斯金放弃福音派信仰之后所撰,但在论述奉献明灯和美之明灯时,他依然念念不忘上帝的重要作用,指出在进行建筑艺术创作时,就心绪而言,人类要怀有一种奉献情绪,即一种源自对上帝进行献祭的情感。就艺术形式而言,人类应模仿自然界中上帝神性的表现——美的形式这一范本。而在真实明灯、力量明灯、生命明灯、记忆明灯、服从明灯这五个原则的论述中,他的视角则完全转向与艺术创作者息息相关的各方面,譬如自身的创造力和主观能动性、道德诉求、社会体系影响、历史传承、如何遵循法则等等。
本文在研究上述问题的过程中,除了细读文本、分析艺术作品与考察宗教信仰变化之外,同时还尝试借鉴了历史语境、圣经注释学和注解学以及对比分析等相关方法,这一切都有助于推进理论思索的深入进行,并由此得出言之有据的结论。
This dissertation looks into John Ruskin's religious views in and their impact on his aesthetic ideas and tries to discuss with particular reference from two scopes, namely his aesthetic ideas in painting and those in architecture.
On the one hand, Ruskin emphasizes that God created the universe and all things. He is the source of all forms of beauty. Human beings, as the highest of His earthly creatures, must love Him and obey Him. They must take Him as the ultimate Beauty, Truth, and Goodness. Ruskin argues that the principal role of the artists is "truth to nature". They should imitate from God's creation, Nature. On the other hand, Ruskin attaches great importance to originality, creativity, imagination, and initiative of human beings. During art creating, they should not only imitate from Nature, but also invest their own interpretations and give full scope to their creativities. Further, Ruskin's morality is also inseparable from his aesthetic thoughts just as his religious views are. To him, all great art is "the expression of the spirits of great men". Only the morally and spiritually healthy are capable of admiring the noble and the beautiful, and transforming them into great arts by imaginatively penetrating their essence.
With regard to his aesthetic ideas in painting, Ruskin deems that Typical Beauty is "the symbolizing of divine attributes in matter" and Vital Beauty is "the beauty of living things", embodied in their happiness in the lives given by God and their fulfillment in their own functions by Him. Each species has its God-given ends and each creature performs its natural and moral functions contentedly. Vital Beauty of human beings is reflected in their moral pursuits and all healthy emotions. During this stage, Ruskin's interest has gradually shifted in emphasis from a theocentric aestheticism to a deep probe of human beings as self-contained thinking and creating beings.
Ruskin's aesthetic ideas in architecture are somewhat condensed in the seven lamps or seven canons in architecture art. These lamps include that of Sacrifice, of Truth, of Power, of Beauty, of Life, of Memory, and of Obedience. In Lamps of Sacrifice and Beauty, he still mentions God's role in human art. Early human architectures took shape from their offerings to God. Therefore the artists are required to maintain same devotional mind in architectural creations. With regard to forms of architecture, the architects should also imitate from the forms of Beauty embodying divine attributes in Nature. However, in the Lamps of Truth, Power, Life, Memory, and Obedience, Ruskin has turned to several aspects closely associated with the artist himself including his own creativity and emotion, his moral pursuits, the social system in which he creates, how to pass down history, and how to deal with the laws. From this, it can be seen that Ruskin's focus has already turned to the earthly world where human beings live and create art, leaving Heaven and God behind, but never in oblivion.
During the research process, I make a close-reading of Ruskin's writings, analyze relating works of art, and examine the changes of his religious beliefs. Besides, I also apply to historic context study, hermeneutic interpretation, and comparative analysis. All these approaches push the theoretical explorations to arrive at a reasonable conclusion.
引文
1Derrick Lewis Leon, Ruskin:The Great Victorian (London:Routledge&Kegan Paul,1949), p. xi. George P. Landow, Ruskin (New York:Oxford University Press,1985), p.16.
2关于《圣经》的高等批判与传统的低等批判相对。低等批判着眼于《圣经》文字本身的构成和含义,即文本批判。而高等批判着眼于《圣经》各个章节的作者、写作日期、以及写作地点等。
3John Ruskin, Praeterita (Oxford&New York:Oxford University Press,1949), p.15."My mother had, as she afterwards told me, solemnly "devoted me to God" before I was born; in imitation of Hannah."
4Also see1Samuel1:28in The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version,(New York:Oxford University Press,2010), p.401.
5中文中显示不出来。在罗斯金的作品中,常用大写的He来代表上帝、造物主。
6Mary and Ellen Gibbs, The Bible References ofJohnRuskin (1898),(New York:Kessinger Publishing,2008).
7John Ruskin, Praeterita,(Oxford&New York:Oxford University Press,1949), p.57.
8John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.4.
9John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. I, p.xlv."In the first, I shall endeavor to investigate and arrange the facts of nature with scientific accuracy;
10Ibid., p.xlv."I shall proceed, in the second portion of the work, to analyze and demonstrate the nature of the emotions of the Beautiful and Sublime; to examine the particular characters of every kind of scenery, and to bring to light, as far as may be in my power, that faultless, ceaseless, inconceivable, inexhaustible loveliness, which God has stamped upon all things, if man will only receive them as He gives them."
11Ibid."Finally, I shall endeavor to trace the operation of all this on the hearts and minds of men; to exhibit the moral function and end of art, to prove the share which it ought to have in the thoughts, and influence on the lives of all of us; to attach to the artist the responsibility of a preacher, and to kindle in the general mind that regard which such an office must demand."
12Peter Quennel, John Ruskin, Portrait of a Prophet(London:Collins,1949), p.23.
13Joan Abse, John Ruskin:The Passionate Moralist(London:Quartet,1980), p. iv.
14William Gershom Collingwood, The life of John Ruskin, London:Methuen&CO. LTD,1911.
15E. T. Cook, The life of John Ruskin:London:George Allen&Company, LTD,1912.
16Derrick Lewis Leon, Ruskin:The Great Victorian, London:Routledge&Kegan Paul,1949.
17John Lewis Bradley,An Introduction to Ruskin, Boston:Houghton Mifflin,1971.
18John Dixon Hunt, The Wider Sea:A Life of John Ruskin, New York:Viking, and London:Dent,1982.
19Bosanquet, The History of Aesthetics, London/New York:Macmillan,1892.
20John Ruskin, The Seven Lamps ofArchitecture (New York:J.B. Alden,1885),pp.11-14.
21Roger Fry, Vision and Design (New York:Meridian Books,1955), pp.16-38.
22Benedetto Croce, Aesthetic:As Science oj Expression and'General Linguistic(New York:Transaction Publisher, 1995), p.333.
23Ibid.,p.334.
24从罗斯金的作品颇具散文特质,并非一个完整、严密、系统的理论体系来说,这一点确实如此。
25John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ,p.12.
26Benedetto Croce, Aesthetic:As Science of Expression and General Linguistic,(New York:Transaction Publisher,1995), p.334.
27John Ruskin, in ModernPainters, Vol Ⅱ,(New York:Merrill&Baker,1897), p.37.
28Lionello Venturi, in "Romanticism and the Middle Ages" in History of Art Criticism,(New York:E. P. Dutton&Co,1936), p.183.
29Ibid.,p.181.
30Ibid., p.184.
31JohnRuskin, Lectures on Art Delivered before the University of Oxford in Hilary term (Oxford:The Clarendon Press,1875), p.147.
32Lionello Venturi, in "Romanticism and the Middle Ages" in History of Art Criticism,(New York:E. P. Dutton&Co,1936), p.186.
33Reginald Howard Wilenski, John Ruskin:An Introduction to Further Study of His Life and Work (London:Faber&Faber Limited,1933), p.220-225.
34Arnold Hauser, The Social History of Art,2vols.(New York:Knopf,1952), Ⅱ, pp.820-822."He (Ruskin) was indubitably the first to interpret the decline of art and taste as the sign of a general cultural crisis."
35John D. Rosenberg, The Darkening Glass:A Portrait ofRuskin's Genius (New York&London:Columbia University Press,1961), p. xi.
36George P. Landow, Ruskin (New York:Oxford University Press,1985), p.12.
37George P. Landow, The Aesthetic and Critical'Theories of John Ruskin (New Jersey:Princeton University Press,1971), p.35.
38John Lewis Bradley, Ruskin:The Critical Heritage (London, Boston, Melbourne And Henley:Routledge&Kegan Paul,1984), p. xii.
39王柯平：“罗斯金的美学思想”,见李鹏程、王柯平、周国平：《西方美学史》(汝信主编,第三卷,北京：中国社会科学出版社2008年),第834-877页。
41John D. Rosenberg, The Darkening Glass:A Portrait ofRuskin's Genius (New York&London:Columbia University Press,1961), p.219.
42John Ruskin, Praeterita (Oxford&New York:Oxford University Press,1949), p.16."I was accordingly bred for43the church''43Ibid.,p.16.
44Ibid., p.121.
45Ibid.,pp.32-33.在这里,罗斯金的本意并不是指在那时母亲已经使他选择了坚定的福音派信仰,而是指母亲为自己奠定了全部未来生活的稳固基石。这种基础既适用于实际生活,也有助于精神追求。
46Ibid., pp.117-118."Her unquestioning evangelical faith in the literal truth of the Bible placed me, as soon as I could conceive or think, in the presence of an unseen world".
47Ibid.,p34.
48Ibid.
49John D. Rosenberg, The Darkening Glass:A Portrait ofRuskin's Genius (New York&London:Columbia University Press,1961),p.1.
50Vergilius Ferm, ed., An Encyclopedia of Religion (Paterson, New Jersey:Littlefield, Adams&CO.,1959), p.263.
51E.T. Cook&Alexander Wedderburn, ed., The Works of John Ruskin,(London:George Allen,156, Charing Cross Road&New York:Longmans, Green&Co.1903), vol.36, p.180.
52John Ruskin, Praeteerta,(Oxford&New York:Oxford University Press,1949), p.354.
53John Ruskin, Joan Evans, John Howard Whitehouse, eds,. The diaries of John Ruskin.3vols (Oxford: Clarendon Press,1956-1959), p.238, p.247.
54John Charles Ryle, Knots Untied, Being Plain Statements on Disputed Points in Religion from the Standpoint of the Evangelical Churchman,9th ed.,(London:William Hunt and Co,1883) pp.4-8.
55Henry Melvill B.D., Sermons (New York:Stanford and Swords,1853), p.209.
56John Charles Ryle, Knots Untied, Being Plain Statements on Disputed Points in Religion from the Standpoint of the Evangelical Churchman,9th ed.(London:William Hunt and Co,1883) p.6.
57John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.116.
58Ibid, p.118.
59William Wilberforce:A Practical Review of the Prevailing Religious System ofProfessed Christians, in the Middle and Higher Class in this Country, Contrasted with Real Christianity (New York:Filiquarian Publishing, LLC,2010), p.68.
60Henry Melvill, Christ's announcement of his death:A sermon (The Pulpit)(s.n.1843), XLV, p.9
61John Charles Ryle, Rich and Poor (New York:Robert Carter and Brothers,1855), pp.16-17.
62John Ruskin, Praeterita (Oxford&New York:Oxford University Press,1949), p.178.
63宗教体验是指,“某人声称自己接触到超自然的存在,与神邂逅或者达到神人交融”。See Vergilius Ferm, ed., An Encyclopedia of Religion,(Paterson, New Jersey:Littlefield, Adams&CO.,1959), p.248, p.513, p.650
64分别位于法国中部和南部。
65John William Colenso, The Pentateuch and the Book of Joshua Critically Examined(London:Longman, Green, Longman, Roberts,&Green,1879), pp. vii-viii.
66Ibid.,p.vii.
67E.T. Cook&Alexander Wedderburn, ed., The Works ofJohnRuskin (London:George Allen,156, Charing Cross Road New York:Longmans, Green&Co.1903), vol.36-37, pp.538-539.
68John Ruskin, Fors Clavigera (New York:Bryan, Taylor&Company,1894), Vol.3, p.192.
69Ibid., p.186.
701Thessalonians2:19, The New Oxford Annotated Bible with Apocrypha:NewRevised Standard Version(New York:Oxford University Press;4th edition, March19,2010), pp.2076-2077.
71John Lewis Bradley, Ruskin's Letters from Venice1851-1852(New Haven:Yale University Press,1955), p.247.
72John Ruskin, The Stones of Venice (Boston:Dana Estes&Co.,1851), Vol. Ⅱ, p.19.
73Ibid, Vol. Ⅱ, p.59.
74E.T. Cook&Alexander Wedderburn, ed., The Works ofJohnRuskin (London:George Allen,156, Charing Cross Road New York:Longmans, Green&Co.1903), vol.36-37, p.194.
75John Ruskin, Praeterita (Oxford&New York:Oxford University Press,1949), p.320.
76E.T. Cook&Alexander Wedderburn, ed., The Works of John Ruskin (London:George Allen,156, Charing Cross Road, New York:Longmans, Green&Co.1903), vol.38(Bibliography), p.172.
77Ibid.
78John D. Rosenberg, The Darkening Glass:A Portrait ofRuskin's Genius (New York&London:Columbia University Press,1961), p.219.
79John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.4.
80John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅴ, p.201.
81Ibid.,p.198.
E. T. Cook, The life of John Ruskin (London:George Allen&Company, LTD,1912), p.x.
83John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. Ⅱ, p.4.
84Ibid.
85Isaiah43:7, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version (New York: Oxford University Press;4th edition March19,2010), p.1025.
86Ibid.,2Cormthians4:7, p.2030.
87Ibid., Psalms19:1-4, p.788.
88John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. Ⅱ, p.31.
89David Hume, Treatise on Human Nature (New York:Create Space,2012), p.65.
90David Hume, Inquiry Concerning the Principles of Morals (New York:Cosimo Classics,2006), p.47.
91Edmund Burke, Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful (London: Routledge and Kegan Paul,1958), pp.104-105.
92John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.37.
93Ibid.,p.35.
94John Ruskin, Inaugural Address Delivered at Cambridge (Cambridge:Deighton, Bell,1858), p.36.
95John Ruskin, Modern Painters,(New York:Merrill&Baker,1897), Vol. Ⅰ, p.26.
96Ibid.,p.27.
97Ibid.,p.28.
98Ibid, Vol. Ⅱ, p.134.
99E.T. Cook&Alexander Wedderburn, ed., The Works of John Ruskin (London:George Allen,156, Charing Cross Road New York:Longmans, Green&Co.1903), vol.4, p.67.
100依其宗教含义,译为“类型”更为合适。
101Vergilius Ferm, ed., An Encyclopedia of Religion (Paterson, New Jersey:Littlefield, Adams&CO.,1959), p.799.
102http://www.merriam-webster.com/dictionary/typology
103Marilyn Stokstad, Medieval Art,2nd ed.,(Boulder Colo:Westview Press,2004), p.22.
104George P. Landow, Victorian Types, Victorian Shadows:Biblical Typology in Victorian Literature, Art and Thought(Boston:Routledge&Kegan Paul Ltd.,1980), p.3.
105李鹏程、王柯平、周国平：《西方美学史》,第三卷,中国社会科学出版社2008年版,第845页。
106John Ruskin, Modein,Painters, Vol.Ⅱ,(New York:Merrill&Baker,1897), p.41.
107J. D. Harding, Principles and Practice of Art (London:Chapman and Hill,1845), p.35.
108Hebrews1:14, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version (New York: Oxford University Press;4th edition March19,2010), p.2104.
109在旧约中可以看到,上帝曾多次为维护以色列人的利益而向摩西发出命令,发动圣战。
110John Ruskin, Modern Painters,(New York:Merrill&Baker,1897), Vol.Ⅱ, p.55.
111Just like "the Bread that comes down from Heaven". See Book of John6:50in The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version,(New York:Oxford University Press;4th edition March19,2010), p.1893.
112The Lamentation over the Dead Christby Bellini.
113see also John13:21, Matthew26:22, Mark14:19, Luke22:23.
114Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful'(London: Routledge and Kegan Paul,1958), p.74.
115William Congreve, The Complete Works of William Congreve (New York:Russell&Russell,1964), Part Two, p.85."Nothing can be called beautiful without proportion. When symmetry and harmony are wanting, neither the eye nor the ear can be pleased."
116John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. Ⅱ, p.72.
117Aristotle, Nicomachean Ethics (Indianapolis/Cambridge:Hackett Publishing Company, Inc.,1999), p.69.
118Ibid.
119John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.73.
120Ibid.,p.65.
121Ibid.
122Exodus3:13, The New Oxford Annotated Bible with Apocrypha:NewRevised Standard Version (New York: Oxford University Press;4th edition,2010), p.86.
123John D. Rosenberg, The Darkening Glass:A Portrait ofRuskin's Genius (New York&London:Columbia University Press,1961), p.205.
124根据基督教传统,天道常常指上帝将善与恶分发给人类,或者在更加普遍的意义上来说是他对整个世界的管理行为与管理模式。在圣经中,“天道”一词与表示“命令、指令”的‘'commission"可以替换使用。在这里罗斯金指的是,精神上的静穆是人类遵循上帝旨意所表现出的典型美范式。
125Exodus14:13, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version (New York: Oxford University Press;4th edition March19,2010), p.102.
126Proverbs3:17, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version (New York: Oxford University Press;4th edition March19,2010), p.900.
127John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. Ⅱ, p.8.
128Ibid, p.67.
129See John1:5.
130John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. V, p.320."Color, is the purifying or sanctifying element of material beauty."
131Ibid, p.319."Color is the great sanctifying element of visible beauty inseparably connected with purity and life."
132Ibid., Vol.Ⅳ, p.68.
133Exodus25:3-4, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version (New York: Oxford University Press;4th edition March19,2010), p.117.
134Ibid., Revelation22:2, p.2179.
135See Job12:18,12:21,30:11and Isaiah22:21,45:5.
136Richard Hooker, Of the Lawes of Ecclesiastical Politie (London:William Stansbye,1639), p.58.
137Aristotle, Nicomachean Ethics (Indianapolis/Cambridge:Hackett Publishing Company, Inc.,1999), p.27.
138Ibid.,p.30.
139Aristotle, Nicomachean Ethics (Indianapolis/Cambridge:Hackett Publishing Company, Inc.,1999), p.25.
140John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.85.
141John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.29."And, secondarily, the appearance of felicitous fulfillment of function in living things, more especially of the joyful and right exertion of perfect life in man. And this kind of beauty I shall call vital beauty."
142See Matthew14:34.
143See Genesis9:6-12.
144John Ruskin, Modern Painters, Vol. Ⅱ,(New York:Merrill&Baker,1897), pp.89-90.
145John Ruskin, Fors Clavigera,(New York:Bryan, Taylor&Company,1894), Vol.2, p.79.
146Luke10:27, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version (New York: Oxford University Press;4th edition March19,2010), p.1851.
147Never to blend our pleasure or our pride with sorrow of the meanest thing that feels.
148John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.12.
1492Corinthians4:18, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version,(New York:Oxford University Press;4th edition March19,2010), p.2030."What can be seen is temporary, but what cannot be seen is eternal."
1John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.92.
151万物有灵论(animism)又称泛灵论,为发源并盛行于17世纪的哲学思想,后来引用为宗教信仰种类之一。泛灵论认为,天下万物皆有灵魂或自然精神,并在控制和影响着其他自然现象,倡导此理论者,认为该自然现象与精神也深深影响着人类社会行为。简言之,泛灵论支持者认为“一棵树和一块石头都跟人类一样,具有同样的价值与权利”
152Ibid., p.29.
153Ibid., p.4.
154John Ruskin, Modeern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.116.
155William Wordsworth, The Excursion, Book1."In such high hour Of visitation from the Living God, Thought was not;"
156Matthew20:14, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version,(New York: Oxford University Press;4th edition March19,2010), p.1775."Take what belongs to you and go; I choose to give to this last the same as I give to you."
7John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅳ, p.50.
158Exodus13:21, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version,(New York: Oxford University Press;4th edition March19,2010), p.101.《出埃及记13:21》：日间,耶和华在云柱中领他们的路；夜间,在火柱中光照他们,使他们日夜都可以行走。
159Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful,(London: Routledge and Kegan Paul,1958), p.32.
160Ibid., p.7.
161Ibid., p.14."When danger or pain press too nearly, they are incapable of giving any delight, and are simply terrible; but at certain distances, and with certain modifications, they may be, and they are delightful, as we every day experience."
162John Ruskin, Modern Painters, Vol.Ⅱ,(New York:Merrill&Baker,1897), p127.
163Psalms27:1, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version,(New York: Oxford University Press;4th edition March19,2010), p794.
164John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. Ⅱ, p.41.
165Ibid, p.42.
166E.T. Cook&Alexander Wedderburn, ed., The Works of John Ruskin (London:George Allen,156, Charing Cross Road New York:Longmans, Green&Co.1903), vol.4, p.369.
167它很快就促使当时17世纪的人们接受了5世纪朗基努斯(Longinus)的《论崇高》(Peri Hupsous)文。此书在1674年由法国评论家布瓦洛(Nicolas Boileau-Despreaux)翻译出版。不过,朗基努斯侧重的是修辞上的崇高风格会引发人们的情绪变化,使他们的心灵更为高尚。伯奈特指的是,在对外部自然界进行凝神观照时收获的可怖与愉悦相混合的情绪。当代学者塞缪尔·霍尔特·蒙克(Samuel Holt Monk)曾经清楚地解释了这两个侧重点的区别：“崇高风格是修辞方面的研究,而崇高性则属于审美范畴；崇高风格是达到某一目的的手段,而崇高性本身就具有重要意义和价值”。参见:Samuel Holt Monk, The Sublime:A study of Critical Theories in ⅩⅧ-century England,(Ann Arbor, MI:University of Michigan Press,1960), p12.
168爱德华·扬在《夜思》(Night Thoughts)中对“崇高”进行了论述。
169John Ruskin, Modern Painters, Vol.Ⅳ,(New York:Merrill&Baker,1897), p139.
170Anthony Ashley Cooper, The Moralists, A Philosophical Rhapsody. Being a Recital of Certain Conversations Upon Natural and Moral Subjects,(New York:Gale Ecco,2010), Part Ⅲ, sec.1, p390-391.
171Andrew Ashfield and Peter de Bolla, The Sublime:a reader in British Eighteenth Century Aesthetic Theory,(New York:Cambridge University Press,1996), p73.
172Ibid, p373.
173《想象力的愉悦》节选自1712年6月21日《旁观者》中,第411号。
174Scott Elledge ed., Eighteenth-Century Critical Essays,2vols.(New York:Ithaca,1961), Ⅰ, p45.
175Ibid., p.58.
176Ibid., p.57.
178E.T. Cook&Alexander Wedderburn, ed., The Works of John Ruskin,(London:George Allen,156, Charing Cross Road New York:Longmans, Green&Co.1903), vol.2Poems, p.4.
179Ibid.
180John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅰ, p.41.
181p.42.
182p.42.
183Job19:26, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version (New York: Oxford University Press;4th edition March19,2010), p.745.
184“崇高感只是伟大事物对人的情绪所产生的影响。”See John Ruskin, Modern Painters,(New York:Merrill&Baker,1897), Vol.Ⅰ, p.42.
185Ibid, p.74.
186George P. Landow, The Aesthetic and Critical Theories ofJohnRuskin (New Jersey:Princeton University Press,1971), p.207.
187John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. Ⅴ, p.177.
188也就是说,罗斯金正是在伯克等人使用的“崇高”意义上,使用这一词汇
189John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. Ⅴ, p.53.
190Ibid., p.53.
191Ibid., p.49.
192Ibid.
199John D. Rosenberg, The Darkening Glass:A Portrait of Ruskin's Genius(New-York&London:Columbia University Press,1961), p.22.
200John Ruskin, The Seven Lamps of Architecture (New York:J.B. Alden,1885),p.70.
201Ibid, p.71.
202所谓“会幕”,是指为上帝显现所建造的一座可搬运的住所。
203Exodus25:37,37:23. The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version (New York:Oxford University Press;4th edition March19,2010), p.120, p.136.
204John Ruskin, The Seven Lamps of Architecture (New York:J.B. Alden,1885), p.15.
205Ibid., p.17."This Lamp, or Spirit of Sacrifice......prompts us to the offering of precious things merely because they are precious, not because they are useful or necessary.'
206这里的“有用”是惯常的功利性指涉。
207这里的“建筑物”是广义上的,包括建造之物(狭义上的建筑物)和建筑。
208Ibid."The first, the wish to exercise self-denial for the sake of self-discipline merely, a wish acted upon in the abandonment of things loved or desired..
209Exodus13:2,13:12, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version,(New York:Oxford University Press;4th edition March19,2010), p.100."Consecrate to me all the firstborn; whatever is the first to open the womb among the Israelites, of human beings and animals, is mine. All the firstborn of your livestock that are males shall be the Lord."
210Ibid., Exodus11:5, p.97."Every firstborn in the land of Egypt shall die, from the firstborn of Pharaoh who sits on his throne to the firstborn of the female slave who is behind the handmill, and all the firstborn of the livestock.'
211Ibid., Genesis49:3, p.77. Reuben, you are my firstborn, my might and the first fruits of my vigor, excelling in rank and excelling in power.
212Ibid., Genesis25:27, p.46.
213JohnRuskin, The Seven Lamps of Architecture (New York:J.B. Alden,1885), p.25.
214Ibid, p27.
215John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. I, p.21.
216John Ruskin, The Seven Lamps ofArchitecture (New York:J.B. Alden,1885), p.37."I would have the Spirit or Lamp of Truth clear in the hearts of our artists and handcraftsmen.''
217Ibid., p.39.
223最早提出崇高说的埃德蒙·伯克(1729-1797)是从情感、情欲机制的运行方式来评析崇高与美的区别。温克尔曼(J.J.Winckelmann:1717-1768)与康德(Immanuel Kant:1724-1804)均是从主观感受的角度出发,将崇高作为一种美学体验进行评论。这三者均是从观者的立场出发。而在“力量明灯”中,罗斯金则把崇高视为一种艺术形式的操作方式,是从创作者的立场进行探究。
224“力量”既可以表示建筑给观者留下的印象,也可指创作过程中创作者自身聪明才智与创造才能的迸发。
229John Ruskin, The Stones of Venice (Boston:Dana Estes&Company), Vol. Ⅰ., p.56."All noble ornamentation is the expression of man's delight in God's work.'
230Ibid., p.100.
231Ibid."The second requirement in decoration, is a sign of our liking the right thing. And the right thing to be liked is God's work, which He made for our delight and contentment in this world.'
232John Ruskin, The Seven Lamps of Architecture (New York:J.B. Alden,1885), p.87.
233Ibid., pp.87-88.
234Ibid., p.88.
236Ibid., p.124."His true life is like that of lower organic beings, the independent force by which he moulds and governs external things; it is a force of assimilation which converts everything around him into food, or into instruments; and which, however humbly or obediently it may listen to or follow the guidance of superior intelligence, never forfeits its own authority as a judging principle, as a will capable either of obeying or rebelling."
237Ibid, p.169.
238The greatest glory of a building is not in its stones, or its gold. Its glory is in its Age.
239Ibid., p.165."That principle, I mean, to which Polity owes its stability, Life its happiness, Faith its acceptance, Creation its continuance,--Obedience."
240O Liberte, que de crimes on commet en ton nom!(O Liberty, Liberty, how many crimes are committed in thy name!)
241John Ruskin, The Seven Lamps of Architecture (New York:J.B. Alden,1885), p.167.
242William Shakespeare, The Tragedy of Hamlet, Prince of Denmark,(Act Ⅱ, Scene ii,285-300)."the beauty of the world, the paragon of animals."
243李鹏程、王柯平、周国平：《西方美学史》,第三卷,中国社会科学出版社2008年版,第887-888页。
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[美]戴维·希克瑞：《拜读罗斯金》,李临艾、郑英锋译,载《史与论》,2001年第2期。
王柯平：《罗斯金的绘画诗学观》,载《美术观察》,2009年第7期。
王柯平：《罗斯金论美的两种形态》,载《美术观察》,2009年第2期。
李娇：《罗斯金论艺术道德的情感表现》,载《美苑》,2008年第6期。
孙晓昕：《罗斯金美学对拉菲尔前派艺术的影响,载《美苑》,2009年第2期。
刘须明：《维多利亚时代的圣人——约翰·罗斯金艺术思想研判》,载《艺术百家》,2006年,第1期。
刘须明：《博克与罗斯金美学思想比较》,载《淮阴师范学院学报(哲学社会科学版)》,2006年2月,第28卷。
刘须明,凌继尧：《从约翰·罗斯金的一次演讲观其艺术思想的现代意义》,载《东南大学学报(哲学社会科学版)》,2005年9月,第7卷第5期。
毛刚：《从审美到社会批评——罗斯金批评思想探论》,载《兰州大学学报(社会科学版)》,2004年3月,第32卷第2期。
罗杰鹦：《论约翰·罗斯金艺术思想的嬗变》,载《思想战线》,2008年第6期,第34卷。
高继海：《约翰·罗斯金的艺术批评》,载《河南大学学报(社会科学版)》,1998年1月,第38卷,第1期。
王发堂：《罗斯金的艺术思想研究——兼评<建筑的七盏明灯>》,2009年11月,第11卷,第6期。
殷企平：《试论罗斯金的文化观》,2008年9月,第38卷,第5期。
2关于《圣经》的高等批判与传统的低等批判相对。低等批判着眼于《圣经》文字本身的构成和含义,即文本批判。而高等批判着眼于《圣经》各个章节的作者、写作日期、以及写作地点等。
3John Ruskin, Praeterita (Oxford&New York:Oxford University Press,1949), p.15."My mother had, as she afterwards told me, solemnly "devoted me to God" before I was born; in imitation of Hannah."
4Also see1Samuel1:28in The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version,(New York:Oxford University Press,2010), p.401.
5中文中显示不出来。在罗斯金的作品中,常用大写的He来代表上帝、造物主。
6Mary and Ellen Gibbs, The Bible References ofJohnRuskin (1898),(New York:Kessinger Publishing,2008).
7John Ruskin, Praeterita,(Oxford&New York:Oxford University Press,1949), p.57.
8John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.4.
9John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. I, p.xlv."In the first, I shall endeavor to investigate and arrange the facts of nature with scientific accuracy;
10Ibid., p.xlv."I shall proceed, in the second portion of the work, to analyze and demonstrate the nature of the emotions of the Beautiful and Sublime; to examine the particular characters of every kind of scenery, and to bring to light, as far as may be in my power, that faultless, ceaseless, inconceivable, inexhaustible loveliness, which God has stamped upon all things, if man will only receive them as He gives them."
11Ibid."Finally, I shall endeavor to trace the operation of all this on the hearts and minds of men; to exhibit the moral function and end of art, to prove the share which it ought to have in the thoughts, and influence on the lives of all of us; to attach to the artist the responsibility of a preacher, and to kindle in the general mind that regard which such an office must demand."
12Peter Quennel, John Ruskin, Portrait of a Prophet(London:Collins,1949), p.23.
13Joan Abse, John Ruskin:The Passionate Moralist(London:Quartet,1980), p. iv.
14William Gershom Collingwood, The life of John Ruskin, London:Methuen&CO. LTD,1911.
15E. T. Cook, The life of John Ruskin:London:George Allen&Company, LTD,1912.
16Derrick Lewis Leon, Ruskin:The Great Victorian, London:Routledge&Kegan Paul,1949.
17John Lewis Bradley,An Introduction to Ruskin, Boston:Houghton Mifflin,1971.
18John Dixon Hunt, The Wider Sea:A Life of John Ruskin, New York:Viking, and London:Dent,1982.
19Bosanquet, The History of Aesthetics, London/New York:Macmillan,1892.
20John Ruskin, The Seven Lamps ofArchitecture (New York:J.B. Alden,1885),pp.11-14.
21Roger Fry, Vision and Design (New York:Meridian Books,1955), pp.16-38.
22Benedetto Croce, Aesthetic:As Science oj Expression and'General Linguistic(New York:Transaction Publisher, 1995), p.333.
23Ibid.,p.334.
24从罗斯金的作品颇具散文特质,并非一个完整、严密、系统的理论体系来说,这一点确实如此。
25John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ,p.12.
26Benedetto Croce, Aesthetic:As Science of Expression and General Linguistic,(New York:Transaction Publisher,1995), p.334.
27John Ruskin, in ModernPainters, Vol Ⅱ,(New York:Merrill&Baker,1897), p.37.
28Lionello Venturi, in "Romanticism and the Middle Ages" in History of Art Criticism,(New York:E. P. Dutton&Co,1936), p.183.
29Ibid.,p.181.
30Ibid., p.184.
31JohnRuskin, Lectures on Art Delivered before the University of Oxford in Hilary term (Oxford:The Clarendon Press,1875), p.147.
32Lionello Venturi, in "Romanticism and the Middle Ages" in History of Art Criticism,(New York:E. P. Dutton&Co,1936), p.186.
33Reginald Howard Wilenski, John Ruskin:An Introduction to Further Study of His Life and Work (London:Faber&Faber Limited,1933), p.220-225.
34Arnold Hauser, The Social History of Art,2vols.(New York:Knopf,1952), Ⅱ, pp.820-822."He (Ruskin) was indubitably the first to interpret the decline of art and taste as the sign of a general cultural crisis."
35John D. Rosenberg, The Darkening Glass:A Portrait ofRuskin's Genius (New York&London:Columbia University Press,1961), p. xi.
36George P. Landow, Ruskin (New York:Oxford University Press,1985), p.12.
37George P. Landow, The Aesthetic and Critical'Theories of John Ruskin (New Jersey:Princeton University Press,1971), p.35.
38John Lewis Bradley, Ruskin:The Critical Heritage (London, Boston, Melbourne And Henley:Routledge&Kegan Paul,1984), p. xii.
39王柯平：“罗斯金的美学思想”,见李鹏程、王柯平、周国平：《西方美学史》(汝信主编,第三卷,北京：中国社会科学出版社2008年),第834-877页。
41John D. Rosenberg, The Darkening Glass:A Portrait ofRuskin's Genius (New York&London:Columbia University Press,1961), p.219.
42John Ruskin, Praeterita (Oxford&New York:Oxford University Press,1949), p.16."I was accordingly bred for43the church''43Ibid.,p.16.
44Ibid., p.121.
45Ibid.,pp.32-33.在这里,罗斯金的本意并不是指在那时母亲已经使他选择了坚定的福音派信仰,而是指母亲为自己奠定了全部未来生活的稳固基石。这种基础既适用于实际生活,也有助于精神追求。
46Ibid., pp.117-118."Her unquestioning evangelical faith in the literal truth of the Bible placed me, as soon as I could conceive or think, in the presence of an unseen world".
47Ibid.,p34.
48Ibid.
49John D. Rosenberg, The Darkening Glass:A Portrait ofRuskin's Genius (New York&London:Columbia University Press,1961),p.1.
50Vergilius Ferm, ed., An Encyclopedia of Religion (Paterson, New Jersey:Littlefield, Adams&CO.,1959), p.263.
51E.T. Cook&Alexander Wedderburn, ed., The Works of John Ruskin,(London:George Allen,156, Charing Cross Road&New York:Longmans, Green&Co.1903), vol.36, p.180.
52John Ruskin, Praeteerta,(Oxford&New York:Oxford University Press,1949), p.354.
53John Ruskin, Joan Evans, John Howard Whitehouse, eds,. The diaries of John Ruskin.3vols (Oxford: Clarendon Press,1956-1959), p.238, p.247.
54John Charles Ryle, Knots Untied, Being Plain Statements on Disputed Points in Religion from the Standpoint of the Evangelical Churchman,9th ed.,(London:William Hunt and Co,1883) pp.4-8.
55Henry Melvill B.D., Sermons (New York:Stanford and Swords,1853), p.209.
56John Charles Ryle, Knots Untied, Being Plain Statements on Disputed Points in Religion from the Standpoint of the Evangelical Churchman,9th ed.(London:William Hunt and Co,1883) p.6.
57John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.116.
58Ibid, p.118.
59William Wilberforce:A Practical Review of the Prevailing Religious System ofProfessed Christians, in the Middle and Higher Class in this Country, Contrasted with Real Christianity (New York:Filiquarian Publishing, LLC,2010), p.68.
60Henry Melvill, Christ's announcement of his death:A sermon (The Pulpit)(s.n.1843), XLV, p.9
61John Charles Ryle, Rich and Poor (New York:Robert Carter and Brothers,1855), pp.16-17.
62John Ruskin, Praeterita (Oxford&New York:Oxford University Press,1949), p.178.
63宗教体验是指,“某人声称自己接触到超自然的存在,与神邂逅或者达到神人交融”。See Vergilius Ferm, ed., An Encyclopedia of Religion,(Paterson, New Jersey:Littlefield, Adams&CO.,1959), p.248, p.513, p.650
64分别位于法国中部和南部。
65John William Colenso, The Pentateuch and the Book of Joshua Critically Examined(London:Longman, Green, Longman, Roberts,&Green,1879), pp. vii-viii.
66Ibid.,p.vii.
67E.T. Cook&Alexander Wedderburn, ed., The Works ofJohnRuskin (London:George Allen,156, Charing Cross Road New York:Longmans, Green&Co.1903), vol.36-37, pp.538-539.
68John Ruskin, Fors Clavigera (New York:Bryan, Taylor&Company,1894), Vol.3, p.192.
69Ibid., p.186.
701Thessalonians2:19, The New Oxford Annotated Bible with Apocrypha:NewRevised Standard Version(New York:Oxford University Press;4th edition, March19,2010), pp.2076-2077.
71John Lewis Bradley, Ruskin's Letters from Venice1851-1852(New Haven:Yale University Press,1955), p.247.
72John Ruskin, The Stones of Venice (Boston:Dana Estes&Co.,1851), Vol. Ⅱ, p.19.
73Ibid, Vol. Ⅱ, p.59.
74E.T. Cook&Alexander Wedderburn, ed., The Works ofJohnRuskin (London:George Allen,156, Charing Cross Road New York:Longmans, Green&Co.1903), vol.36-37, p.194.
75John Ruskin, Praeterita (Oxford&New York:Oxford University Press,1949), p.320.
76E.T. Cook&Alexander Wedderburn, ed., The Works of John Ruskin (London:George Allen,156, Charing Cross Road, New York:Longmans, Green&Co.1903), vol.38(Bibliography), p.172.
77Ibid.
78John D. Rosenberg, The Darkening Glass:A Portrait ofRuskin's Genius (New York&London:Columbia University Press,1961), p.219.
79John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.4.
80John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅴ, p.201.
81Ibid.,p.198.
E. T. Cook, The life of John Ruskin (London:George Allen&Company, LTD,1912), p.x.
83John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. Ⅱ, p.4.
84Ibid.
85Isaiah43:7, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version (New York: Oxford University Press;4th edition March19,2010), p.1025.
86Ibid.,2Cormthians4:7, p.2030.
87Ibid., Psalms19:1-4, p.788.
88John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. Ⅱ, p.31.
89David Hume, Treatise on Human Nature (New York:Create Space,2012), p.65.
90David Hume, Inquiry Concerning the Principles of Morals (New York:Cosimo Classics,2006), p.47.
91Edmund Burke, Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful (London: Routledge and Kegan Paul,1958), pp.104-105.
92John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.37.
93Ibid.,p.35.
94John Ruskin, Inaugural Address Delivered at Cambridge (Cambridge:Deighton, Bell,1858), p.36.
95John Ruskin, Modern Painters,(New York:Merrill&Baker,1897), Vol. Ⅰ, p.26.
96Ibid.,p.27.
97Ibid.,p.28.
98Ibid, Vol. Ⅱ, p.134.
99E.T. Cook&Alexander Wedderburn, ed., The Works of John Ruskin (London:George Allen,156, Charing Cross Road New York:Longmans, Green&Co.1903), vol.4, p.67.
100依其宗教含义,译为“类型”更为合适。
101Vergilius Ferm, ed., An Encyclopedia of Religion (Paterson, New Jersey:Littlefield, Adams&CO.,1959), p.799.
102http://www.merriam-webster.com/dictionary/typology
103Marilyn Stokstad, Medieval Art,2nd ed.,(Boulder Colo:Westview Press,2004), p.22.
104George P. Landow, Victorian Types, Victorian Shadows:Biblical Typology in Victorian Literature, Art and Thought(Boston:Routledge&Kegan Paul Ltd.,1980), p.3.
105李鹏程、王柯平、周国平：《西方美学史》,第三卷,中国社会科学出版社2008年版,第845页。
106John Ruskin, Modein,Painters, Vol.Ⅱ,(New York:Merrill&Baker,1897), p.41.
107J. D. Harding, Principles and Practice of Art (London:Chapman and Hill,1845), p.35.
108Hebrews1:14, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version (New York: Oxford University Press;4th edition March19,2010), p.2104.
109在旧约中可以看到,上帝曾多次为维护以色列人的利益而向摩西发出命令,发动圣战。
110John Ruskin, Modern Painters,(New York:Merrill&Baker,1897), Vol.Ⅱ, p.55.
111Just like "the Bread that comes down from Heaven". See Book of John6:50in The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version,(New York:Oxford University Press;4th edition March19,2010), p.1893.
112The Lamentation over the Dead Christby Bellini.
113see also John13:21, Matthew26:22, Mark14:19, Luke22:23.
114Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful'(London: Routledge and Kegan Paul,1958), p.74.
115William Congreve, The Complete Works of William Congreve (New York:Russell&Russell,1964), Part Two, p.85."Nothing can be called beautiful without proportion. When symmetry and harmony are wanting, neither the eye nor the ear can be pleased."
116John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. Ⅱ, p.72.
117Aristotle, Nicomachean Ethics (Indianapolis/Cambridge:Hackett Publishing Company, Inc.,1999), p.69.
118Ibid.
119John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.73.
120Ibid.,p.65.
121Ibid.
122Exodus3:13, The New Oxford Annotated Bible with Apocrypha:NewRevised Standard Version (New York: Oxford University Press;4th edition,2010), p.86.
123John D. Rosenberg, The Darkening Glass:A Portrait ofRuskin's Genius (New York&London:Columbia University Press,1961), p.205.
124根据基督教传统,天道常常指上帝将善与恶分发给人类,或者在更加普遍的意义上来说是他对整个世界的管理行为与管理模式。在圣经中,“天道”一词与表示“命令、指令”的‘'commission"可以替换使用。在这里罗斯金指的是,精神上的静穆是人类遵循上帝旨意所表现出的典型美范式。
125Exodus14:13, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version (New York: Oxford University Press;4th edition March19,2010), p.102.
126Proverbs3:17, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version (New York: Oxford University Press;4th edition March19,2010), p.900.
127John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. Ⅱ, p.8.
128Ibid, p.67.
129See John1:5.
130John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. V, p.320."Color, is the purifying or sanctifying element of material beauty."
131Ibid, p.319."Color is the great sanctifying element of visible beauty inseparably connected with purity and life."
132Ibid., Vol.Ⅳ, p.68.
133Exodus25:3-4, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version (New York: Oxford University Press;4th edition March19,2010), p.117.
134Ibid., Revelation22:2, p.2179.
135See Job12:18,12:21,30:11and Isaiah22:21,45:5.
136Richard Hooker, Of the Lawes of Ecclesiastical Politie (London:William Stansbye,1639), p.58.
137Aristotle, Nicomachean Ethics (Indianapolis/Cambridge:Hackett Publishing Company, Inc.,1999), p.27.
138Ibid.,p.30.
139Aristotle, Nicomachean Ethics (Indianapolis/Cambridge:Hackett Publishing Company, Inc.,1999), p.25.
140John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.85.
141John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.29."And, secondarily, the appearance of felicitous fulfillment of function in living things, more especially of the joyful and right exertion of perfect life in man. And this kind of beauty I shall call vital beauty."
142See Matthew14:34.
143See Genesis9:6-12.
144John Ruskin, Modern Painters, Vol. Ⅱ,(New York:Merrill&Baker,1897), pp.89-90.
145John Ruskin, Fors Clavigera,(New York:Bryan, Taylor&Company,1894), Vol.2, p.79.
146Luke10:27, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version (New York: Oxford University Press;4th edition March19,2010), p.1851.
147Never to blend our pleasure or our pride with sorrow of the meanest thing that feels.
148John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.12.
1492Corinthians4:18, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version,(New York:Oxford University Press;4th edition March19,2010), p.2030."What can be seen is temporary, but what cannot be seen is eternal."
1John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.92.
151万物有灵论(animism)又称泛灵论,为发源并盛行于17世纪的哲学思想,后来引用为宗教信仰种类之一。泛灵论认为,天下万物皆有灵魂或自然精神,并在控制和影响着其他自然现象,倡导此理论者,认为该自然现象与精神也深深影响着人类社会行为。简言之,泛灵论支持者认为“一棵树和一块石头都跟人类一样,具有同样的价值与权利”
152Ibid., p.29.
153Ibid., p.4.
154John Ruskin, Modeern Painters (New York:Merrill&Baker,1897), Vol.Ⅱ, p.116.
155William Wordsworth, The Excursion, Book1."In such high hour Of visitation from the Living God, Thought was not;"
156Matthew20:14, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version,(New York: Oxford University Press;4th edition March19,2010), p.1775."Take what belongs to you and go; I choose to give to this last the same as I give to you."
7John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅳ, p.50.
158Exodus13:21, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version,(New York: Oxford University Press;4th edition March19,2010), p.101.《出埃及记13:21》：日间,耶和华在云柱中领他们的路；夜间,在火柱中光照他们,使他们日夜都可以行走。
159Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful,(London: Routledge and Kegan Paul,1958), p.32.
160Ibid., p.7.
161Ibid., p.14."When danger or pain press too nearly, they are incapable of giving any delight, and are simply terrible; but at certain distances, and with certain modifications, they may be, and they are delightful, as we every day experience."
162John Ruskin, Modern Painters, Vol.Ⅱ,(New York:Merrill&Baker,1897), p127.
163Psalms27:1, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version,(New York: Oxford University Press;4th edition March19,2010), p794.
164John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. Ⅱ, p.41.
165Ibid, p.42.
166E.T. Cook&Alexander Wedderburn, ed., The Works of John Ruskin (London:George Allen,156, Charing Cross Road New York:Longmans, Green&Co.1903), vol.4, p.369.
167它很快就促使当时17世纪的人们接受了5世纪朗基努斯(Longinus)的《论崇高》(Peri Hupsous)文。此书在1674年由法国评论家布瓦洛(Nicolas Boileau-Despreaux)翻译出版。不过,朗基努斯侧重的是修辞上的崇高风格会引发人们的情绪变化,使他们的心灵更为高尚。伯奈特指的是,在对外部自然界进行凝神观照时收获的可怖与愉悦相混合的情绪。当代学者塞缪尔·霍尔特·蒙克(Samuel Holt Monk)曾经清楚地解释了这两个侧重点的区别：“崇高风格是修辞方面的研究,而崇高性则属于审美范畴；崇高风格是达到某一目的的手段,而崇高性本身就具有重要意义和价值”。参见:Samuel Holt Monk, The Sublime:A study of Critical Theories in ⅩⅧ-century England,(Ann Arbor, MI:University of Michigan Press,1960), p12.
168爱德华·扬在《夜思》(Night Thoughts)中对“崇高”进行了论述。
169John Ruskin, Modern Painters, Vol.Ⅳ,(New York:Merrill&Baker,1897), p139.
170Anthony Ashley Cooper, The Moralists, A Philosophical Rhapsody. Being a Recital of Certain Conversations Upon Natural and Moral Subjects,(New York:Gale Ecco,2010), Part Ⅲ, sec.1, p390-391.
171Andrew Ashfield and Peter de Bolla, The Sublime:a reader in British Eighteenth Century Aesthetic Theory,(New York:Cambridge University Press,1996), p73.
172Ibid, p373.
173《想象力的愉悦》节选自1712年6月21日《旁观者》中,第411号。
174Scott Elledge ed., Eighteenth-Century Critical Essays,2vols.(New York:Ithaca,1961), Ⅰ, p45.
175Ibid., p.58.
176Ibid., p.57.
178E.T. Cook&Alexander Wedderburn, ed., The Works of John Ruskin,(London:George Allen,156, Charing Cross Road New York:Longmans, Green&Co.1903), vol.2Poems, p.4.
179Ibid.
180John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol.Ⅰ, p.41.
181p.42.
182p.42.
183Job19:26, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version (New York: Oxford University Press;4th edition March19,2010), p.745.
184“崇高感只是伟大事物对人的情绪所产生的影响。”See John Ruskin, Modern Painters,(New York:Merrill&Baker,1897), Vol.Ⅰ, p.42.
185Ibid, p.74.
186George P. Landow, The Aesthetic and Critical Theories ofJohnRuskin (New Jersey:Princeton University Press,1971), p.207.
187John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. Ⅴ, p.177.
188也就是说,罗斯金正是在伯克等人使用的“崇高”意义上,使用这一词汇
189John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. Ⅴ, p.53.
190Ibid., p.53.
191Ibid., p.49.
192Ibid.
199John D. Rosenberg, The Darkening Glass:A Portrait of Ruskin's Genius(New-York&London:Columbia University Press,1961), p.22.
200John Ruskin, The Seven Lamps of Architecture (New York:J.B. Alden,1885),p.70.
201Ibid, p.71.
202所谓“会幕”,是指为上帝显现所建造的一座可搬运的住所。
203Exodus25:37,37:23. The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version (New York:Oxford University Press;4th edition March19,2010), p.120, p.136.
204John Ruskin, The Seven Lamps of Architecture (New York:J.B. Alden,1885), p.15.
205Ibid., p.17."This Lamp, or Spirit of Sacrifice......prompts us to the offering of precious things merely because they are precious, not because they are useful or necessary.'
206这里的“有用”是惯常的功利性指涉。
207这里的“建筑物”是广义上的,包括建造之物(狭义上的建筑物)和建筑。
208Ibid."The first, the wish to exercise self-denial for the sake of self-discipline merely, a wish acted upon in the abandonment of things loved or desired..
209Exodus13:2,13:12, The New Oxford Annotated Bible with Apocrypha:New Revised Standard Version,(New York:Oxford University Press;4th edition March19,2010), p.100."Consecrate to me all the firstborn; whatever is the first to open the womb among the Israelites, of human beings and animals, is mine. All the firstborn of your livestock that are males shall be the Lord."
210Ibid., Exodus11:5, p.97."Every firstborn in the land of Egypt shall die, from the firstborn of Pharaoh who sits on his throne to the firstborn of the female slave who is behind the handmill, and all the firstborn of the livestock.'
211Ibid., Genesis49:3, p.77. Reuben, you are my firstborn, my might and the first fruits of my vigor, excelling in rank and excelling in power.
212Ibid., Genesis25:27, p.46.
213JohnRuskin, The Seven Lamps of Architecture (New York:J.B. Alden,1885), p.25.
214Ibid, p27.
215John Ruskin, Modern Painters (New York:Merrill&Baker,1897), Vol. I, p.21.
216John Ruskin, The Seven Lamps ofArchitecture (New York:J.B. Alden,1885), p.37."I would have the Spirit or Lamp of Truth clear in the hearts of our artists and handcraftsmen.''
217Ibid., p.39.
223最早提出崇高说的埃德蒙·伯克(1729-1797)是从情感、情欲机制的运行方式来评析崇高与美的区别。温克尔曼(J.J.Winckelmann:1717-1768)与康德(Immanuel Kant:1724-1804)均是从主观感受的角度出发,将崇高作为一种美学体验进行评论。这三者均是从观者的立场出发。而在“力量明灯”中,罗斯金则把崇高视为一种艺术形式的操作方式,是从创作者的立场进行探究。
224“力量”既可以表示建筑给观者留下的印象,也可指创作过程中创作者自身聪明才智与创造才能的迸发。
229John Ruskin, The Stones of Venice (Boston:Dana Estes&Company), Vol. Ⅰ., p.56."All noble ornamentation is the expression of man's delight in God's work.'
230Ibid., p.100.
231Ibid."The second requirement in decoration, is a sign of our liking the right thing. And the right thing to be liked is God's work, which He made for our delight and contentment in this world.'
232John Ruskin, The Seven Lamps of Architecture (New York:J.B. Alden,1885), p.87.
233Ibid., pp.87-88.
234Ibid., p.88.
236Ibid., p.124."His true life is like that of lower organic beings, the independent force by which he moulds and governs external things; it is a force of assimilation which converts everything around him into food, or into instruments; and which, however humbly or obediently it may listen to or follow the guidance of superior intelligence, never forfeits its own authority as a judging principle, as a will capable either of obeying or rebelling."
237Ibid, p.169.
238The greatest glory of a building is not in its stones, or its gold. Its glory is in its Age.
239Ibid., p.165."That principle, I mean, to which Polity owes its stability, Life its happiness, Faith its acceptance, Creation its continuance,--Obedience."
240O Liberte, que de crimes on commet en ton nom!(O Liberty, Liberty, how many crimes are committed in thy name!)
241John Ruskin, The Seven Lamps of Architecture (New York:J.B. Alden,1885), p.167.
242William Shakespeare, The Tragedy of Hamlet, Prince of Denmark,(Act Ⅱ, Scene ii,285-300)."the beauty of the world, the paragon of animals."
243李鹏程、王柯平、周国平：《西方美学史》,第三卷,中国社会科学出版社2008年版,第887-888页。
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