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本文基于作者在教授西方美术史的过程中,认识到只有把握画家的信仰立场,才能正确解读作品的内涵。以达·芬奇《最后的晚餐》为例,使用宗教题材却是反讽手段,并非有实际的信仰内涵。而梵高的作品,不见宗教题材,却饱含信仰真理。这种分类与梳理,不仅能够归正学生的认识,也能指明教师的学术方向,进而影响国内对西方美术史学的研究。
Based on the author\'s teaching history of western art, this article realized that only by grasping the painter\'s belief position can we correctly interpret the connotation of the work. Take Leonardo\'s \"Last Supper\" as an example. The use of religious themes is an ironic means, not an actual belief. Van Gogh\'s works, but no religious themes, but full of belief in truth. This classification and combing can not only reorganize the students\' understanding, but also indicate the academic direction of teachers, thus affecting the domestic study of Western art historiography.