上海金山区枫叶学校高二语文课程西方文学经典整本书阅读专题插画篇（二）
挪威艺术家爱德华∙蒙克在自己的艺术笔记里曾写道：“我的每一笔都在捕捉那些压倒性情感。”在《呐喊》中我们感受到的就是蒙克在和友人漫步夕阳下的奥斯陆海边时所捕捉到的“压倒性情感”。而余华和苏童们在聊天时提到最好的散文、最好的小说都会给人带来一种“突袭感”。正如苏童所举的例子：“他在父亲去世大概一个月以后，看到那个盥洗台上有一只剃须刀，他无意当中把剃须刀的盖子打开了，看着他父亲的胡须茬掉出来。”在我看来，无论是“压倒性的情感”还是“突袭感”都潜藏在伟大的文学经典中。因此在本学期的《看他们怎么写：西方经典文学整本书阅读》项目中我设计了这样一个任务：希望学生用自己擅长的方式或者学习合适的表达方式去捕捉文学经典中“那些压倒性情感”。
今天我们将奉上学生们在列夫∙托尔斯泰小说《百年孤独》中所捕捉到的“那些压倒性情感”。这些作品分别来自邢昊嫣 、宋思齐、杜天豪、赵雪纯等同学。推文封底来自刘汝璈同学插画作品。
高中语文教师 朱琪
邢昊嫣作品
插图一：神圣的重要性
插图二：魔鬼的低语
插图三：人性
插画一《魔鬼的低语》：这张画是我依据《复活》这本书中魔鬼迷惑聂赫留朵夫这段所画的。魔鬼想要让他与玛丝洛娃一刀两断，而他想获得玛丝洛娃的饶恕，这段展现了聂赫留朵夫精神世界的矛盾，我认为这段很有意思，所以选了这么一段作为灵感进行绘画。
The painting "The Devil's Whisper" is based on the passage in the book "Resurrection" in which the devil bewitched Nekhludoff. The devil wanted to make him break with Maslova, and he wanted to get Maslova's forgiveness. This paragraph shows the contradiction of Nekhludoff's spiritual world. I think this paragraph is very interesting, so I chose this paragraph as my inspiration painting.
插画二《神圣的重要性》：“他们认为，神圣而重要的不是这个春光明媚的早晨，也不是上帝为造福众生所赐予的世间的美，即那个能引向和平，和谐和睦的美，他们认为，神圣而重要的是他们自己想出来的操纵他人的一种手段。” 《复活》中的这一段文字就是《神圣》这幅插画的创作灵感。画中圣光撒下，头上有一个操纵圣光的手，在这里，我其实是想将圣光比作操纵人的丝线，所以在画圣光时，将它分成了几段，这也对应上了段落中“操纵他人的一种手段”。插画命名的依据便是小说原文中“神圣的重要性”。
The Importance of Holiness:Is there a passage in Resurrection that says, "What they think is sacred and important is not this bright morning in spring, nor is it the beauty that God has bestowed on the world for the benefit of all, that leads to peace and harmony, but what they think is sacred and important is a means of manipulating others that they themselves have devised." And this is the inspiration for the Sacred. In the painting, the holy light is cast and there is a hand manipulating the holy light on the head. Here, I actually want to compare the holy light to the silk thread manipulating people, so when drawing the holy light, it is divided into several sections, which also corresponds to "a means to manipulate others" in the paragraph. The name is also based on the passage "The importance of Holiness".
插画三《人性》：“人的一生就好比一条河流，看起来走到哪儿都是河流，但河的形状和河水不尽相同。河有水流湍急的狭窄地方，也有水流缓慢的宽阔地方：河里有清澈的河水，也有浑浊的河水；河里有冰凉的河水，也有温暖的河水。人也是这样，都是具有各种人性的个体，有时表现出这种人性，有时又表现出另一种任性。如果在两种对立的人性之间切换，那么这个人常常会改头换面，但他还是那个人。”我在画中画了两人的人头，象征这段中两种对立的人性，而背景混乱的线条和复杂的色彩，想要表达的其一是人性的多面性，其二是多样的河流。我专门在人的脸上画上色彩，是因为想要借此来表达面具，也是因为段落中写到了“改头换面”这个词语。标题取名为“人性”是因为这段讲述的就是人性的多面性。
Human Nature:The painting Human Nature was inspired by a passage in The Resurrection. "Man's life is like a river. It seems that there is a river everywhere, but the shape of the river is not the same as that of the river. There are narrow places where the flow is swift, and wide places where the flow is slow. There are clear rivers and turbids; There is cold water in the river and warm water in the river. The same is true of people, who are individuals with various human nature, sometimes showing this kind of humanity, and sometimes showing another wayward. If you switch between two opposing human beings, the person often changes, but he's still the same person."I painted the heads of two people in the painting, intending to express the two opposing human nature in the paragraph, while the chaotic lines and complex colors in the background intended to express the multifaceted nature of human nature on the one hand and the diverse rivers on the other. I painted people's faces because I wanted to use them to express masks, and also because of the word "makeover" in the passage. The title is "Human Nature" because it's about the many facets of human nature.
宋思齐作品
插图一：审判
插图二：请求
插图三：一窗之隔
插画一：马斯洛娃被审判，检察官以犯罪的遗传学来判定玛丝洛娃有罪。聂赫留朵夫作为贵族代表参加陪审。他在法庭上认出了玛丝洛娃，这使得他十分震惊。他回想起与玛丝洛娃认识与交往的经过，认为自己是造成她不幸的罪人，也是赎罪的开始。
Maslova was tried, and the prosecutor used the genetics of the crime to convict Maslova. Nekhludoff sat on the jury as a representative of the nobility. He was shocked to recognize Maslova in court. He recalled his acquaintance and association with Maslova, and saw himself as the culprit of her misfortune and the beginning of atonement.
插画二：聂赫留朵夫第二次探监，马斯洛娃一脸怠慢，妩媚的微笑。聂赫留朵夫只想尽一切力量救她，马斯洛娃利用他救老太太，然后聂赫留朵夫开始四下求人，他讨厌柯察金小姐，那包裹着肉欲的兽性让他甚至有点厌弃自己。创作意图是之后的聂赫留朵夫发现她只是想利自己来为她谋福利，然而聂赫留朵夫并没有责怪她。他努力让自己去信任喀秋莎，并且让自己和喀秋莎都做出了改变。
Nekhludoff's second visit to prison, Maslova a face neglect, charming smile. Nekhludoff only tried to save her, Maslova used him to save the old lady, and then Nekhludoff began to ask around, he hated Miss Korchagin, that wrapped in the animal sex of carnal desire let him even a little tired of himself. The intention of creation was that later Nekhludoff found that she just wanted to benefit herself for her welfare, but Nekhludoff did not blame her. He tried to make himself trust Katyusha.
插画三：十年前的喀秋莎怀孕后曾在深夜两点的雨夜站台找过聂赫留朵夫，喀秋莎看到高贵的聂赫留朵夫开心地笑着享受着快意人生，而喀秋莎只能淋着雨顶着冷风，在泥水中拼命追赶载着根本没看见她的聂赫留朵夫的火车，然后看它远去。插画的创作意图是“我们根本就不是一路人，我不过是他的一件玩物而已”。
Ten years ago, Katyusha went to the rainy night platform to find him after pregnancy at two o 'clock in the night. Katyusha saw the noble Nekhludoff smiling and enjoying a happy life, while Katyusha could only catch up with the train carrying Nekhludoff who did not see her in the rain against the cold wind, and then saw it go away. The intention is "we are not the same people at all, I am just a plaything for him".
杜天豪作品
插图一：挣扎的心
插图二：释然的婚礼
插图三：复活的心
插画一《挣扎的心》：聂赫留朵夫产生了忏悔的心但他的内心充满了犹豫，他依然陷于恶魔的一面。利用牢笼中的心来体现聂赫留朵夫依然被恶魔的一面禁锢；用荆棘来代替牢房的栏杆是为了体现聂赫留朵夫内心挣扎的痛苦；红色的心以及波动的心电图代表了他有忏悔的心理，说明聂赫留朵夫善良的一面是存在的。
Nekhryudov had a penitent heart, but his heart was full of hesitation, and he was still trapped on the devil's side.The heart in the cage is used to show that Nekhlyudov is still imprisoned by the devil's side; replacing the railings of the cell with thorns is to reflect the pain of Nekhlyudov's inner struggle; the red heart and fluctuating electrocardiogram represent his confession, indicating that Niehelidov's kind side exists.
插画二《释然的婚礼》：玛丝洛娃在聂赫留朵夫的不断坚持下终于释然但是最后她与西蒙松结婚。利用婚礼的背景来展现结婚的事件背景；天平中间的捧花代表了爱情也代表了玛丝洛娃的心；左边的爱心代表了玛丝洛娃对西蒙松的感情；右边放飞纸飞机的手代表玛丝洛娃对聂赫留朵夫的不好回忆已经释然；天平代表在玛丝洛娃心中即使她对聂赫留朵夫释然但是她对西蒙松的爱同样平衡。
Maslova was finally relieved by Nekhryudov's continuous persistence, but in the end she married Simonson.The background of the wedding was used to show the background of the wedding event; the holding of flowers in the middle of the balance represents love and Maslova's heart; the love on the left represents Maslova's feelings for Simonsson; the hand of the paper plane on the right represents Maslova's bad memories of Niehelidov have been relieved; and the balance represents that even if she is relieved to Niehelidov in Maslova's heart, her love for Simonson is equally balanced.
插画三《复活的心》：玛丝洛娃因为曾经的伤害而封锁了自己的心，从而走向堕落。在后来聂赫留朵夫忏悔赎罪并且希望改变玛丝洛娃，玛丝洛娃在西蒙松的爱和聂赫留朵夫的赎罪的影响下她的心开始复活，开始重新充满希望。用了一颗心的形状来代表玛丝洛娃的心；左边用新发的枝丫来代表玛丝洛娃的心已经开始复活；右边的心用了锁链以及锁的元素来代表玛丝洛娃以前被伤害后封锁堕落的心；左边伸出的援助之手代表了聂赫留朵夫的努力赎罪以及西蒙松的出现，代表了他们对玛丝洛娃心的复活起到重要作用；右边持刀的手代表了之前侵犯并且伤害玛丝洛娃的聂赫留朵夫，说明了他的作为是玛丝洛娃封锁内心的主要原因。
Maslova was invaded by Nekhryudov, blocking her heart and degenerating. Later, Nekhryudov began to atone for her sins and hoped to change Maslova, under the influence of Simonsson's love and Nekhryudov's atonement, her heart began to rise and began to regain hope.The shape of a heart is used to represent Maslova's heart; a new branch on the left represents that Maslova's heart has begun to be resurrected; the heart on the right uses chains and elements of the lock to represent Maslova's degenerate heart after being injured before; the helping hand on the left represents Nekhryudov's efforts to atone for sins and the appearance of Simonson, representing their important role in the resurrection of Maslova's heart; the knife on the right represents Nekhryudov, who had previously invaded and hurt Maslova, indicating that his behavior is the main reason for Maslova's heart.
赵雪纯作品
插图一：回眸
插图二：庭院里的夜
插图三：幸福&束缚
插画一《回眸》：“过了两分钟光景，一个身量不高、胸脯颇为丰满的年轻女人迈着矫健的步子走出牢门，很快地转过身来，在看守长身旁站住，里边穿着白上衣和白裙子，外边套一件灰色的大衣。那个女人脚上穿着麻布袜子，袜子外面套着囚犯的棉鞋，头上扎着一块白头巾，分明故意让几绺卷曲的黑发从头巾里滑下来。那个女人整个脸上现出长期幽禁的人们脸上那种特别惨白的颜色，使人联想到地窖里马铃薯的嫩芽。她那双短而且宽的手和她大衣的肥领口里露出来的丰满的白脖子都是这种颜色。在那张脸上，特别是由惨白无光的脸色衬托着，她的眼睛显得很黑，很亮，稍稍有点浮肿，可是非常有生气，其中一只眼睛略为带点斜睨的眼神。”
This segment depicts the scene when Maslova walked out of prison. This description of her appearance poked at me. When I read this paragraph, the scene at that time immediately appeared in my mind. Although Maslova's face was pale and colorless, and she wore very simple linen clothes, her dark eyes seemed to be shining, so I tried to add light to her eyes when I was painting, Show the scene as much as possible.
插画二《庭院里的夜》：“他感到闷热。便走到已经卸下冬季窗套的窗前，把窗子打开。窗子面向花园。这是一个清爽而无风的月夜。大街上响过一阵辘辘的车轮声，随后一切都安静下来。窗前可以看到一棵光秃的高大白杨树的投影，所有的枝枝桠桠都清清楚楚地印在一片干净的沙土场地上。左面是板棚的棚顶，在明亮的月光下变成了白色。正前面是纵横交错的树枝，透过树枝可以看见黑糊糊的板墙。”
This segment appears in Chapter 43 of <Resurrection>, which is about a scene on a moonlit night. After reading this description, I would like to try to describe this scene: after opening the window, I see several tall poplar trees, and the roof of the plank shed can also be clearly seen. The moonlight shines on the whole garden, and the appearance of the flowers is also reflected, At the same time, the sound of the wheels of the carriage can also be vaguely heard. The whole picture is very harmonious, so I would like to draw a moonlight picture in Resurrection according to this description.
插画3《幸福&束缚》：I think he hesitates between marriage and non marriage, so in this illustration, I draw the benefits he thinks marriage can bring and the factors that will bind him: first, a girl opens her arms in front of him, showing her embrace, showing Nekhludoff that marriage can give him the happiness, hope and warmth he wants; However, a rope tied around his neck that restricted his movement showed Nekhludoff's fear of losing his freedom after marriage. I think Nekhludoff's view of marriage is very contradictory. On the one hand, he wants to get the warmth that family building can bring him, but on the other hand, he is afraid that he will lose his freedom after marriage. So I drew this illustration to show his understanding of it.
来自赵雪纯同学的读写与创作心得：在小说《复活》阅读完成之后，我便开始了自己的插画创作，在这阅读的过程中，我便已经决定好了想要绘画的片段，在阅读这些片段时，我的脑海里也会浮现出相应的景象，在列夫·托尔斯泰的笔下，不管是场景描写，还是人物描写，都能让人读了之后心生画面，我画的三本插图分别为：《回眸》，《庭院里的月夜》，和《幸福&束缚》，玛丝洛娃在监狱中的那次惊艳的回眸：虽衣着简陋，饱经风霜，确仍有一双极其明亮的双眼：聂赫留朵夫在深夜，打开窗户，在月光的照耀下的庭院美景伴随着远处传来的马车声映入眼帘：聂赫留朵夫的婚姻观：既想感受婚烟带来的家庭的幸福感，又不想被婚姻的枷锁所束缚住自己的自由这种矛盾想法。我将看到这些片段时，自己脑海里最先想出的画面绘画了出来，我认为这同时也是一种对自己想法的映射，因为每个人想象出的画面都会有所不同，也都是独一无二的。在完成这次任务后，我内心十分满足，一是自己已经很久没有读完一整本书了，二是完成这次插图的一种成就感，我想，《复活》不愧是列夫·托尔斯泰的不朽之作，我十分庆幸自己能够读到这本小说，并为它绘制插图，表达自己的见解。”