Classicism and Orientalism in Nineteenth-century British Painting

希腊和地中海沿岸的“古典土地”位于大陆之间的交叉点，被认为是欧洲文化认同的组成部分，长期以来，希腊和地中海沿岸的“古典土地”在“东方”和“西方”二元结构的构建中占据着有争议的位置。我希望通过研究两种话语相交的艺术类别来探索这种阈限状态：19世纪英国绘画中“东方”和“古典”世界的表现。在“学院派”艺术的大标题下，东方和希腊罗马的过去成为投射幻想和创造艺术“现实主义”永恒场景的重叠空间。尽管通过旅行、学术研究、考古和文本，这两个主题往往是由奢侈和懒惰、暴力和色情、暴政和非基督教的神秘等相似的刻板印象构成的。虽然一些艺术史学家（尤其是RosemaryBarrow）已经认识到古典主义和东方主义流派与风景画之间的相似性，但我打算进一步研究艺术家前往与“东方”重叠的“古典之地”的含义-在东方世界中发现的古典以及被想象为东方世界的古典。通过承认许多艺术家都参与了这两种话语，我想从本世纪初的英国古典旅行者（与法国同行不可避免地对话）到后来的“东方主义者”埃德温·朗、大卫·罗伯茨和J.F.刘易斯，以及像阿尔玛·塔德马、莱顿和沃特豪斯这样的“古典”画家，画一条线。尽管这两种话语可以追溯到古代，但直到19世纪奥斯曼帝国的衰落才使西欧各国政府、学者和艺术家对地中海东部的“古典土地”产生了更大的兴趣。对许多人来说，当代希腊是一个矛盾的，有时令人沮丧的“东方”，更不用说东方古典考古学的遗迹了。在过去的二十年里，像Stathis Gourgouris， PhirozeVasunia和Yannis Hamilakis这样的学者强调了古典学术与帝国主义或（Phil）希腊主义和东方主义的历史和理论交叉点。然而，这一有价值的学术体系缺乏的是对视觉来源的广泛深入研究，尤其是对绘画的深入研究：这是一种传统上留给艺术史学家的证据体系。在我的博士学位上，我希望继续我在哲学硕士学位时所追求的跨学科道路，在那里我将接受研究与艺术史奖学金结合起来，研究在希腊旅行的英国艺术家和19世纪绘画中的迦太基蒂多。从那以后，我继续为苏富比的维多利亚和拉斐尔前派部门研究19世纪艺术（尤其是东方主义绘画）。虽然我经常听到批评古典和东方学科是人为的和陈词滥调的，因为它们停留在它们的形式和一般的限制内，但正是这些共同的限制使我感兴趣。将这两者视为单一视觉文化的一部分，英国艺术家与古代关系的“距离”和“接近”感可以与爱德华·萨伊德所说的东方的“亲密陌生感”相比较。从东方主义艺术产生的关于权力和文化的争论中获得灵感，我想问的是，古典世界的表现经常被视为西方霸权的象征，这有什么意义？

At once situated at the crossover between continents and claimed as constitutive of Europeancultural identity, Greece and the 'classical lands' skirting the Mediterranean have longoccupied a contentious position in the construction of a binary between 'East' and 'West'. Ihope to explore this liminal status by examining an artistic category where the two discoursesintersect: representations of 'Oriental' and 'classical' worlds in nineteenth-century Britishpainting. Under the broad heading of 'academic' art, both the East and Greco-Roman pastbecome overlapping spaces for projecting fantasy and creating timeless scenes of artful'realism'. Though informed by travel and scholarship, archaeology and texts, both subjectsare often constructed from parallel stereotypes of luxury and indolence, violence anderoticism, tyranny and un-Christian mystery. While a few art historians (notably RosemaryBarrow) have recognised similarities between classical and Orientalist genre and landscapepainting, I intend to go further by examining the implications of artists travelling to 'classicallands' which overlapped with the 'East' - the classical discovered in an Oriental world aswell as the classical imagined as an Oriental world.By acknowledging that many artists engaged with both discourses, I want to draw a line fromBritish classical travellers from the beginning of the century (in inevitable dialogue withFrench counterparts) to later 'Orientalists' Edwin Long, David Roberts and J.F. Lewis and'classical' painters like Alma-Tadema, Leighton and Waterhouse. Though the two discoursescan be traced to antiquity, it was waning Ottoman power across the nineteenth century thatwarranted western-European governments, scholars and artists to take greater interest ineastern Mediterranean 'classical lands'. To many, contemporary Greece came across asparadoxically and sometimes distressingly 'Oriental', not to mention the vestiges of classicalarchaeology further east. In the past two decades academics like Stathis Gourgouris, PhirozeVasunia and Yannis Hamilakis have emphasised historical and theoretical intersections ofclassical scholarship and imperialism or (Phil)Hellenism and Orientalism. What this valuablebody of scholarship lacks, however, is a thorough engagement with visual sources broadlyand painting specifically: a body of evidence conventionally left to art historians.For my PhD I hope to continue the interdisciplinary path I pursued at MPhil, where Icombined reception studies with art-historical scholarship to research British artists travellingin Greece and Carthaginian Dido in nineteenth-century painting. Since then I have continuedresearching nineteenth-century art (especially Orientalist painting) for Sotheby's Victorianand Pre-Raphaelite Department. Though I have often come across criticism of classical andOriental subjects as artificial and clichéd for staying within their formal and generic limits, itis these shared limits that interest me. By considering the two as part of a single visualculture, the simultaneous sense of 'distance' and 'proximity' characterising British artists'relationship with antiquity can be compared with what Edward Said called the 'intimateestrangement' of the East. Taking inspiration from debates around power and culturegenerated by Orientalist art, I wish to ask what the significance is for representations of aclassical world all too often presented as a symbol of Western supremacy.