《星月夜》（The Starry Night）是荷兰后印象派画家文森特·梵·高于1889年在法国圣雷米的一家精神病院里创作的一幅油画，是梵高的代表作之一，现藏纽约现代艺术博物馆。

在这幅画中，梵高用夸张的手法，生动地描绘了充满运动和变化的星空。 [1]  整个画面被一股汹涌、动荡的蓝绿色激流所吞噬，旋转、躁动、卷曲的星云使夜空变得异常活跃，脱离现实的景象反映出梵·高躁动不安的情感和疯狂的幻觉世界。

画作内容

《星月夜》是后印象派画家梵·高的代表作之一。在这幅画中，梵·高用夸张的手法，生动地描绘了充满运动和变化的星空。夜晚的天空高又远，大星、小星回旋于夜空，金黄的满月形成巨大的漩涡，星云的短线条纠结、盘旋，仿佛让人们看见时光的流逝。暗绿褐色的柏树像巨大的火焰，是星夜狂欢的响应者。天空下，安睡的村庄那么宁静、安详。淡蓝的色调，动感的线条，给人自由的时空感。

创作背景

1889年5月8日，梵·高精神第二次崩溃之后，来到离阿尔25公里的圣雷米自愿接受精神病治疗。那时，医生允许他白天外出写生，他住院一个月后，画了这幅画，画中的村庄就是圣雷米。

艺术鉴赏

梵·高通过这幅画作不是想用浩瀚的宇宙来反衬出人类的渺小，令人类生出畏惧之心，而是传达出一种不向命运低头的精神。天空中飞卷的星云，好像在旋转着跳舞，好像鲜花一样怒放，那柔韧的枝条虽然力量微薄，却无畏地抽向天空。而直上云端的巨大柏树，形如一团黑色的火舌，不屈地奋力伸展着枝叶。传达出作者内心的苦闷和忧郁。也表现出人类的挣扎与奋斗。

从构图上来说，该画面构图极为准确，画中以树木衬托天空，下部的房舍托起了无边的宇宙，以获得构图上微妙的平衡。特别是那些柏树的线条画得流畅而别具一格，正如梵·高自己曾描写的那样：“那些柏树总是占据着我的思绪——从来没有人把它们画得像我看到它们的样子，这使我惊讶。柏树的线条和比例正如埃及金字塔及尖碑那么美丽——在晴朗的风景中的黑色飞溅。”在绘画技法上，梵·高接受了前期印象派的某些特点，不是用简单的线和面来表达物体。而是用点来表现物体的光影，达到了传统画作无法达到的效果。同时，他又注重采用夸张和对比的方法，给光影添加动感。前景中以短促清晰的水平线笔触描绘出来的小镇，与画面上部呈主导趋势的曲线笔触，形成了强烈的对比。教堂的细长尖顶与地平线的交叉，柏树的顶端恰好拦腰穿过旋转横飞的星云，这一切都使画面产生出一种流动的感觉。

这幅画的色彩主要是蓝和紫罗兰，同时也有星星发光的黄色，深蓝色的基调，给人以沉重的感觉，加强了夜色的黑暗，前景中的柏树用了深绿和棕色，意味着黑夜的笼罩。明亮的白色和黄色来画星星及周围的光晕，又给人一种温暖光明的感觉。 梵·高运用浓厚并且短促的笔触，交织成弯曲的旋转线条，海浪般的图形使画面呈现出炫目的奇幻景象，画中旋涡状的天空与平静的村落形成对比。在大面积冷色调的流动星云中，一轮橙色的月亮散发出亮光，仿佛明灯般点亮了沉寂的夜宅，奇幻的色彩给人留下深刻印象。 整个画面着色搭配协调。浓淡相宜，深浅适中，很好地配合了画中的氛围。

从艺术特色看，这幅画从某种意义上说，是他看到的幻象。这种幻象，超出了中世纪艺术家当初在表现基督教的伟大神秘中所做过的任何尝试，它来自画家某种直觉或自发的表现行动，并不受理性的思想过程或严谨技法的约束。梵·高以火焰般的笔触，标新立异的无畏，把自己超自然的，或者至少是超感觉的幻想体验大胆地用笔触来加以证明，作品预示了画家用幻想作为手段而对自己的主观世界加以表达的探索。

后世影响

意大利艺术评论家费利克斯·费内翁：在这幅作品里，这种无立体感的笔触构成了粗糙的草席似的图案，同时那漩涡状的色彩像是直接从颜料管里挤出来的。

后世影响

梵·高的《星月夜》是他最具代表性的作品之一，虽然不同的人面对这幅旷世之作会有不同的理解，虽然谁也无法弄清楚作者真正的创作意图，可是他大胆张扬地表现自我主观世界的尝试，对绘画表现手法的探索以及对艺术无比的执着和忠诚，为后人留下了无尽的启迪。

作者简介

文森特·梵·高（1853—1890年），出生于荷兰赞德特镇一个新教牧师之家，24岁之前，曾在海牙、伦敦、巴黎等地的古匹尔画店当店员。后来成为传教士，在比利时西南部的博里纳日矿区传教，由于同情和支持穷苦矿工的要求而被解职，在度过了一段极度失望和贫困的生活后，他决定在艺术的探求中完成自我的解脱。1880年以后，他到处求学，向比利时皇家美术学院求教，向荷兰风景画家安东·莫夫学画，但最后还是决定自学，他克服种种困难，努力按自己的认识表现世界。1890年7月，他在精神错乱中开枪自杀，年仅37岁。梵·高一生留下了丰富的作品，其中代表作有《向日葵》、《星月夜》、《麦田上的乌鸦》等，但他的作品直到去世后才逐渐被人们所认识。他的艺术作品对20世纪表现主义影响甚深，特别是苏丁和德国表现派画家。

名家点评

意大利艺术评论家费利克斯·费内翁：在这幅作品里，这种无立体感的笔触构成了粗糙的草席似的图案，同时那漩涡状的色彩像是直接从颜料管里挤出来的。

--------Introduction in English--------

The Starry Night is an oil painting created by Vincent van Gogh, a Dutch post-Impressionist painter, in a psychiatric hospital in St. Remy, France, in 1889. It is one of Van Gogh's masterpieces and is now in the Museum of Modern Art in New York.

In this painting, Van Gogh uses exaggeration to vividly depict the stars full of motion and change. [1] The whole picture is swallowed up by a turbulent blue-green torrent. Rotating, restless and curling nebulae make the night sky extremely active. The unrealistic scene reflects Van Gogh's restless emotions and crazy illusion world.

Content of the painting

Star Moon Night is one of the representative works of Van Gogh, a post-Impressionist painter. In this painting, Van Gogh uses exaggeration to vividly depict the stars full of motion and change. The sky at night is high and far. Big stars and small stars circle in the sky. The golden full moon forms a huge whirlpool. The short lines of the nebula twist and circle as if to let people see the passage of time. Dark green-brown cypress trees, like huge flames, are responders to starry night revelations. Under the sky, the sleeping village is so quiet and peaceful. Pale blue tone, dynamic lines, give people a sense of freedom of time and space.

Creative Background

On May 8, 1889, after the second collapse of Van Gogh's spirit, he came to San Remi, 25 kilometers from Al, for voluntary psychiatric treatment. At that time, the doctor allowed him to go out to sketch in the daytime. A month after he was hospitalized, he drew the picture. The village in the picture was Saint Remy.

Art Appreciation

Through this painting, Van Gogh does not want to use the vast universe to contrast the insignificance of human beings and make them fear, but conveys a spirit of not bowing to fate. Flying nebulae in the sky seemed to be dancing and spinning, blooming like flowers, and the flexible branches, though weak in strength, dared to draw into the sky. And the huge cypress tree, like a black tongue of fire, stretches its branches and leaves unyieldingly. It conveys the author's inner depression and melancholy. It also shows the struggle and struggle of human beings.

From the composition, the picture composition is very accurate. The trees set off the sky in the picture, and the lower houses hold the boundless universe to achieve delicate balance in the composition. Especially those cypress lines are smooth and unique, as Van Gogh himself once described: "Those cypress trees always occupy my mind - no one ever paints them like I see them, which surprises me. The lines and proportions of cypress trees are as beautiful as the Egyptian pyramids and steeples - Black splashes in the clear landscape. In painting techniques, Van Gogh accepted some of the characteristics of the early Impressionists, rather than using simple lines and surfaces to express objects. Instead, points are used to represent the light and shadow of objects, which achieves the effect that traditional paintings can not achieve. At the same time, he also pays attention to using exaggeration and contrast to add a sense of motion to light and shadow. In the foreground, the town depicted with short and clear horizontal strokes is in sharp contrast to the curve strokes that dominate the upper part of the picture. The slender spire of the church crosses the horizon, and the top of the cypress just bars its waist through the swirling nebula, all of which give the picture a sense of flow.

The main colours of this painting are blue and violet. At the same time, it has the yellow and dark blue tone of stars. It gives people a heavy feeling and strengthens the darkness of the night. The cypress trees in the foreground are dark green and brown, which means that the night is shrouded. Bright white and yellow paintings of stars and halos around them give people a warm and bright feeling. Van Gogh uses thick and short strokes to interweave curved rotating lines. Wave-like graphics give the picture a dazzling fantasy, contrasting the swirling sky with the quiet village. In a large area of cold-colored mobile nebula, an orange moon shines brightly, lighting the silent night house like a light, and the fantastic color is impressive. The whole picture is colored and coordinated. Thickness and shade are appropriate, moderate in depth, which well matches the atmosphere in the painting.

From the artistic point of view, the painting, in a sense, is an illusion he sees. This illusion is beyond any attempt made by medieval artists in expressing the great mystery of Christianity. It comes from some kind of intuitive or spontaneous action of the painter, and is not subject to rational thought process or rigorous techniques. Van Gogh boldly demonstrates his supernatural or at least supersensory fantasy experience with his fire-like brush strokes, fearlessness of novelty and originality. His works foretell the painter's exploration of his subjective world by means of fantasy.