17 世紀的俄羅斯飽受王位更迭、宗教分裂、內亂與外患之苦，同時受到歐洲神學、哲 學與美學的「西風東漸」，帶來足以動搖俄國傳統的新思維、宗教心理及生活態度，原與東 正教思想密不可分的文化藝術領域，開始進入世俗化的過程，不再獨為上帝服務。聖像畫中 的歐式風格越來越濃厚，引發了宗教界與政治界高度的不安，興起一股探討東正教神學及藝 術問題的熱潮，留下了十多件相關的文本。本文將探討其中被稱為俄國藝術史上首篇學術論 文，即沙皇兵器館畫師約瑟夫．弗拉基米羅夫（Иосиф Владимиров）寫給同時代最知名聖 像畫師西門．烏沙科夫（Симон Ушаков）的信件，了解他試圖對東正教聖像藝術所做的詮 釋、對同時代藝術亂象的批判及其致力豎立的新目標。

In 17th century, Russia was troubled by changes of thrones, the split of the Russian Orthodox Church, church reforms by Patriarch Nikon, as well as civil wars and foreign intrusions. At the same time, it was influenced by European theology, philosophy, and esthetics, which brought about new thinking, religious thoughts and attitudes toward life, all of which were shaking the Russian traditions. The Russian culture and art, which were once one with the Eastern Orthodoxy, started the process of secularization and no longer served God solely. The touch of European style became more and more apparent in the orthodox icons, and caused unease for the religious and political offices, as well as heated discussions on Eastern Orthodoxy and issues of art and left more then ten related texts. In this paper, we will discuss the first scientific essay in the Russian art history – the one from Joseph Vladimirov (the artist of Kremlin Armoury) to Simon Ushakov (the most famous artist of orthodox icons in 17th century) – and understand Vladimirov’s attempted annotations to the art of orthodox icons, criticisms to the chaos in art at that time, as well as the new goals he tried to establish.