Almost every work on the history of the Museum of Fine Arts in Moscow (now the Pushkin Museum of Fine Arts) starts with the same famous quotation from the memoirs of Russia’s greatest poetess, Marina Tsvetaeva: “The bells were ringing for the deceased Emperor Alexander III, and at that very moment an old woman from Moscow was dying. And, hearing the bells, she said: ‘I want the money that I leave behind to go to a charitable institution in memory of the late emperor.’” The executors of this lady’s will donated 150,000 rubles to the construction of the Museum of Fine Arts, a cause to which Marina’s father, Ivan Tsvetaev, professor of art history at Moscow University, dedicated two decades of his life, until his death in 1913. The inversion of (human) death and (art’s) life evident in this passage is manifested even more vividly in another fragment of Tsvetaeva’s memoir. Her grotesque description of the museum’s opening ceremony—an event that took place in 1912 and was attended by the emperor Nicholas II and his daughters—pictures a parade of “marble” grand dukes and “plaster” dignitaries: rigid, hollow, and filled with “mortal lime,” the threefold whiteness of walls, old men’s hair, and women’s dresses. Tsvetaeva noted the glaring, dazzling incompatibility of the “new” museum and the decrepitude of these human bodies, the soullessness of

中文翻译：

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真实性的问题：俄罗斯帝国晚期的落后、模仿和艺术政治

几乎所有关于莫斯科美术博物馆（现普希金美术博物馆）历史的作品都以俄罗斯最伟大的女诗人玛丽娜·茨维塔耶娃（Marina Tsvetaeva）的回忆录中的名言开头：“为已故的亚历山大皇帝敲响了钟声。三，就在这时，一位来自莫斯科的老妇人快要死了。听到钟声，她说：“我要把我留下的钱捐给一个纪念已故皇帝的慈善机构。”这位女士遗嘱的执行人捐赠了 15 万卢布用于建设精美博物馆艺术，玛丽娜的父亲、莫斯科大学艺术史教授伊万·茨维塔耶夫 (Ivan Tsvetaev) 为这项事业奉献了 20 年的生命，直到 1913 年去世。这段话中明显的（人的）死亡和（艺术的）生命的倒置在茨维塔耶娃回忆录的另一个片段中表现得更加生动。她对博物馆开幕式的怪诞描述——该活动发生在 1912 年，尼古拉二世皇帝和他的女儿们参加了这一活动——描绘了“大理石”大公爵和“石膏”显要的游行：僵硬、空心、充满“凡人的石灰”，墙壁、老人的头发和女人的衣服的三倍白度。茨维塔耶娃注意到“新”博物馆令人眼花缭乱的不兼容以及这些人体的衰老、她对博物馆开幕式的怪诞描述——该活动发生在 1912 年，尼古拉二世皇帝和他的女儿们参加了这一活动——描绘了“大理石”大公爵和“石膏”显要的游行：僵硬、空心、充满“凡人的石灰”，墙壁、老人的头发和女人的衣服的三倍白度。茨维塔耶娃注意到“新”博物馆令人眼花缭乱的不兼容以及这些人体的衰老、她对博物馆开幕式的怪诞描述——该活动发生在 1912 年，尼古拉二世皇帝和他的女儿们参加了这一活动——描绘了“大理石”大公爵和“石膏”显要的游行：僵硬、空心、充满“凡人的石灰”，墙壁、老人的头发和女人的衣服的三倍白度。茨维塔耶娃注意到“新”博物馆令人眼花缭乱的不兼容以及这些人体的衰老、