This article presents a revisionist reading of William Blake’s (1757–1827) twelve watercolor designs for John Milton’s “Paradise Regained” (c. 1816–1820). The designs have previously been dismissed in critical commentary as of little interest to Blake scholarship, or regarded as a narrative merely about Christ’s human nature. This article argues that they are also a visual expression of Blake’s cosmology; it is proposed that the designs express a positive cosmology, in which Paradise is not so much to be regained, as re-viewed. The article argues that Blake emphasizes Christ’s divinity in the designs and that he is depicted as an immanent, sacramental presence in the world; hence, the world that Christ inhabits in the designs is a Paradise. The article begins by outlining its reading of Blake’s view of the material world, and moves on to discuss the “Paradise Regained” designs in detail, with a particular focus on The Baptism of Christ , the opening subject of the series, which establishes the positive cosmology presented throughout the series.

中文翻译：

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重新查看威廉·布莱克的《天堂复活》（约1816–1820年）

本文介绍了修正主义的解读，即威廉·布莱克（William Blake，1757–1827年）为约翰·弥尔顿（John Milton）的“天堂复活”（Paradise Regained）（约1816–1820年）创作的十二种水彩设计。这些设计以前在评论中不予理会，因为对布莱克的学术兴趣不大，或者仅被视为关于基督人性的叙述。本文认为，它们也是布莱克宇宙学的一种视觉表达。建议这些设计表现出一种积极的宇宙观，其中天堂不如被重新审视那么多。文章认为，布雷克在设计中强调了基督的神性，并把他描绘成世界上内在的，神圣的存在。因此，基督居住在设计中的世界就是天堂。本文首先概述了对布雷克对物质世界观点的解读，