盧那察爾斯基(Anatoly Lunacharsky, 1875-1933)於1917-1929年間擔任蘇聯教育人民委員部(Narkompros)首任委員，在任期間發表了大量關於藝術的文章及報告，其在蘇聯藝術發展史中扮演極為重要的角色，然而他以藝術達到社會主義理想的主張與正統馬克思主義的經濟決定論十分不同，他相信群眾意識才是推動革命的必要條件。而他從在俄國十月革命之前就抱持這種想法，因此曾一度主張將宗教與社會主義結合，使革命意識成為一種宗教情感而深植人心，而這種想法受到被極度反對宗教的列寧的嚴厲批評，隨後這種想法才轉向以藝術來實現。 在盧那察爾斯基思想中可見到實證主義(Positivism)、費爾巴哈(Ludwig Feuerbach)宗教哲學、尼采(Friedrich Nietzsche)哲學與華格納(Richard Wagner)的色彩，這使盧那察爾斯基的藝術理論在眾多馬克思主義美學家中顯得獨樹一格，本論文主要透過盧那察爾斯基的著作，並加上中西學者對於盧那察爾斯基的研究，不以馬克思主義為中心來理解盧那察爾斯基的藝術思想，探討盧那察爾斯基對於藝術與革命的認知與實踐。 / Anatoly Lunacharsky(1875-1933) was the first Commissar of The People's Commissariat for Education(Narkompros) from 1917-1929. During his tenure, he published many articles and reports about the arts and played a very important role in the history of artistic development in the Soviet Union. However, his proposal to achieve the ideal of Socialism through the arts was very different from the orthodox economic determinism of Marxism. He believed that mass consciousness was a must to promote the revolution. He already held this idea long before the October Revolution in Russia. Thus, he once advocated combining religion and Socialism, making revolutionary consciousness into a religion deeply rooted in everyone’s mind. Nevertheless, this idea was severely criticized by Lenin, who was very opposed to religion. Afterward, Lunacharsky’s thoughts changed, turning instead to realize ideals through art. The influences of Positivism, Feuerbach’s philosophy of religion, Nietzsche’s philosophy and Wagner’s concept of art can be seen in Lunacharsky’s thought, making his views on art unique among Marxist aestheticians. In this paper, instead of understanding Lunacharsky’s theory of art in the context of Marxism, discussion will focus on Lunacharsky’s works and Chinese/Western scholars’ studies on Lunacharsky in order to learn more about Lunacharsky’s thoughts and practice of art and revolution.