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中世紀基督宗教圖像美學探微－以「天使來報」為例
The Aesthetics Exploration of the Western Medieval Icon Art: Taking "Annunciation" as an example
摘要
本文旨在探討西方中世紀基督宗教圖像的宗教美學意含。希望透過觀念梳理和作品舉隅，帶出宗教圖像在禮儀中開啟的，不僅作為神聖的過渡，也是主體通向超越的路徑。文章將應用圖像學（iconology），以作品的敘事轉喻、圖像表達、符號載體來討論「天使來報」主題所蘊象外之境的美學意義。第一部份首先將指出圖像作為超驗經驗的書寫，具有的象徵及其指涉，是一可見與不可見世界的開顯。其次，則以「天使來報」中，所象徵啟動「失／復樂園敘事的雙重亞當和夏娃」來說明作品的宗教美學意含。最後，則從「天使來報」轉喻到「聖母領報」下的女性主體視角，討論並展開經由文本世界所聯結的，作者與讀者在歷史交會中產生的可能對話，乃至信仰實踐。
並列摘要
This paper aims to explore the Western medieval icon art of "Annunciation" from religious and aesthetic aspects. In terms of concept introducing and exemplified works given, the text expects to show how medieval icon art not only serves as passage to the sacred in liturgy, but also to surpass the agent of oneself. The methodology applied is iconology in terms of exploring the shifting of artworks of their narrative metaphor, image expressing, and the vehicle of its signifier. Above all and taken as a whole, the aesthetic value beyond image will be the goal to disclose. There will be three sections of this paper. First, the medieval icon art acts as spiritual writing withholding symbol and reference, and manifests both visual and non-visual world. Second, to take the two-Adam-and-Eve that launches onto the narratives of paradise lost/return of the subject of Annunciation in exploring its religious and aesthetic value. Finally, from the metonymy of "The Annunciation" to the perspective of the female subject under, we discuss and unfold the possible dialogues and even religion praxis between the author and the reader in the historical intersection that are connected through the textual world.