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再論米開朗基羅的聖殤作品（Pietàs）－non－finito？
Once again on the Pietàs of Michelangelo Buonarroti-non-finito?
摘要
單從視覺觀點而言，米開朗基羅的藝術作品似乎成為non-finito（未完成）美學論點的最佳體現。不可忽視地，米開朗基羅和同時代的委託者及藝術理論著作家又如何看待或詮釋所謂的「未完成」作品。本文旨在透過對聖殤作品本身圖像的分析並扣合對藝術家創作過程及當代文獻資料的探討來呈現聖殤作品具有的意涵。綜觀米開朗基羅的創作生涯，藝術家共「完成」了三件聖殤作品（不包含帕烈斯提納聖殤）。除了早期的聖彼得聖殤，米開朗基羅並未「完成」其餘兩件晚年的聖殤作品。相同的題材作品卻在完成和「未完成」之間展現其特有的藝術語言與特質。而聖殤作品的形象也似乎記錄了藝術家創作的一生。米開朗基羅在其逝世前仍不停的雕刻隆達尼尼聖殤，已說明了米開朗基羅並不以創作一件non-finito 的作品為出發點，也因此透過對每一件聖殤作品的表現形式及其背景條件關係（context）的深入探討得以重新評估non-finito對米開朗基羅作品詮釋的影響，進而省思研究方法論的不完備性。
並列摘要
From the visual point of view, Michelangelo's artistic creation seems to be the perfect visualization of the aesthetic theory of non-finito. To the same extent, it is of great worth to fully comprehend what Michelangelo, his patrons and the theorists of his time thought about it. In this article the author will exam the pictorial language of Pietàs. At the same time, Michelangelo's creative process and documents will be analyzed, which helps us to reconstruct meanings and significance of the Pietàs. In Michelangelo's artistic career, he has ”finished” three Pietàs, not including Palestrina Pietà. With the exception of the St. Peter Pietà of early work, Michelangelo did not complete the other two Pietàs from his late creative period of time. The Pietàs remain in interesting areas between ”finished” and ”unfinished” states which show their own artistic language and power. Moreover, one can say that the Pietàs document the whole creativity of Michelangelo. One week before his death, Michelangelo still worked on his Rondanini Pietà. It shows that Michelangelo did not intend to create a non-finito work. Therefore, the analysis of the ”Language of Art” of Pietàs and their contexts will help us to re-define how the non-finito theory influences our judgements on Michelangelo's works, and to reflect on deficiency of scientific methodology.