美術館中的藝術史視野：Christian von Mechel與維也納上美景宮畫廊（Gemäldegalerie im oberen Belvedere Wien）

An Art Historical Perspective in the Museum of Art: Christian von Michel and the Painting Gallery at the Upper Belvedere of Vienna (Gemäldegalerie im oberen Belvedere Wien)

余瓊宜(Chyong-Yi Yu)

《逢甲人文社會學報》 41期 (2020/12) Pp. 103-126

摘要

藝術史與美術館的關係自始便十分緊密，其發展乃相輔相成，藝術史的典範移轉往往與美術館的成形、轉變與擴展互相呼應。18世紀，普魯士的藝術史家Johann Joachim Winckelmann（1717-1768）以他出版於1764年的《古代藝術史》（Geschichte der Kunst des Alterthums）開啟了一個講求系統化的藝術史研究與書寫的方法，約在同時，在藝術品的展示與觀看上，也開始出現要求秩序的新觀點。瑞士出版商與版畫家Christian von Mechel（1737-1817）在Winckelmann藝術史觀的影響下，將秩序與分類的概念運用在美術館的規劃上，企圖將美術館營造為一個「看得見的藝術史」（sichtbare Geschichte der Kunst）。Mechel在18世紀下半葉將此概念運用在維也納上美景宮畫廊（Gemäldegalerie im oberen Belvedere）的規劃上，他被視為是有意識地將藝術史納入到美術館領域的先鋒，其所規劃的畫廊亦被視為是現代美術館的源頭，也是後世仿效的典型。美術館的形成一方面反映了藝術自主性觀點的奠基，藝術從宮廷和教堂以及身分表徵的世界脫離出來，貴族的藝廊也從裝飾的、禮儀的以及代表性的功能轉型為公眾的、美學的場域。另一方面，藝術史與美術館的結合也代表著看待「過去」、亦即歷史新觀點的體現。本文聚焦於Mechel將美術館作為「看得見的藝術史」的想法與其在上美景宮畫廊的實踐，藉由援引對Mechel有深刻影響的Winckelmann之藝術史觀，分析藝術在美學以及歷史上的觀點如何在美術館的展示和觀看中被體現，亦即藝術史的視野與美術館的景觀如何相互連結。

關鍵字

Christian von Mechel ； 維也納上美景宮畫廊 ； Johann Joachim Winckelmann ； 藝術史 ； 美術館

並列摘要

The relationship between art history and art museums has been very close all along, and their development has been complementary. The paradigm shift in art history often echoes the formation, transformation and expansion of museums. With his History of Ancient Art (Geschichte der Kunst des Alterthums, 1764), the Prussian art historian Johann Joachim Winckelmann (1717-1768) initiated a systematic approach to the researching and writing of art history. And around the same time, a new vision of order in the exhibition and observation of artworks began to emerge. Christian von Mechel (1737-1817), Swiss publisher and graphic artist, under the influence of Winckelmann's view of art history, applied the concepts of order and classification to the planning of art museums in an attempt to create a ＂visible art history＂ (Sichtbare Geschichte der Kunst). Mechel exerted the concept to the arrangement of ＂Painting Gallery at the Upper Belvedere＂ (Gemäldegalerie im oberen Belvedere) in Vienna in the second half of the 18th century. He is regarded as a pioneer in consciously incorporating art history into the field of art museums, and the gallery he planned is also considered to be the origin of modern art museums and a model for future generations to follow. On the one hand, the formation of art museums reflects the foundation of the viewpoint of the artistic autonomy, the detachment of art from the world of courts and churches and identity, and the transformation of the aristocratic gallery from a decorative, ceremonial, and representative function to a public, aesthetic space. On the other hand, the combination of art history and the museum represents the embodiment of a new perspective on the ＂past,＂ that is, on history. This paper focuses on Mechel's idea of the art museum as a ＂visible art history＂ and his practice at the Upper Belvedere Gallery. By citing Winckelmann's view of art history, which had a profound influence on Mechel, this article analyzes how the aesthetic and historical perspectives of art are embodied in the exhibition and observation of the museum, and how the vision of art history and the landscape of the museum are interconnected.

並列關鍵字

Christian von Mechel ； Painting Gallery at the Upper Belvedere of Vienna ； Johann Joachim Winckelmann ； Art History ； Museum

參考文獻

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