賽維亞西班牙廣場花磚藝術之文化詮釋

Cultural Interpretation of the Ceramic Tile Art in Spanish Square of Seville

郭思筠(Sz-Yun Kuo)

指導教授 ： 林盛彬

淡江大學/外國語文學院/西班牙語文學系碩士班/碩士(2018年)

https://doi.org/10.6846/TKU.2018.00135

摘要

賽維亞是一個具有文化歷史的城市，歷經多年被摩爾人統治，其建築也融入了賽維亞的文化中，正如同磁磚歷經歷史薰陶而記錄了這城市所留下的足跡，透過烈火淬鍊窯燒成花磚、透過賽維亞的歷史進程、透過遍佈整個城市隅角的精湛磁磚，收錄其屬於賽維亞標誌的歷史風貌。花磚也是最能代表賽維亞城市風情的本土藝術及特里亞納工藝。特里亞納區是重要的傳統陶藝中心，藉由文化的長期洗禮，它豐富的色彩、獨特的裝飾性與富有時空情愫的特性，巧妙地融入建築物，進而造就獨樹一幟的風格與巨大影響力的時代標誌。花磚不僅成為賽維亞或特里亞納的代名詞，也轉化為社會的標記象徵。1929年，素有「賽維亞高第」之稱的首席建築師-阿尼巴爾‧岡薩雷斯為「伊比利亞-美洲」世界博覽會設計了西班牙廣場。其應用了藝術元素的彩繪花磚來裝飾廣場，使得原為建築裝飾配角的磁磚躍上了重要角色，翻轉花磚在建築的定位與藝術價值，成為西班牙獨一無二的文化象徵之一。廣場內48座花磚壁龕代表賽維亞在每個不同時期風貌與重要的歷史事蹟，也象徵西班牙每個城市歷史與文化風采，就此成為賽維亞重要城市象徵。岡薩雷斯為世界博覽會建構了西班牙廣場，這座精湛華麗的藝術城堡也讓衰微許久的賽維亞，再度亮麗登上國際舞台。
本文運用文獻分析法梳理磁磚在各國文化演進的脈絡足跡，並以帕諾夫斯基之圖像學歸類分析賽維亞西班牙廣場中代表西班牙各省的48座花磚壁龕。其代表性主題藉由內容可歸納區分為：歷史事蹟、政治議題、宗教與文化教育等四大類，其中又以歷史事蹟相關之圖像為主，政治議題次之，宗教與文化教育的圖像數量則相弗。顯見在廣大的西班牙轄區省份內，多數省份與歷史事蹟或有密不可分之關係。再者本文由建築與藝術觀點審視48幅磁磚裝飾藝術，顯示出技術層次的精緻工藝製造與花磚彩繪能量，巧妙地融入西班牙土地上悠遠的歷史文化與省份特色，成功地於全世界人面前推銷西班牙，使其成為具有象徵意義的藝術文化遺產，成為所有世界博覽會中獨特且令人印象深刻的西班牙式風采。本文最後則更進一步探討代表各省獨特藝術圖騰與其表象下所蘊含更深的文化意涵。此外讀者亦能藉此研究窺得獨一無二花磚建築藝術之呈現，進而瞭解西班牙賽維亞富含歷史文化的文藝復興風情。

關鍵字

花磚 ； 賽維亞 ； 西班牙廣場 ； 阿尼巴爾·岡薩雷斯 ； 世界博覽會

並列摘要

Seville is regarded as a historic and cultural city in Spain. Dominated by Moors for years, Seville has been integrated with Moorish cultural heritage or relics. In response to tiles, which maps out the footprints of the city and is engraved via ancient ages, the ceramic tiles afterwards are formed through sintering process in raging fire. The exquisite tiles act as one-of-kind icon in Seville historic heritage in terms of historical processes as well widespread distribution to each corner of the city. The ceramic tiles even represent native crafts and arts in Seville. Take Triana district for instance, it plays a vital center in traditional pottery in Seville. By means of cultural magnificence, Triana’s unique decoration, and spatio-temporal characteristics are subtly infused into the construction; all of which contribute to an icon of the Times with a uniqueness of elegance as well as its immense influence. Therefore, ceramic tiles have become not only the proper name for Seville (or Triana), but also a symbol of the society. In 1929, the chief architect Aníbal González, who is considered "Gaudí of Seville" designed The Spanish Square in Seville for the Ibero-American Exposition. Aníbal González employed art elements to decorate the square like ceramic tiles that turned into the crucial factor in decorating constructions. The artistic merit of ceramic tiles in the construction were re-defined, even becoming the unique symbol in Spanish culture. The 48 ceramic tile alcoves in the plaza indicate a wide diversity of styles and historical events in different periods in Seville. They also represent each city’s historical and cultural elegance in Spain, even becoming a crucial city image of Seville. After this Exposition filled with exquisite and splendid arts, Seville, once a city filled with malaise, comes back to the international stage again.
The study employs literary-citation analysis to sort out tile’s evolution from different cultures and, based on E. Panofsky’s iconology, to analyze the 48 ceramic tile alcoves in The Spanish Square. The representative subjects from 48 ceramic tile alcoves can be divided into four categories: historical events, political issues, religious topics, and cultural education. And, the photographs regarding historic events contains a lot than the other three categories. It is notable that the historical events are closely engaged with most of the provinces in Spain. Moreover, 48 decorative tiles crafts are examined so as to highlight the phases of exquisite manufacturing craftsmanship or ceramic-tile painting skills, both of which are sharply fused not only into each province’s history features but also into the grandeur in Spain. In addition, the ceramic tile art successfully promotes Spain to the world, turning Spanish culture into an image of artistic heritage. Consequently, the Spanish style appears unique and impressive in the World Exposition.
The study concludes with a discussion about the unique artistic totems along with cultural implications of each province. Also, readers are even guided to glimpse an artistic image of ceramic tiles decoration on the classical architecture as well as to grasp the heritage of renaissance throughout Seville, Spain.

並列關鍵字

Ceramic tiles ； Seville ； Spanish Square ； Aníbal González ； World Exposition

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