卡拉瓦喬再現於羅浮宮：從感知與理解的面向探討藝術博物館的知識形成

卡拉瓦喬(Caravaggio, 1571-1610)生於矯飾主義(Mannerism)時期的義大利，在西方藝術史的定位中，被藝術史家書寫為巴洛克風格的開創者。「巴洛克」(Baroque)是一個在特定風格變遷脈絡之下的藝術史名詞，用來描述相對於文藝復興(Renaissance)以及文藝復興後期所衍伸的矯飾主義的一系列風格特質。藝術史學家另以「自然主義」(Naturalism)一詞，對卡拉瓦喬的繪畫中未理想化的外在形象加以討論，它的比較對象，就是義大利文藝復興運動所想要恢復的一種傳達永恆理想性的「古典」精神。卡拉瓦喬的生涯多在義大利度過，終其一生未曾到過法國，然而，在羅浮宮的法國繪畫展示廳中，卻可以看到一系列法國17世紀初的繪畫作品，無論在題材以及手法上，都感染到了卡拉瓦喬的創作思維。這樣的現象可溯及16世紀的法國，長期以來便以國家的力量，有計畫地將義大利視為文化學習對象。透過文化上的交流與承襲，卡拉瓦喬的影響力滲入了法國，再現於烏葉(Simon Vouet, 1590-1649)、勒布朗(Charles Le Brun, 1619-1690)、拉圖爾(Georges de La Tour, 1593-1652)等法國藝術家的筆下。羅浮宮的興建，原是為了軍事防禦的目的，在歷史上數度成為王室居所，而今日的羅浮宮已是一座公共的藝術博物館，以藝術史作為它的展示文本，有秩序地展示大量的藝術作品。本研究期望以作品分析與展示分析為基礎，並以羅浮宮所收藏的《聖母之死》(Death of the Virgin, 1606)等卡拉瓦喬的原作，以及受卡拉瓦喬影響的法國藝術家為例，透過Foucault的規訓理論，探討羅浮宮的展示結構如何再現藝術史的秩序性，並對於個別性加以定義與詮釋。為了回應藝術博物館中的藝術作品應如何被觀者所接收的提問，本研究在第五章引述了Merleau-Ponty對感知的研究，探討博物館中的個體如何在展示結構中，尋求具有主體性的觀看位置，超越文本的限制來觀看藝術作品，在藝術博物館中獲得具有啟發性的觀看經驗。

關鍵字

羅浮宮；卡拉瓦喬；藝術史書寫；藝術感知；藝術博物館

並列摘要

Born in Italy during the period of Mannerism, Caravaggio(1571-1610) was defined as the pioneer of Baroque style by art historians. “Baroque” is a word under the context of a transitional style system of art, and be describe as a series of forms contrasting with the style of the Renaissance and the Mannerism in the later Renaissance. On the other hand, different from paintings of Renaissance that pursued the ideal of beauty under the classical spirit from ancient art, Caravaggio’s paintings was never depicted as idealized natural, which art historians named as Naturalism. All of Caravaggio’s lifetime was spent in Italy and he had never been in France. However, many paintings of 17th century in the exhibition halls of French paintings in Louvre show the influence of Caravaggio both in their themes and techniques. This phenomenon originated from the royal politics of those days, which took Italy as a model in art creation. As a result, Caravaggio’s style permeated into French painters, such as Simon Vouet(1590-1649), Charles Le Brun(1619-1690), Georges de La Tour(1593-1652) etc.. At its first stage, Louvre was constructed for the military purpose, and after generations, it became the royal palace. But today Louvre, in which the works of art are exhibited systematically according to the art theories, serves as a public art museum. In this study, the author follow and analyze the exhibition of Caravaggio’s works in Louvre, such as Death of the Virgin(1606) and other caravaggian Painters’ works. This study adapts Foucault’s discipline theory to investigate how Louvre presents the structure of art history and interprets the individuality. In response to how works of art in the museums are perceived by the audience, this study cites Merleau-Ponty’s research on perception in Chapter 5. Also, this study discusses how an individual searches for a subjective position to obtain an inspirable experience without the limitation of the text in the exhibition structure of an art museum.

並列關鍵字

Louvre ； Caravaggio ； art history writing ； art perception ； art museum

參考文獻

Zeller, Terry著，左曼熹譯，1990。藝術博物館教育人員：他們是誰？博物館學季刊，4(3): 39-46。

White, Philip 著，張譽騰摘譯，2006。藝術博物館和觀眾之互動—英國經驗的反省。博物館學季刊，10(4): 17-22。

Alexander, Edward P. (2008). Museum In Motion: An Introduction to the History and Functions of Museums. Plymouth: AltaMira Press.

Arnheim, Rudolf. (1954). Art and Visual Perception: A Psychology of the Creative Eye. London, and Los Angeles: University of California Press.

Berger, John. (2008). Ways of Seeing. London: Penguin Group.

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卡拉瓦喬再現於羅浮宮：從感知與理解的面向探討藝術博物館的知識形成

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