盛期文藝復興《最後晚餐》之繪畫比較研究

A Comparative Study of “The Last Supper ”in The High Renaissance

鍾美月

指導教授 ： 呂清夫

國立臺灣師範大學/藝術學院/美術學系在職進修碩士班/碩士(2007年)

摘要

摘 要

此論文之研究在於從基督教美術作品中「神的世俗化」起因，探究其演變、表現形式與美學思想特質產生對現代性的影響及新時代啟迪的意義，並藉此從中尋找有效解讀宗教語言：「象徵符號」在藝術上的應用為何。其次，有鑒於當前一般觀者除非能同時具備對《聖經》新舊兩約正統神學的基本認知和理解，否則在鑑賞之際難免流於「不求甚解」的解讀疑惑，以致產生以偏概全、似是而非的宗教誤解。筆者站在基督教（改革宗）的信仰立場，以視覺形式分析和忠於聖經文本內涵的並行觀點，解讀盛期文藝復興《最後晚餐》諸繪畫之分析比較，期盼能與一般非基督信仰的藝術研究觀點有所區別。
本文以聖經中的象徵語言和個人基督信仰以及未來藝術創作尋源之結合如何成為可能，作為一個積極的引發動機。並藉此動機展開對同時能夠完美融合視覺形式與圖像內容分析之盛期文藝復興時期的宗教畫典範鉅作─達文西的《最後晚餐》壁畫為研究主軸，輔以義大利、德國和荷蘭等南北宗畫家共計十一位、十三幅《最後晚餐》諸畫作之平面繪畫媒材為例，加以闡述分析比較。
本論文內容共分五大章節：第一章緒論，探討本文之研究動機、目的、問題、範圍、流程及方法等；第二章文獻探討，從藝術和宗教兩大觀點，進行交叉探究基督教繪畫在人文主義思潮的巨大衝擊下其繪畫特質，特別是盛期文藝復興新時代的美學觀，「最後晚餐」命題的神聖內涵以及《最後晚餐》繪畫藝術觀的討論；第三章 研究方法與過程：先從文藝復興「神的世俗化」文獻分析談起和歷代知名藝評家對達文西《最後晚餐》之評價，以圖像學角度切入縷析該繪畫文本背後及其象徵圖像之意義與內涵之解釋原理的分析比較；第四章盛期文藝復興《最後晚餐》繪畫之比較分析，以圖像研究、美術心理學方法探討《最後晚餐》畫作中，十三位人物的角色、動態與表情，構圖形式以及色彩、光影與背景圖像的象徵表現；第五章結論，從達文西《最後晚餐》宗教畫的一字形構圖排出「人神合一」的序幕、文本再見，藝術再現以及現代主義的幕後推手等要點來逐一宣告「現代主義」誕生的啟迪價值、意義與個人研究省思。

關鍵字：盛期文藝復興、最後晚餐、神的世俗化、圖像研究、文本、
人神合一、現代性、現代主義

關鍵字

盛期文藝復興 ； 最後晚餐 ； 神的世俗化 ； 圖像研究 ； 文本 ； 人神合一 ； 現代性 ； 現代主義

並列摘要

Abstract
The research purpose of this thesis is demonstrated by starting discussing the origin of “Secularization of God” in Christian artwork and then exploring how its evolution, form of representation and aesthetic ideas had made influence on modernity and what inspiring meanings had been made in new ages. It is expected to find out effective language, being instrumental to interpret Christianity: what “symbolic signs” can be applied to the art. In addition, because ordinary viewers are unable to have basic knowledge and understanding on orthodox divinity of both The Old Testament and The New Testament currently, they cannot fully understand the painting The Last Supper when looking at it. Then, sweeping comments and paradoxical misunderstandings of religion can easily happen. From the viewpoint of reformed Christianity, the author discusses and analyzes this High-Renaissance painting and compares it with other pieces of artwork by using visual form and being intended to be faithful to the literature text of The Bible. It is hope that differentiating art research with lack of Christian religious belief can be achieved.
In this thesis, how it becomes possible that symbolic languages of The Bible and Christian religion have been brought to link up with art work is taken as a positive motivation. Through this motivation, this thesis also uses Leonardo da Vinci’s mural painting of The Last Supper, which is a perfect religious-context model, combining visual form with abundant iconographic contents as a research focus. Also, eleven painters from Italy, Germany, Holland, etc. and 13 pieces of graphic paintings all called The Last Supper are introduced to make full analyses and comparisons.
This thesis has five chapters as follows. The first chapter is the Introduction, in which research motivation, purpose, question, scope, procedure and methods are explained.
The second chapter is Literature Review in which from the two major viewpoints of art and religion, characteristics of Christian paintings under great impact of humanism, especially about new aesthetics of the High Renaissance, are explored in a cross-research approach. The divine meaning of “the Last Supper” and pictorial aesthetics of the painting, The Last Supper, are discussed.
The third chapter is Research Methodology and Process. The discussion is made by the following process -- starting from literature-text analyses on “Secularization of God” in Renaissance Period and historical well-known art critics’ comments on The Last Supper and then continuing to analyze and compare explanatory principles of meanings and implications of the painting and its symbolic icons by using an iconographic angle.
The fourth chapter is the Comparison and Analysis on the Painting The Last Supper. Iconographic research and psychological method about fine art are employed to discuss the painting, including the thirteen figures’ roles, dynamism and expressions and symbolic meanings of form of structure, colour, light and shadow, and background.
The fifth chapter is the Conclusion. Here, the discussion starts with the appearance of “Unity of God and Men” arranged in The Last Supper. The examination then shifts to the disappearance of the framework of texts, the representation of art, and all these points discussed in this chapter gradually unveils the birth of “Modernism.” The last part of this chapter is devoted to researcher’s study reflection on the thesis.

Key Words: The High Renaissance,The Last Supper,
Secularization of God,Iconographic research ,
Literature Text, Unity of God and Human,
Modernity, Modernism

並列關鍵字

The High Renaissance ； The Last Supper ； Secularization of God ； Iconographic research ； Literature Text ； Unity of God and Human ； Modernity ； Modernism

參考文獻

王秀雄，《美術心理學》，台北：三信，1975。

雅各?布克哈特（Jacob Burckhardt），花亦芬譯，《義大利文藝復興時代的文化》，台北：聯經，2007。

吳振岳，〈試析潘諾夫斯基之圖像學研究法及其在藝術鑑賞之功能〉，《大葉學報》，第十卷，第二期，2001，頁69-78。

陳美杏，〈簡論貢布里希之「藝術風格轉變」〉，《美術學報》，創刊號，2006，頁93-110。

曾昭旭，〈論宗教世俗化的危機─兼論宗教活動的正邪之辨〉，《鵝湖月刊》，第二十四卷，第七期，1999，頁1-5。