「如畫的風景」圖裡點景人物的道德與政治意涵

本文主要目的在探討「如畫的」（picturesque）風景理論，在英國風景畫史的幾個轉變過程，及風景中「點景」（embellishment）的道德與政治意涵。「如畫的」風景理論研究的範疇，涵蓋十八、十九世紀英國學界對Claude Lorrain（1604-1682）以羅馬鄉村風景（Roman Compagna）而作的義大利式田園風景（pastoral Landscape），和Salvato Rosa（?-1673）以阿爾卑斯山為題材所畫的雄渾壯麗（sublime）風景畫，以及英國旅遊文學熱衷於發掘本土風景美的歷史。它不但是十八世紀末至十九世紀初期的重要風景理論，同時也是跨文學、藝術、政治和文化評論等領域，具有重要的文化評論功能。在如畫的風景圖裡，人物和建築物母題（motif），被研究者賦予豐富的道德和政治意涵，使picturesque的風景衍生多重意義。本文即擬分析作品再現這一議題的政治關係，並分析此一風景理論在道德與政治意涵的發展。

關鍵字

如畫的；英國；英國的；風景畫；戈平；普萊斯；鼐忒；根茲勃羅；曼德維爾；政治經濟；優雅藝術

並列摘要

This essay aims to examine the transformation of theories of picturesque landscape painting and to study questions of moral implications and cultural politics of forms of embellishment in　landscapes painting. Theories of picturesque landscape are studies related to pastoral landscape of ‘Roman campagna’ painted by Claude Lorrain in the seventeenth-century. They are also theories relatively concerning sublime landscape of the Alps depicted by Salvato Rosa and British mountain scenes　founded in the travel writings of the eighteenth and nineteenth-centuries in the movement of the searches for the picturesque beauty in British domestic lands. Theses theories are　inter-disciplinary studies in the fields of literature, art, politics and cultural criticism. Their functions as cultural criticism have been noted by art historians in some occasions. However, these theories need to be explored into a greater depth. In picturesque landscape, human figure and architecture motif are regarded by researchers to be meaningful signs that carry moral and cultural significance. This essay will focus on the questions of the representation of embellishment forms and cultural politics.