從圖像學解讀拉圖爾之＜彈四弦琴的人＞

An Iconology Study of Georges de La Tour's ＜Hurdy-Gurdy Player＞

郭惠宜(Hui-Yi Kuo) ； 吳奕芳(Yi-Fang Wu)

《弘光人文社會學報》 6期 (2007/05) Pp. 207-236

https://doi.org/10.29933/SHSS.200705.0009

摘要

生平至今仍然充滿著神秘色彩的法國巴洛克畫家拉圖爾（Georges de La Tour，1593－1652），善於使用暖色調來表現靜謐的氣氛，並以寫實的手法描繪出人物的形貌。在藝術史家及專業鑑定者正如火如荼的考證其生平事蹟及畫作真偽之際，環視國內以圖像學探討其畫作者仍屬少數，此外，對於西洋畫作中之樂器圖像進行研究者更是缺乏，因此選取拉圖爾之＜彈四絃琴的人＞進行研究。本研究之前言部分先敘述本文之研究動機、目的及價值；第二部分則嘗試以潘諾夫斯基之圖像學三層理論做為研究畫作之基本架構，對於圖像學理論及音樂圖像學進行意義、脈絡之探尋；第三部份先從文本中探討拉圖爾之生平軼事，再從史家的考證資料及博物館的官方網站蒐集有關拉圖爾畫作之圖像及資訊，並針對拉圖爾之繪畫風格加以概述；第四部份則以圖像學理論對於＜彈四絃琴的人＞進行畫作之畫面分析、象徵意義及深層文化意涵進行圖像及文獻之探究，並輔以音樂圖像學之觀念，對於圖中之樂器「搖絃琴」的形式、地位等演變加以敘述，以驗證在文獻缺乏的前提下，將圖像學運用於畫作分析之價值及可行性。

關鍵字

圖像學 ； 音樂圖像學 ； 拉圖爾 ； 搖絃琴

並列摘要

The French painter Georges de La Tour (1593-1652) was good at using the warm tones to display the quiet atmosphere and to depict personages' appearances with the realistic tactics. Many art-historians and professions are trying to find out the life stories of La Tour, however it is quite few references to research his paintings by using the Iconology in our country. Moreover, it also lacks of researches to study the Iconology of the musical instruments in western paintings. Consequently, I selected La Tour's ＜Hurdy-Gurdy Player＞ as my investigative object. First, the preface indicated the motivation, purpose and value of this research. In the second part of the study, I explored the meanings and thread of thoughts of the Iconology and Iconography of music using the iconology theory of Panofsky as the basic structure. In the third part, the survey of the La Tour's life anecdote was collected from reviewing literatures. Afterwards, the elaborations of the style of La Tour's paintings were described by using the pictures and other-related information of La tour's paintings which were obtained from the art-historians' critical materials and official websites of museums. In order to verify the value and feasibility in analyzing paintings by using the Iconology under limited literatures, I used the Iconology theory to investigate the forms, symbolizations and cultural meanings of the ＜Hurdy-Gurdy Player＞ as well as the Iconography of music to describe the changes of the style and social status of the hurdy-gurdy in the final part of this investigation.

並列關鍵字

Iconology ； Iconography of music ； La Tour ； Hurdy-Gurdy