1929年五月的巴黎，猶太裔金融鉅子亞歷山大．納坦森（Alexandre Natanson, 1867-1936）歷年收藏流入拍賣市場。在這場拍賣會上，艾德華．威亞爾（Edouard Vuillard, 1868-1940）那比派（Les Nabis）時期委製裝飾作品《公園》（The Public Gardens, 1894）當中主要的九扇飾板被拆售；其中三扇飾板成為這位創作者首度為法國國立美術館入藏的裝飾作品，其餘飾板則分別流落於數位私人收藏家手中。《公園》被拆售的例子，揭示了這組飾板橫看成嶺側成峰的視覺彈性：綿延的空間感與彼此呼應的裝飾性元素統合了整組作品，然而當整組作品被拆解時，各扇飾板又構成了自給自足的畫面。這種奇特的空間表現，在原屬空間脈絡難以考據、作品流落四方後顯得更加耐人尋味。本研究意欲追索這種特殊形制（format）的發想來源、富裕資產階級私人委託關係在威亞爾裝飾美學實踐中所扮演的重要角色，以及《公園》一作在形制上所體現的綜合品味：揉合了新與舊、東方與西方、流行文化與貴族品味、異國想像與國族傳統，所構成的遼闊詮釋空間。 In Paris, May 1929, the Jewish banker Alexandre Natanson auctioned off his art collection. In this auction, nine main panels of The Public Gardens—Edouard Vuillard’s commissioned decorative ensemble of his Nabis period—have been sold separately. Three of them became this painter-decorator’s first decorative work purchased by French government and exhibited in public museum, and the others are won by several collectors. The fact that The Public Gardens have been sold in separate panels marks the visual flexibility of the decorative panels: on the one hand, the work is united by continuous spatial effect and correspondent decorative elements; on the other hand, when the work is separated, each panel forms a self-sufficient image. This peculiar spatial expression becomes even more intriguing after these pieces are located in different places, and the original monumental context of the work is hard to trace. This thesis intends to investigate the origin of this special format, and the significant role of private commission of haute bourgeoisie plays in Vuillard’s decorative practices. And most important of all, the format of The Public Gardens embodies the synthetic taste which combines old and new, East and West, popular culture and aristocratic taste, exotic imagination and national orthodox which forms various possibilities of interpretation.
