以沙龍女主人之名─苬佛涵夫人（Madame; Geoffrin，1699-1777）與週一藝術沙龍 In the Name of Saloniere: Madame Geoffrin(1699-1777) and Her Lundis

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題名:	以沙龍女主人之名─苬佛涵夫人（Madame;Geoffrin，1699-1777）與週一藝術沙龍 In the Name of Saloniere: Madame Geoffrin(1699-1777) and Her Lundis
作者:	謝佳卉;Chia-Hui Hsieh
貢獻者:	藝術學研究所
關鍵詞:	苬佛涵夫人;沙龍女主人;法國;十八世紀;週一藝術沙龍;藝術贊助;Madame Geoffrin;salon;French;Eighteenth century;saloniè;re;Lundis;art patronage
日期:	2011-07-20
上傳時間:	2012-01-05 14:06:49 (UTC+8)
摘要:	瑪麗?蝶黑瑟?侯德?苬佛涵（Marie-Thérèse Rodet Geoffrin，1699-1777）為十八世紀法國著名沙龍女主人。她在週一舉辦的知名沙龍──稱呼為Lundis──聚集許多藝術愛好者、藝術收藏家、畫家和雕刻家於其聖東洛黑街的宅邸。苬佛涵夫人同樣是位藝術贊助者，援助多位藝術家且委託數幅作品。她的「週一藝術沙龍」不但確保藝術家與上流社會藏家之間的接觸，同時確保了她自己的藝術委託。根據哈伯瑪斯的「公共領域」概念，苬氏另一於每週三接待眾多影響力的文哲和百科全書派人士的沙龍，可被視為一對立於宮廷和專制的「啟蒙沙龍」（“Enlightenment Salon”）。但在本篇論文當中，筆者特別著重於苬氏在舊制時期（ancien régime）身為「沙龍女主人」（salonière）此一社會角色，以及沙龍機制如何運作。十九世紀，作家和評論家強調這位頗具影響力的沙龍女性是位布爾喬亞。然而，沙龍女主人諸如苬氏實則再次重申舊制時期的貴族制度，顯現文雅有禮有利於促進及調節智性方面的討論。我們可以從苬氏的沙龍觀察到舊政權貴族概念裡女性所應當扮演的社會和政治角色。如此一來，沙龍女主人躋身上流社會，甚至包括她對於藝術的興趣以及相關贊助活動，益發凸顯此一角色作為上層社會和中、下階級之間中介此等功能。 Marie Thérèse Rodet Geoffrin (1699-1777) was a famous salonière in the eighteenth century France. One of her well-known salons which was held every Monday, called Lundis, was a gathering in her hôtel on the rue Saint-Honoré of amateurs, art collectors, painters, and sculptors. Madame Geoffrin was also a patron of art; she supported artists and commissioned many artworks. Her Lundis not only established the contact between talented artists and high society collectors, but also provided occasions for her own artwork commissions. According to Jürgen Habermas’ concept of a “public sphere”, Mme Geoffrin’s another salon, receiving the most influential philosophers and Encyclopédistes every Wednesday, could be seen as a kind of “Enlightenment Salons”, which was opposed to the court and absolutism. In the present thesis, the author aims especially on Mme Geoffrin’s social role as salonière in the ancien régime, and how the sociability worked in the salon institution. In the nineteenth century, writers and critics emphasized that this most influential salonnière was of a bourgeois class. However, salonnière as Mme Geoffrin truly reaffirmed the aristocratic institution of the Old Regime, demonstrating that qualities of politeness and civility helped stimulate and regulate intellectual discussion. Mme Geoffrin's salons substantiated the aristocratic conception of the social and political role played by women of the Old Regime. Therefore, the actions she took to gain access to le monde, including her interests in art and her art patronage, demonstrated the role of salonière as mediator between the high society, the middle and lower classes.
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