vi 本論文主要是探討莫利斯?德尼早期繪畫中的宗教特質（1889-1895），範圍包含 宗教繪畫以及具有宗教特質的象徵主義繪畫作品。一般認為德尼是十九世紀末前衛藝術 的倡導先驅之一。然而德尼此時期作品，多是以當時前衛藝術的風格來處理傳統的宗教 題材；此外在一些象徵主義作品中，也明顯呈現出一種宗教上的特質。德尼是一個虔誠 的天主教徒，其虔誠的宗教信仰，不僅決定了其生活態度與方式，同時也影響了藝術的 表現，因此他對於描繪宗教題材或宗教特質的強烈執著，並不能簡單的只置於象徵主義 的藝術範圍之下來看。在德尼前衛的藝術表現裡，其實包含著與之呼應的宗教內涵，亦 即天主教的信仰。此種藝術表現存在何種目的與意義，是受何影響？而德尼又是如何詮 釋？這些即是本論文欲處理的問題。 這些問題將從三個層面去探討。第一章將從天主教及宗教藝術的角度切入，試圖說 明1870 至90 年代法國天主教危機以及宗教藝術衰落的問題，並由此產生出一種盛行的 調和理念與作法。第二章則討論德尼的藝術理論〈新傳統主義的定義〉與〈宗教繪畫的 筆記〉，其基於天主教與宗教藝術的危機感，以及當時前衛藝術概念的多重影響下，闡 述了革新宗教繪畫的方向與調和理念；並與其他從事宗教繪畫復興與革新者的狀況作一 比較。第三章則討論德尼作品的內容與形式風格來。德尼的宗教繪畫在內容中所呈現的 調和意義，表現在現世人物與聖經故事角色的結合，以及現世環境與聖經故事發生場景 的結合上；另外也將討論其象徵主義作品中獨特的「白衣女子」形象。在形式風格上要 討論的是德尼以前衛藝術的形式風格來表現傳統的宗教題材作品，他以綜合主義風格作 為基調，並在色彩與線條運用上發展出個人特色；此外也要討論其使用點描法的目的與意義 德尼藉由結合傳統聖經題材與前衛藝術風格，為宗教繪畫風格僵化、喪失真誠宗教 情感的問題，提出了一種解決的方案，將宗教藝術與現代藝術的距離拉近，奠定了一種 現代宗教藝術的發展基礎。其蘊含的調和理念揭示出的是一個十九世紀末時代性的問 題、一種時代性的精神與理想，這即德尼早期宗教繪畫最重要的意義所在。 The study mainly focuses on the religious characteristic in Maurice Denis’ early painting (1889-1895), including the religious painting and the Symbolism painting with the religious characteristic. Generally thought, Denis was one pioneer of the avant-garde art in the end of 19th century. His works in this period were almost presented not only traditional religious subject matter by means of avant-garde art style at that time but a kind of religious characteristic in some of his Symbolism painting. Denis was a reverent Catholic and due to his reverent religious belief, it had decided his life as well as having affected his art simultaneously. Therefore, he persisted intensely in expressing religious subject matter or characteristic not only explained with the view of Symbolism. Denis’ avant-garde art actually contains the religious thoughtfulness, Catholicism's belief, which responds to it. What the purposes and significance present in Denis’ art as well as the influence are and how Denis’ expression is will show in this study. These subjects are discussed through three levels: Chapter One explains France’s crise catholique and the decadence of religious art from the 1870s to the 1890's with the view of Catholicism and religious art and then resulting in the ‘reconciliation’ idea in vogue; Chapter Two discusses Denis’ art theories, ”Définition du néo-traditionnisme” and ”Note sur la peinture religieuse”. He expounded the new aspect of innovative religious painting and ‘reconciliation’ idea on the basis of the crise catholique, the decadence of religious art and the multiple influences of the avant-garde art concept at that time. Besides, it compares Denis with other reformers engaging in the religious painting; Chapter Three shows the contents and the form style in Denis’ works. It presents the combination of the common people and the Bible story’s roles as well as the combination of the secular world and the Bible story’s scenes in Denis’ religious painting. Moreover, it also discusses the unique image of "the white clothing female" in his Symbolism works. In his form style, Denis depicted the traditional religious subject matter by means of avant-garde art style based on the Synthetism style and then developing individual characteristic on the color and the line. In addition, the purposes and the significance of Denis’ Pointillism expression will be discussed. Denis addressed a solution which established a base of modern religious art for the ossifying of religious painting style and the losing of sincere religious sentiment by means of combining traditional religious subject matter and avant-garde art style. The ‘reconciliation’ idea revealed a question, a kind of spirit and ideal in the times about the end of 19th century, and this is the most important significance in Denis’ early religious painting.
