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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/66027


    Title: 孟克的《生命的飾帶》女性圖像研究;The Images of Woman in Edvard Munch′s The Frieze of Life
    Authors: 黃惠萍;Huang,Hui-ping
    Contributors: 藝術學研究所
    Keywords: 孟克;《生命的飾帶》;青春期;《女性三階段》;十九世紀末;女性圖像;象徵主義
    Date: 2014-07-08
    Issue Date: 2014-10-15 17:22:41 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 孟克(Edvard Munch, 1863-1944)是挪威有名的藝術家,他以油畫、粉彩、素描等媒材創作,也使用攝影以及版畫,運用各種不同的媒材表達他的創作概念,而在他的作品中總是讓人感受到他投注在作品中的情感。《生命的飾帶》(The Frieze of Life)系列作品是孟克花費他一生的時間思考並且創作,也是他最重要的系列作品。在此系列中,女性圖像的描繪佔據一半以上,女性在他的作品中被描繪為許多不同的角色,但是他並非以寫生的方式描繪女性,而是藉由女性來象徵其性慾、情感等。本論文選取孟克的《聲音》、《青春期》以及《女性三階段》為主要論述作品,透過青春期女性以及《女性三階段》中的女性多面的形象,了解孟克創作其作品中對於女性的觀點。

    第一章的部分,主要是以孟克的日記及傳記爬梳孟克的生平經歷,從孟克的成長背景和學習繪畫的歷程而進一步了解他對《生命的飾帶》系列作品的創作觀點以及風格的養成。第二章以孟克的《聲音》和《青春期》兩件作品為主題,從這兩件作品中,了解孟克對青春期女性的描繪為何,並且透過畫面中的象徵物理解女性性慾覺醒的慾望以及對於轉變為成熟女性的恐懼。第三章焦點是《女性三階段》這件作品,在1894年斯德哥爾摩展覽中又以《斯芬克斯》為名,並且隸屬於《愛》主題的標題下。從此件作品的另一名稱《斯芬克斯》與傳統斯芬克斯的作品比較,以及命運三女神的神話故事了解《女性三階段》中三名女性所代表的涵義。最後再藉由十九世紀末相同時代背景的作品,與孟克的《女性三階段》比較他們之間的異同。

    藉由這三個章節的論述,希望了解孟克與女性交往之間的關係,以及他在《生命的飾帶》系列中女性圖像的創作理念。十九世紀末的女性圖像由許多藝術家們描繪不同類型,本文亦釐清孟克《生命的飾帶》系列作品中女性的描繪與十九世紀末所流行的女性圖像之異同。
    ;Edvard Munch (1863-1944) is the famous artist in Norway. He painted in oil, pastel, drawing and other media, and used photography and print, to express his creative concept, and he always conveys emotions in his works. The Frieze of Life sums up his lifetime thinking and creation, and also is his most important work. More than half of the series is devoted to female images and women are portrayed in many different roles, symbolizing their sexuality, emotions and so on. In this study, Munch’s paintings The Voice, Puberty, and The Three Stages of Woman are the main focus. Through the depiction of adolescent girls as well as multiple roles of women in The Three Stages of Woman, one can understand Munch’s complex attitude toward Munch women.

    Chapter One mainly discusses Munch’s diary and biography, in order to understand his life experience, and to learn his views of the creation of The Frieze of Life. In Chapter Two I discuss The Voice and Puberty, pointing out the sexual awakening in adolescent girls in Munch’s imagery and the girls’ desire and fear to enter the next stage of life through the symbols. Chapter Three focuses on The Three Stages of Woman, also named Sphinx in 1894 Stockholm exhibition. This work belongs to the cycle Love. Compared with the traditional mythological works of the Sphinx, and the Three Fates, we can understand the meanings of The Three Stages of Woman. Finally, The Three Stages of Woman is compared with other pictures of the same subject of the late nineteenth century.

    This study will explicate Munch’s relationships with and women, and his creative ideas of the female images in The Frieze of Life. The late nineteenth century saw different types of female images produced by many artists. It is important to compare the female images of The Frieze of Life with other contemporary works.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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