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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/85132

    Title: 以音樂之名:聖塞西莉亞圖像傳統及其在英國的接受與轉化,1518-1864;In the Name of Music: The Pictorial Tradition of St Cecilia and Its Reception and Transformation in Britain, 1518-1864
    Authors: 林采樺;LIN, TSAI-HUA
    Contributors: 藝術學研究所
    Keywords: 聖塞西莉亞;音樂家肖像畫;女演員肖像畫;圖像傳播;大旅行;St Cecilia;musicians;female actors and singers;portraits;Grand tour
    Date: 2021-01-27
    Issue Date: 2021-03-18 17:43:57 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 聖塞西莉亞是一位基督教的殉道者,長久以來一直被視為音樂家的守護聖人。十七世紀以後,人們更加喜愛強調聖塞西莉亞的音樂才華,因此在不同畫作中,聖塞西莉亞經常演奏各式各樣的樂器。不過,構圖中,樂器的選擇、姿勢的描繪、華服與首飾、有無小天使在場,卻可能影響到圖像原先的神聖性。更甚者,以今日之見,演奏樂器的女子肖像畫經常直接與聖塞西莉亞圖像相連結。實際上,在1775年到1841年的英國,共有11幅由當代女性扮裝為聖塞西莉亞的肖像畫。本論文探討的核心問題為聖塞西莉亞圖像在英國峰迴路轉的流行軌跡。
    ;St Cecilia was a Christian martyr, who has long been regarded as the patron saint of musicians. In pictures St Cecilia was often portrayed as holding popular musical instruments, which symbolize her outstanding musical talent. From 1775 to 1841 in Britain, there were at least 11 portraits that depicted contemporary ladies posed as St Cecilia. Why did British women in the late eighteenth century want to be portrayed as St Cecilia? How did portraits of women characterized as St Cecilia obtain their popularity in Britain?
    This thesis is divided into five chapters. The first chapter explores the legend of St Cecilia and her images in sixteenth- and seventeenth-century Europe, and traces the origin of female portraits posed as St Cecilia. The second chapter discusses the cultural traditions in the sixteenth and seventeenth centuries, in which court ladies liked to pose as saints in portraits. Chapter three discusses the portraits of English court musicians, London musicians, female actors and singers, and explores printed images related to the celebrations of St Cecilia’s Day in Britain. Chapter four focuses on the interaction between Britain and Europe in the eighteenth century, and examines how pictures of St Cecilia were received in Britain. The final chapter explores the special phenomenon in which British actresses and singers liked to be portrayed as St Cecilia in the late eighteenth to the mid-nineteenth century. Through analyses of the pictorial traditions of St Cecilia and explorations of British cultural conditions, this thesis endeavors to reveal reasons behind the popularity of St Cecilia images in Britain and its significance.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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