DSpace collection: 博碩士論文

安傑利柯修士（Fra Angelico）的三件《天使報喜》祭壇畫研究;A Study of Three Annunciation Altarpieces by Fra Angelico

title: 安傑利柯修士（Fra Angelico）的三件《天使報喜》祭壇畫研究;A Study of Three Annunciation Altarpieces by Fra Angelico abstract: 安傑利柯修士（Fra Angelico, ca. 1395-1455）是義大利早期文藝復興極具代表性的畫家，他留下的十七件天使報喜中，有三件天使報喜祭壇畫的圖像尤為特殊——不同於天使報喜圖像傳統，十五世紀初的祭壇畫盛行以聖母子像為主，而天使報喜圖為輔，三件祭壇畫卻將天使報喜作為核心主題。這三件祭壇畫分別為《普拉多天使報喜》（Prado Annunciation, ca. 1423-1426）、《柯爾托納天使報喜》（Cortona Annunciation, ca. 1434-1436）及《蒙帝卡羅天使報喜》（Montecarlo Annunciation, ca. 1440）。然而從十九世紀至今，相比於收藏在聖馬可博物館（Museo di San Marco）的兩件《天使報喜壁畫》，三件祭壇畫的研究數量相對地稀少。此現象揭示祭壇畫離開禮拜堂空間進入博物館後，失去原始脈絡與儀式功能繼而轉變為藝術作品的問題。本論文試圖重建三件祭壇畫於十五世紀原始禮拜堂中作為宗教物件的狀態。研究方法上，除了分析三件祭壇畫的繪畫風格、考察物件的歷史背景，以及比對與追溯天使報喜圖像來源，同時從感官史及觀者體驗研究角度出發，藉由回溯十五世紀道明會的禮拜堂空間及宗教儀式，希冀找回當時修士們對於三件祭壇畫的感官體驗。本研究指出，安傑利柯修士透過於三件祭壇畫中創造新的天使報喜圖像，以幫助修士們能夠於每次的儀式中重新冥思聖母救贖思想。 ;Fra Angelico (ca. 1395–1455), a highly representative painter of the Early Italian Renaissance, produced seventeen depictions of the Annunciation. Among these, three altarpieces featuring the Annunciation stand out as particularly distinctive, diverging from the prevailing iconographic tradition of the theme. Whereas early fifteenth-century altarpieces typically privileged the Madonna and Child as the central subject, with the Annunciation relegated to a secondary or predella position, these three works elevate the Annunciation to the primary focal point. The altarpieces in question are the Prado Annunciation (ca. 1423–1426), the Cortona Annunciation (ca. 1434–1436), and the Montecarlo Annunciation (ca. 1440). From the nineteenth century to the present, however, scholarly attention devoted to these three altarpieces has remained comparatively limited when measured against the two celebrated Annunciation frescoes preserved in the Museo di San Marco. This phenomenon reveals the issue that, once altarpieces are removed from their original chapel space and relocated to a museum, they lose their primary context and ritual function, thereby transforming into art works. This thesis aims to reconstruct the original state of three altarpieces as religious objects within their fifteenth-century chapel setting. In terms of methodology, the study not only analyzes the painting style of the three altarpieces, examines their historical context, and traces the iconographic sources of the “Annunciation” imagery through comparison, but also adopts perspectives from the history of the senses and viewer experience research. By reconstructing the spatial arrangement of the Dominican chapel and the religious rituals of the fifteenth century, this thesis seeks to recover the sensory experience that the friars would have had when encountering these three altarpieces at the time. The thesis concludes that Fra Angelico created a new iconography of the Annunciation across these three altarpieces in order to enable the friars to repeatedly meditate on the redemptive theology of the Virgin Mary during each liturgical ritual.

文件與藝術之間——1920至1980年代歐仁・阿特傑攝影的傳播與接受;Between Document and Art: The Transmission and Reception of Eugène Atget’s Photography, 1920–1980

title: 文件與藝術之間——1920至1980年代歐仁・阿特傑攝影的傳播與接受;Between Document and Art: The Transmission and Reception of Eugène Atget’s Photography, 1920–1980 abstract: 本論文旨在探討法國攝影家歐仁．阿特傑（Eugène Atget）在不同語境中被重新定位的過程，聚焦於1920至1980年代的四個關鍵脈絡：第一，考察1920年代歐洲超現實主義與前衛藝術網絡中阿特傑攝影的傳播。阿特傑的攝影在雜誌刊物中被挪用與重新編輯，使其攝影脫離原始的文件用途。第二，探討1930年代德國猶太裔思想家華特．班雅明（Walter Benjamin）對阿特傑攝影指向政治意涵的書寫，並對照多明尼克．夏鐸（Dominique Château）的理論，延展班雅明筆下阿特傑攝影「靈光」（aura）的多重解讀。第三，爬梳1930至1950年代美國紀實攝影家貝若尼絲．阿博特（Berenice Abbott）如何在美國推廣阿特傑，促成紐約現代藝術館（Museum of Modern Art, MoMA）1968年的收購。第四，論文重點分析MoMA的制度化策略：策展人波蒙．紐霍爾（Beaumont Newhall）對攝影史的編撰，以及約翰．薩科斯奇（John Szarkowski）以形式美學將阿特傑確立為現代攝影典範的過程。最後，1980年代由研究員瑪利亞．莫利絲．漢柏格（Maria Morris Hambourg）以藝術史書寫範式，完成阿特傑生平傳記及作品結構的研究。本論文參考藝術史學家沃夫岡．坎普（Wolfgang Kemp）的藝術作品接受理論，指引接受史材料的主要方向；此外，為補足坎普對藝術作品的歸納並未提及攝影，筆者進一步借用美學理論家夏鐸對藝術作品的分類，其中攝影的媒材特殊性，在於其本身亦作為一種中介媒介，使得攝影作品的傳播與接受條件，已不同於繪畫。本研究認為，阿特傑攝影的接受歷史，不僅攸關藝術史建構下攝影家名聲的轉折與確立，亦反映了攝影在二十世紀如何透過編輯出版、跨文化傳播、機構展示與美學詮釋，完成從「歷史文件」到「現代藝術」的定位轉向，更展現了攝影作為複製性媒材於傳播和接受中衍生的複雜意義。;This thesis aims to explore the process of repositioning the photographs of French photographer Eugène Atget across various contexts, focusing on four key developments from the 1920s to the 1980s. First, this thesis examines the dissemination of Atget’s photography within the European Surrealist and avant-garde networks of the 1920s. His photographs were appropriated and reedited in magazines, which detached them from their original function as historical documents. Second, it discusses German-Jewish thinker Walter Benjamin’s writings in the 1930s regarding the political implications of Atget’s imagery; by comparing this with the theories of Dominique Château, this study extends the multifaceted interpretations of “aura” in Benjamin’s analysis of Atget. Subsequently, it traces how American documentary photographer Berenice Abbott promoted Atget in the United States from the 1930s to the 1950s, eventually leading to the acquisition of her Atget collection by the Museum of Modern Art (MoMA) in 1968. The thesis further analyzes MoMA’s institutionalization strategies, notably through Beaumont Newhall’s construction of photographic history and John Szarkowski’s canonization of Atget as a modernist paradigm through formal aesthetic appreciation. Finally, it addresses how researcher Maria Morris Hambourg utilized art-historical paradigms in the 1980s to systematize the study of Atget’s biography and the structural organization of his oeuvre. Methodologically, this thesis references art historian Wolfgang Kemp’s reception theory to guide the primary direction of the archival materials. Furthermore, to address the absence of photography in Kemp’s framework, the author incorporates Dominique Château’s classification of artistic media. The specificity of photography as an intermediary medium creates conditions for dissemination and reception that differ from those of traditional painting. This study argues that the reception history of Atget’s photography concerns not only the transformation and the establishment of a photographer′s reputation within the construction of art history, but also reflects how photography transitioned from “historical document” to “modern art” through editorial publishing, intercultural dissemination, institutional display, and aesthetic interpretation during the twentieth century. Ultimately, it reveals the complex meanings derived from photography as a reproducible medium throughout its process of dissemination.

清醒夢的返照──論王雅慧的影像空間、身體感知及觀看實踐;The Reflection of Lucid Dreaming: On Wang Ya-Hui’s Image Space, Body Perception, and Practice of Viewing

title: 清醒夢的返照──論王雅慧的影像空間、身體感知及觀看實踐;The Reflection of Lucid Dreaming: On Wang Ya-Hui’s Image Space, Body Perception, and Practice of Viewing abstract: 王雅慧（1973-2023）的作品總有一種令觀者專注於作品本身的魅力，當觀眾面對作品內容時，總會觸及到語言、知識未及之處，無法以精準的字詞來描述。藝術家的創作超越語言字詞中的概念，並非說明人們無法用語言、理論來分析他的作品，而是即使窮盡理論、語言去描述，總還有無法觸及的地方。關於王雅慧的創作雖然各評論藉由不同主題方向進行討論，但許多議題皆點到為止，並未再持續延伸與發展，也可以說對於藝術家的作品特質並未有定論。因此，面對王雅慧作品中書寫難以迫近的困境，導致許多評論文章會使用單一、重複性高的概念進行描述，造成使用詞彙意義上的匱乏。本文以「清醒夢」一詞作為討論王雅慧創作的核心，著重於回到作品本身進行討論：作品的形式、展示空間的設置，以及觀眾的感知經驗與觀看模式。探究王雅慧如何透過調度創作品與空間，構築具有豐富感知與流動的影像空間，進而使觀眾得以漫遊於其中，與空間、作品對話。第一章首先探究時間維度的感知如何使得觀者體認到「詩性」的存在，甚至成為其創作特質的關鍵字。以當代速度文化裡媒介的即時性（immediacy）作為理論背景，論述現今觀眾習慣破碎且即時的資訊，因此當人們面對王雅慧作品時，加速而壓縮的日常經驗反而能夠破除，使得人們在展覽現場意識到相對緩慢的時間維度。觀眾即是在與日常慣性的時間經驗落差中，返回到當下觀看作品的經驗，並在與其來回呼應與對話之間，確認自身所處的此時此刻。第二章將延續前章關於作品中時間維度的處理，進一步分析藝術家如何調度與布置作品、空間，建構出一個獨有的韻律場域。王雅慧對於展場內細節的調度，包含著燈光、展示形式、空間配置，讓整體的布置更貼近於自身所期望的狀態。相對於Boris Groys將藝術家比喻為至高立法者，王雅慧更像是以家居治理的形式，透過個人意志治理空間，使之成為他所想像的模樣。藉由展覽作品案例、前人研究藝術家自己的書寫，論述藝術家如何藉由家居治理的布置態度，使得場域飽含著、自身意志與態度，令作品的特有場所得以展現。第三章則以前兩章的自有韻律與特有空間作為討論基礎，提出「清醒夢」作為此章主軸與核心。透過藝術家自述的白日夢與本文所提的清醒夢進行比較討論，藉由藝術家的書寫、展覽論述與前人研究梳理清楚，為何本文選擇以清醒夢作為新的論述觀點。 ;Wang Ya-Hui(1973-2023)′s works possess an unique charm that draws viewers into the pieces themselves. When confronting her works, audiences invariably encounter realms beyond the reach of language and knowledge—domains that defy precise verbal description. The artist′s creations transcend the conceptual boundaries of words and language. This does not imply that her work cannot be analyzed through language or theory; rather, it suggests that even when exhausting theoretical frameworks and linguistic tools to describe it, certain dimensions remain inaccessible. While various critiques have explored different aspects of Wang Ya-Hui′s work, many discussions remain superficial, with no further elaboration or development. It could be said that no conclusion has been reached regarding the distinctive qualities of the artist′s practice. Consequently, when confronted with the elusive nature of Wang Ya-Hui′s creations, numerous essays employ singular, highly repetitive concepts for description, resulting in a poverty of vocabulary. This thesis centers on the concept of “Lucid Dreaming” to discuss Wang Ya-Hui′s practice, focusing on returning to the works themselves for analysis: their formal qualities, the configuration of exhibition spaces, and the audience′s perceptual experiences and modes of looking. It explores how Wang Ya-Hui orchestrates her creations and spatial arrangements to construct richly perceptual, fluid visual spaces, enabling viewers to wander within them and engage with the space and the works themselves. Wang Ya-Hui’s orchestration of exhibition details—encompassing lighting, display modalities, and spatial configuration—aligns the overall arrangement with her envisioned state. Whereas Boris Groys likens the artist to a sovereign legislator, Wang’s approach resonates more with oikonomia (domestic governance); through the exercise of personal will, she governs the space, molding it into the manifestation of her imagination. Chapter One first examines how the perception of temporal dimensions enables viewers to recognize the presence of “poetic quality,” which even becomes a key term defining her creative nature. Using the immediacy of media within contemporary speed culture as theoretical grounding, this thesis argues that today′s audiences are accustomed to fragmented and instantaneous information. Thus, when encountering Wang Ya-Hui′s work, the accelerated and compressed rhythms of daily experience are disrupted, allowing viewers to become aware of a relatively slower temporal aspect within the exhibition space. It is precisely through this dissonance with habitual temporal experiences that viewers return to the present moment of engagement with the work. Through this back-and-forth resonance and dialogue, they affirm theirown existence in this very moment. Chapter Two continues the exploration of temporal dimensions in the works, delving deeper into how the artist orchestrates and arranges the pieces and space to construct a unique rhythmic field. Drawing on exhibition examples and the artist′s own writings from prior research, it argues that through an approach to “oikonmia”(domestic governance), the space becomes imbued with the artist′s will and attitude, thereby revealing a unique site-specificity of the work. Chapter Three builds upon the inherent rhythms and distinctive spaces established in the preceding chapters, introducing “Lucid Dreaming” as its central theme and core concept. By comparing the artist′s self-described daydreams with the concept of Lucid Dreaming proposed herein, and through examining the artist′s writings, exhibition discourses, and prior scholarly research, this chapter clarifies why Lucid Dreaming is chosen as a novel theoretical perspective.

瓦堡的無名之學：克羅伊茲林根療養歲月中的跨領域知識與藝術史書寫（1921–1924）;Aby Warburg and the Nameless Science: Interdisciplinary Knowledge and Art-Historical Writing in the Kreuzlingen Years (1921–1924)

title: 瓦堡的無名之學：克羅伊茲林根療養歲月中的跨領域知識與藝術史書寫（1921–1924）;Aby Warburg and the Nameless Science: Interdisciplinary Knowledge and Art-Historical Writing in the Kreuzlingen Years (1921–1924) abstract: 本研究計畫承續筆者過往對瓦堡跨學科思維、圖像史與藝術史學史的研究基礎，將進一步展開為期一年的集中探究。計畫旨在以瓦堡於療養院時期的知識交流與圖像學思想為核心，重建其跨越藝術史、心理學、人類學與文化研究的學術網絡，並檢視其對當代藝術史方法論的啟發與挑戰。在國際層面，瓦堡研究已形成橫跨歐、美、日多語學術網絡，而國內相關討論尚處於初步階段，主要散見於藝術理論、英語、法語、歷史、當代藝術、電影、文化研究與傳播等領域的個別嘗試。本計畫將以藝術史學史為主要軸心，結合圖像分析、群體傳記研究、講座文本分析、民族誌視角與臨床檔案比對等多重方法，試圖建立一個具新視角與綜合觀點的瓦堡研究框架，並與國際學界展開對話。研究成果之預期貢獻如下：一、補足國內對瓦堡思想及其學派發展的系統性研究缺口，並重新界定其在藝術史學史中的方法論位置。二、深化對圖像、精神經驗與知識生產間關係的理解，回應當代人文研究中「跨領域」與「後理性」的理論關懷。三、透過論文發表，促進瓦堡思想在臺灣藝術史與人文學領域的再發展，為後續研究者建立更完整的參照體系。藉由此研究計畫的執行，期待能使瓦堡的學術思想不僅作為歐洲學術傳統的再詮釋對象，更成為當代臺灣學術場域中連結藝術史、文化研究、精神分析更甚至藝術創作與展覽研究的理論樞紐，推動國內藝術史研究的國際化與理論深化。