| 摘要: | 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. |
