史評觀點的轉移：從布克哈特論魯本斯的寓意人物畫談起

2009-08-012024-05-17https://scholars.lib.ntu.edu.tw/handle/123456789/691408摘要：在布氏的時代，Rubens 所代表的巴洛可藝術(Baroque art) 基本上被視為是文藝復興藝術高峰之後的衰頹時代風格。就布氏自己所從積極著述的「義大利文藝復興」研究而言，這樣的史觀也隱含在其中。然而，布氏晚年對Rubens 的研究，卻讓他對自己過去以「義大利文藝復興」為判準的史觀進行了調整。對布氏而言，Rubens 的成就並不亞於Titian, Caravaggio 等人；而且，Rubens 的藝術史地位也不應只是從受義大利藝術啟發而開展出來的這個角度來理解。本研究希望透過深入耙梳Jacob Burckhatdt 在寫作《義大利文藝復興時代的文化》之後，所有對Peter Paul Rubens「寓意人物畫」(allegorical painting)所發表的大大小小著述，有系統地探討布氏如何重新思考、定義Rubens 在歐洲十七世紀文化的意義。本計畫著重在系統地追索布氏論著如何經由三十年的探索、不斷與自己過去對「義大利文藝復興」所建立的詮釋進行對話，終而發展出可以用平起平坐對待「義大利文藝復興」與「西北歐後文藝復興文化」的詮釋觀點，重新評價Rubens 藝術價值的過程；尤其重要的是，布氏如何藉由闡發Rubens 在“allegorical painting”（寓意人物畫）這個類型的創新與貢獻，肯定他對當時攸關眾人和平福祉的重要公共事務，發出具有深刻時代意義的呼聲。表<br> Abstract: In Jacob Burckhardt’s time, “Baroque art” was generally viewed as the art of a declined period which came after the glorious Italian Renaissance. In Burckhardt’s famous monograph Die Kultur der Renaissance in Italien (¹1860, ²1869) the afore-mentioned viewpoint about Baroque art is also implied. However, after completing Die Kultur der Renaissance in Italien, Burckhardt turned his attention to investigate the role Peter Paul Rubens played in the seventeenth-century European cultural milieu. This investigation ran through the last thirty years of Burckhardt’s life until his death. In other words, after establishing his interpretation of the Italian Renaissance, Burckhardt devoted all the rest of his life to think about the dialogical relationship between the Baroque art in the north-west Europe and the Italian Renaissance. In his view, the significance of Rubens’s art is not to be evaluated according to the impact of the Italian Renaissance on Rubens rather than Rubens’s personal insistence on his artistic autonomy in relation to the relatively intolerant religious and political ambience at his time. In this respect, Rubens’s outstanding art-historical significance can be especially appreciated with his allegorical paintings. This project aims to systematically study Burckhardt’s writings about Rubens’s allegorical art (including Neuere Kunst seit 1550, Erinnerungen aus Rubens, and all the relevant lectures) and trace the formation of Burckhardt’s mature interpretation about Rubens. Two questions will be thoroughly examined in this research: (1) Burckhardt highlighted Rubens’s “artistic autonomy” in creating his allegorical paintings. What’s Burckhardt’s view of Rubens’s “artistic autonomy” in comparison to the nineteenth-century Geniekult (cult of genius) in German culture, which was primarily represented by Rembrandt? (2) Burckhardt valued Rubens allegorical language as significant innovation in creating a new European artistic language in common. What are—in Burckhardt’s view—the foundations of visual communication, which are distinct from the Italian Renaissance art at Rubens’s age?史評觀點的轉移：從布克哈特論魯本斯的寓意人物畫談起