跨越文藝復興女性畫像的格局－《蒙娜麗莎》的圖像源流與創新

Beyond the Pictorial Conventions of Renaissance Female Portraiture: Mona Lisa's Origins and Innovations

10.6258/bcla.2001.55.03

花亦芬(Yih-Fen Hua)

達文西 ； 蒙娜麗莎 ； 女性畫像 ； 聖母抱子像 ； 文藝復興畫像 ； Leonardo da Vinci ； Mona Lisa ； Ginevra de'Benci ； female portrait ； Mother and Child ； Renaissance portrait

臺大文史哲學報

55期（2001 / 11 / 01）

77 - 130

繁體中文

本文從追溯《蒙娜麗莎》（Mona Lisa）的圖像源流出發，探討達文西（Leonardo da Vinci）所創作的女性肖像畫與義大利文藝復興女性肖像畫之間的關係；並由此探討《蒙娜麗莎》在藝術史上所代表的創新意義為何。欲深入探討《蒙娜麗莎》的創作背景，必須瞭解達文西如何吸收轉化十五世紀義大利世俗女性肖像畫與聖母抱子像。本文從達文西接受其師維若其歐（Verrocchio）創作風格影響的角度切入，旁及達文西從其作坊同門如波提卻利（Botticelli）處獲得之啟發，由此勾勒達文西在1482年離開佛羅倫斯前往米蘭前，所學習承繼到的女性畫像表現傳統。《吉內芙拉．班琪》（Ginevra de'Benci）是瞭解達文西早年世俗女性肖像畫創作態度最重要的作品。所以本文先從論析這幅畫作入手，探討達文西一方面接受維若其歐強調畫面上的人物應具有強烈的雕塑實體感，一方面也呼應波提卻利於一四七○年代中葉對女性肖像畫的實驗創新，捨棄側面像，改採四分之三正面像，並且不再以世俗傳統講究的華麗裝飾來定義畫中女性存在的價值意義。在這幅畫上，達文西也清楚展露結合女性畫像與自然景致之個人創作風格。延續《吉內芙拉．班琪》對人物立體雕塑感之追求，以及企圖超越傳統肖像畫紀實功能之限制，賦予畫像上之人物與自然景觀形而上的普世意義，達文西將十五世紀盛行於佛羅倫斯的聖母抱子像創作特質帶入女性肖像畫中。捨棄所有說明性的象徵符號以符合世俗評判論斷的認知見解，堅守對肖像畫本質的探討，《蒙娜麗莎》在體現理想高貴的女性美感之際，又加進了聖母抱子像特有之親切直接的溝通互動感。在融合文藝復興世俗女性肖像與聖母抱子像特質的同時，《蒙娜麗莎》也超越了這兩種女性畫像原有的表現格局與寓意潛力。此外，達文西一生對天地宇宙形成與運轉原理無盡的探問，讓他發展出一種特有的天地原生、宇宙洪荒式的自然景觀意象。這種獨特的自然意象最初可見於達文西所繪的聖母像背景部分。從聖母像的背景轉化到《蒙娜麗莎》一圖的背景上，蒙娜麗莎與奇峰曲水意味著女性與自然，也意味著人與自然，藝術與自然。女性肖像畫成為達文西表現深邃藝術思維的昇華之作。

This essay discusses Mona Lisa's origins and innovations in light of the Renaissance female portraits. Starting with Leonardo's apprenticeship at Verrocchio's workshop, it is accentuated that Leonardo, following his teacher, takes ”rilievo” as his primary concern in the portraiture. Furthermore, Botticelli's innovations in portraying the female with a three-quarter pose in the mid-1470s must have inspired Leonardo to represent ladies with more emphasis on immediacy and personality instead of portraying their female beauty in profile with luxurious dresses and decorations. Leonardo's early achievements in the female portraiture can be seen in Ginevra de'Benci. In this painting, Leonardo attempts to combine the prominent plasticity of the figure and the distant, airy landscape in the background on the same surface. Following Leonardo's lifelong pursuits of ”rilievo” with animated spirit and representing living nature in its organic essence, Mona Lisa is not merely a female portrait in common Renaissance sense, mainly to represent someone's very appearance. Without identifying the sitter's background, Leonardo obviously intends to turn this portrait into the embodiment of his theory of portraiture: No matter who the sitter is, the portrait must demonstrate the visual power of immediacy to affect the spectator's instinctive response. To reach the above-mentioned goal Leonardo integrates the characteristics of the Renaissance Florentine Mother and Child with his ideal of the female portrait in the creation of Mona Lisa. In light of the workshop style of Verrocchio's Mother and Child, it is obvious to recognize the origins of the monumentality, the sitting pose and the gaze of Mona Lisa. Besides, the mysterious landscape in the background of Mona Lisa originates from Leonardo's works about Madonna. Therefore, this essay argues that Mona Lisa shall be understood as an admixture of the Virgin-image in terms of Quattrocento Florentine Mother and Child and Leonardo's ideal of the female portrait beyond functional purposes. From this point of view, Mona Lisa is neither an autonomous female portrait nor a religious painting. Rather, it shall be taken as Leonardo's manifestation of his own ideal of Portrait in general. By endowing Mona Lisa with such a metaphorical dimension, Leonardo powerfully enriches its philosophical connotations. Far beyond just presenting the traditional functions of a female portrait, Leonardo turns Mona Lisa into his eloquent demonstration of the power of visual effects and his conception of female and nature, human and nature, as well as art and nature.

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