從喬凡尼˙卡斯蒂利歐內的舊約遷徙作品看17世紀古典繪畫理論

The "Biblico Viaggio Patriarcale" of Giovanni Benedetto Castiglione as a Reflection on 17th Century Classical Painting Theory

10.6258/bcla.2011.74.07

蔡敏玲(Min-Ling Tsai)

歷史畫 ； 牧羊人詩歌 ； 繪畫理論 ； 藝術理論 ； 點綴性景物 ； historical paintings (istoria) ； Buccolica ； theory of painting ； art theory ； parergon

臺大文史哲學報

74期（2011 / 05 / 01）

287 - 334

繁體中文

自17世紀初期以降，不同的創作題材如風景畫、靜物或以描述現實生活為主的世俗畫（genre），已逐漸成為具有獨立藝術性與理論意涵的繪畫創作題材，而不再只是歷史性題材作品（istoria）中的點綴式景像（parerga）。此一現象帶來的不只是對藝術認知及概念上的衝擊，更對架構在「古典」理念的藝術理論提出質疑。卡斯蒂利歐內的舊約遷徙作品理應歸為歷史性題材作品。然而，卡斯蒂利歐內在畫中，強調對行進中旅隊及次要人物的描寫，並將舊約中的主角置於畫面背景中，打破了原有歷史性題材作品的表現形式。世俗、生活化（genre-like）的景像成為舊約遷徙作品中真正的主題。其次卡斯蒂利歐內摒棄歷史性題材作品宏偉、崇高風格（grande maniera）的表現方式，而採用文學作品中地位較低的田園牧人般（pastoral）的圖像語言，違反了每一創作題材所屬的規範及其應有的合宜性（decorum）。這種畫面主、附關係顛倒的表現方式及利用和畫作題材「不合宜」的圖像語言，可以說是卡斯蒂利歐內對畫面宗教性（fanum）和世俗性（profanum）與主題畫面和點綴式景像的傳統歷史性角色提出的質疑，亦影射出畫類層級區分論點的爭議性。

After the seventeenth century, subjects such as landscapes, still life, or genre no longer played a minor role as mere decorative motif (parerga) in historical paintings; they came to be, rather, a major theme which possessed its own individual artistic value and theoretical significance. This change gave rise to questions and discussion about the traditional conception of art and art theories. Although Castiglione's ”biblico viaggio patriarcale” is considered an example of traditional historical paintings, it conveys its painter's revolutionary ideas, especially regarding its construction. In this painting he emphasized the moving caravan and the description of minor characters, while the protagonist of the Old Testament was placed in the background. In such representation the artist breaks from the traditional norm in historical paintings. The genre-like scene is thus the real subject of the painting, not the biblical history. Furthermore, Castiglione did not use the ”proper language” to formulate his historical painting. Instead, he used a pastoral approach to create his own biblical travelling scene. As this is a literary form that emphasizes rural life and peasantry with great simplicity, it acts against the decorum of historical paintings, which should be solemn and magnificent, the so-called grand manner style. However, seeing that the pastoral has always a biblical subtext since the Christian era, we can perceive why Castiglione intentionally used the reverse-structure and pastoral language to express his ideas about the traditional meaning of parergon and the genre-hierarchic-problem.

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