文藝復興時期的柏拉圖主義思想與藝術觀念：以費啟諾和波提且利為例

The Thoughts of Platonism and Artistic Concepts in the Age of Renaissance: Informed by Ficino and Botticelli

10.7065/MRPC.200909.0057

尤煌傑(Huang-Chieh Yu)

費啟諾 ； 波提且利 ； 鏡子 ； 愛 ； 美 ； 新柏拉圖主義 ； 人文主義 ； Ficino ； Botticelli ； Mirror ； Love ； Beauty ； Neo-Platonism ； Humanism

哲學與文化

36卷9期（2009 / 09 / 01）

57 - 77

繁體中文

本文共分以下五個小節：一、導論。說明近代早期文藝復興運動，在佛羅倫斯城透過麥第奇家族的統治，而製造了結合新柏拉圖主義哲學家費啟諾和畫家波提且利的機緣。二、文藝復興時期的美學思想特色。本節著重在說明「鏡子」的觀念，和「學識的重要」，說明當時的繪畫美學觀，以及藝術家的養成背景。三、費啟諾的形上學思想。分別從靜態的結構與動態的結構來說明費啟諾的形上學思想。在靜態結構上，包含：上帝、天使、靈魂、性質、物體五個層次。在動態結構上，說明以「愛」為動力，受到「美」的牽引，享受「愉悅」的過程。同時也提及以愛為中心所分析出來的美的屬性。四、波提且利的藝術特徵。說明四幅關於希臘神話的畫作的背景，然後探討新柏拉圖主義思想是否對於這些畫作有何種程度的影響。五、結論。我們可以說費啟諾的新柏拉圖主義思想對波提且利的影響，是交織在對「維納斯」女神的影像之上的。但是兩者仍然各自保有其專業上的獨立性格。

This article proceeds along five sections. The first section is ”Introduction”, where it is explained how the early movement of Renaissance, through the rule of the Medici family in Florence, produced the opportunity to combine Ficino, the Neo-Platonic philosopher, and Botticelli, the painter. The second section is about the aesthetic thoughts in the age of Renaissance. Emphasizing he the idea of the ”mirror” and the ”importance of intellect,” this part explains the contemporary aesthetic views about painting and how artists were cultivated. The third section is on Ficino's metaphysical thought in terms of both its static and dynamic structures. Regarding the static structure, it consisted of five basic substance: God, Angel, Soul, Quality, and Body. Regarding the dynamic structure, it was a process driven by ”love,” led by ”beauty” and enjoying ”pleasure.” In the mean time, the attributes of beauty, analyzed around the idea of love, are also mentioned. The fourth section is about the artistic attributes of Botticelli 's works. Here, the writer explains the background of four paintings about Greek mythology and then inquires whether and how Neo-Platonic thoughts had any influence on these paintings. The fifth section is the conclusion. Here it is fair to say that the influence of Ficino's Neo-Platonic thoughts on Botticelli was worked into the image of Venus, the goddess, while both Ficino and Botticelli still respectively maintained their professional independence.

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