互涉圖像與並置型創作的實踐：16世紀前基督教預表論神學的7種視覺圖式

The Practices of Juxtaposition and Interrelationship of Images: 7 Pictorial Modes of the Christian Typology before High Renaissance

10.6793/JNTCA.201104.0027

羊文漪(Wen-I Yang)

基督教預表論神學 ； 基督教宗教藝術 ； 並置型創作 ； 互涉圖像 ； Christian typology ； Christian art ； technique of juxtaposition ； interrelationship of images

藝術學報

88期（2011 / 04 / 01）

27 - 62

繁體中文

在現、當代藝術認知中，並置(juxtaposition)型創作，在20世紀初立體派作品，與杜象現成物中最早出現。超現實名言：「美麗一如縫衣機和雨傘在解剖台上偶然的邂逅」，反映並置創意性魅力。並置，在後現代去菁英色彩下，成為雜揉、拼貼、眾聲喧嘩、以及不同媒材創作的基底。並置型創作，集結異質物特色，然而並非現、當代藝術專擅；在基督教宗教藝術史上，有一種根據預表論神學(typology)所製造的視覺創作實踐，運用並置做為主要表現創作手法，獨特且引人矚目。本文針對此一並置型視覺創作進行探討，自基督教早期藝術至16世紀初文藝復興盛期，經歸納分析，彙整基督教預表論7種並置型視覺圖式，包括：（一）平行對稱型、（二）局部混合型、（三）隱涉暗喻型、（四）系列整合型、（五）從屬邊緣型、（六）置換轉向型、以及（七）融入共生型等7種。在透過特定一至三件作品案例篩選，圖像學、圖像歸納法、與文獻探討等研究取向下，本論文旨在闡述，基督教預表論神學，經跨媒體視覺翻轉後，其互涉圖像操作手法、內部並置物件之結構變化，以及7種圖式發展演進等三議題，以期提供學界進一步相關後續研發，並為當代藝術於並置議題上，添增時空星座遠景與視域。

Christian typology is an exegetical hermeneutics aimed at articulating the Hebrew Bible (the Old Testament) with the Christian New Testament. Established by the early Fathers before the 5th century A.D., it has manifested itself during various stages of Western act history in two major forms of visualization: synchronous juxtaposition and visual exegesis.This article is concerned with typological juxtaposition as an artistic technique. Its objective is to explore how this theological discourse has been visualized and transformed into works of art. It is shown how this visualization, while responding to the theoretical framework of Christian typology, nevertheless develops its own independent models of operation.By means of formal analysis, iconographical study, the interpretation of images and research into primary and secondary sources, the author deducts seven major schemata of visual typology in use within a time range from Early Christian Art to early 16th century Renaissance: (1) the parallel and symmetrical type, (2) the partial and mixed type, (3) the implicitly metaphorical type, (4) the serial and integrated type, (5) the subordinated and decorative type, (6) the displaced and interchangeable type, and (7) the syncretistic and symbiotic type.It becomes clear that Christian typology, once transposed into visual art, is nothing like an unchangeable and monolithic system. On the contrary, it has undergone far-reaching metamorphoses during the long history of Christian art, as the in-depth analysis of a number of selected and highly characteristic works demonstrates. Especially in post-medieval art, significant deviations from the Old/New Testament pattern can be observed, which use juxtaposition as a conceptual springboard for thematic and artistic novelty quite similar to techniques employed in modem art.

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