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第 30  期


The Late Paintings of Diego Velázquez and European Historiography of Art Since the Nineteenth-Century
作者 王瑞婷
Author Juei-Ting Wang
關鍵詞 委拉茲奎斯《織女圖》《宮中仕女》藝術史學史文化學的圖像史視覺文化研究知識重構史觀
Keywords Diego Velázquez, Las Hilanderas, Las Meninas, Historiography of Art, Kulturwissenschaftliche Bildgeschichte, Visual Culture Studies, Historical Reconstruction of Knowledge
摘要 作為歐洲近代早期最具代表性的畫家之一,委拉茲奎斯(Diego Velázquez, 1599-1660)的作品自誕生時代起便引發豐富的史學討論,至今方興未艾。尤其是他的晚期作品如《織女圖》(Las Hilanderas, 1656)與《宮中仕女》(Las Meninas, 1656-1659),自十九世紀以降即為歐洲不同藝術史學派在史學方法、文獻考掘與脈絡化詮釋上的關鍵視覺文本。本文主要聚焦於委拉茲奎斯這兩件晚期作品,透過藝術史學史整合研究之途徑,首先回顧委拉茲奎斯研究先驅尤斯提(Carl Justi, 1832-1912)對這兩幅作品的文化史詮釋,接著耙梳三波歐洲藝術史學論述演進:二〇年代沃堡學派具人類學色彩的情態模式重建、四〇年代西班牙收藏史研究的文本考掘和圖像誌判別與六〇年代由傅科(Michel Foucault, 1926-1984)重新詮釋《宮中仕女》後,掀起跨學科對方法學之辯證及反省。藉由探討委拉茲奎斯晚期畫作,當代藝術史家回顧前述史學發展軌跡,提出歐洲近代早期知識與文化體系架構下的圖像流通、思想論述及科學知識建構等議題。據此可知,委拉斯奎斯晚期繪畫作品的藝術史學工作仍具長遠願景。
Abstract Diego Velázquez (1599-1660), one of the most representative painters in the early modern period in Europe, created paintings which provoked lively discussions during his lifetime, and continue to do so among art historians, today. Especially intriguing are his late paintings, which include Las Hilanderas (1656) and Las Meninas (1656-1659). Since the nineteenth century, these two chef-d’œuvres have been key visual texts for various schools of European art history seeking to employ historical methods to explore the archives and contextualized interpretations. This article focuses on these two late works by Velázquez through an integrated study of the historiography of art. The article first reviews the interpretation of Carl Justi, a pioneer in the modern study of Velázquez, and then traces three waves of the evolution of historiography of art in Europe: the reconstruction of the anthropological modality of the Warburg School in the 1920s; the evidential research of literature and iconography of Spanish museums in the 1940s; and interdisciplinary dialectics and reflections, influenced by Michel Foucault’s reinterpretation of Las Meninas, on methodology of the subject in the 1960s. In discussing Velázquez’s late paintings, contemporary art historians review the aforementioned historical trajectory and propose new topics such as image circulation, philosophical and theological investigation, and modern science in the framework of the early modern European episteme and cultural system. On this basis, the work sheds light on studies of Velázquez’s late paintings, and will contribute to future art history.
從沈銓到南蘋風: 以沈銓《老圃秋容圖》(靜嘉堂文庫美術館)為例
/ 黃立芸    Li-Yun Huang
/ 王聖閎    WANG Sheng-Hung
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