論東西方畫家的「繆司」圖像之象徵性符號--以克林姆、高更、潘玉良、陳進為例
Discussions on The Symbolic Signs in the Icon of the “Muse” between Eastern & Western Artists -- Focusing on Gustav Klimt，Paul Gauguin，Pan Yu-Lin and Chen Chin
摘 要
在建構藝術學研究方法上，圖像學理論是一種適切的學理基礎，然理論之實際操作則必須定向歸因條件，並融入至整個專門領域的知識背景。本論文主要研究畫家心靈世界的『繆司』形象為旨，為了深入探討，筆者將從畫家本身的文化、家庭背景、生命歷程、性別及性格上的對比性，選取四位東西方畫家作為樣本。以克林姆的情慾、高更的樸實、潘玉良的青樓、陳進的閨秀等女性圖像符號來進行研究分析，藉以瞭解這四位畫家在整個藝術創作過程中的思維與表現形式。在本論文中，筆者將藝術領域(美術類)之研究方法可分為三大類：1.學術類、2.術科類、3.科學研究方法。至於研究的重點有三個要項：1.時空背景因素、2.畫家的創作理念、3.藝術評論的角度與論述。本論文既是以藝術學領域作為主軸，文中所使用的符號就定義為『象徵性的圖像記號』（symbol），然圖像符號之象徵物具有多種面向及多重意象的特性，若想從近代圖像學的藝術史去加以分析的話，筆者選用了沃夫林（Wolfflin, Heinrich, 1864-1945，德國）的圖像風格學(Iconography)與帕諾夫斯基（Panofsky, Erwin, 1892-1968，德國）的圖像詮釋學(Iconology)等兩位著名學者之著作為主要的理論基礎，以撰寫本論文的基本法則。
關鍵字：圖像學、符號、克林姆、高更、潘玉良、陳進
Abstract
In the research methods for architectural art study, the theory of Iconology is one that is the applicable basic study, though the actual practice of the theory still depends on conditions of attribution, and the blending into the knowledge background of the whole professional field. The main focus of this thesis is on the image of the “Muse” in the inner worlds of the artists. In order to give depth to the discussion, comparison of the cultural and family backgrounds, life experiences, differences in character and personality of the artists will be made, choosing four artists from the East and the West as models. From the sex of Gustav Klimt, the primitivism of Paul Gauguin, the brothel of Pan Yu-Lin and the ladylikeness of Chen Chin… using these female picture emblem to conduct research analysis, understanding the thinking and performing style of the four artists through the whole process of creating art. In this thesis, the study methods of the art field will be categorized into three main categories: 1.academic method, 2.technological method, 3. scientific research method. As for the main point of the research, there are three main items: 1.Space-time background element, 2.Artistic concepts of the artist, 3. Artistic critical angle and discussion. The center of the thesis is based on the art field, the symbols used in the context are defined as “Symbolic form of the picture emblem”, though the symbolic representations of the picture emblem consists of multiple aspects and ideal characteristics, when trying to approach them from the contemporary art history of the study of Iconology to conduct further analysis, the well-known academic publications on the main theoretical basis of the Iconography of Heinrich Wolfflin (1864-1945, Germany) and the Iconology of Erwin Panofsky (1892-1968, Germany) were chosen as the basic concept in writing this thesis.
Key word：Iconology (Iconography)，Symbol，Gustav Klimt，Paul Gauguin，Pan Yu-Lin，Chen Chin
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