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    Please use this identifier to cite or link to this item: http://ir.taitheo.org.tw:8080/ir/handle/987654321/7064


    Title: 「銅蛇」的效應史初探-以文藝復興後畫作為例
    An Effective History Approach on Brazen Serpent with Post-Renaissance Paintings as Examples
    Authors: 楊伯威
    YOUNG, ROBERT POWEI
    Contributors: 台灣神學研究學院
    Keywords: 銅蛇;基督教繪畫;十架神學;反宗教改革;馬丁路德;Brazen serpent;Theology of the Cross;Martin Luther;Counter-Reformation;Religious Paintings;Christian Art
    Date: 2019-06
    Issue Date: 2020-01-15T06:08:24Z (UTC)
    Publisher: 台灣神學研究學院
    Abstract: 銅蛇是耶穌在福音書中用來比喻自己上十字架的象徵,也成為後世基督宗教藝術中重要的符碼。許多畫家曾透過對此主題的畫作表達他們不同的想法與側重。本文嘗試透過畫作,探究畫家們想傳遞給觀者什麼樣的訊息。宗教改革的先聲馬丁路德的主要思想理論圍繞於他的十架神學,而他的同時期畫家克拉那赫則以藝術方式呈現這神學,而小霍耳班後來的臨摹似乎對克拉那赫的想法有所誤會。米開朗基羅在西斯汀教堂的作品透露希臘羅馬古典時期的傳承影響,大師對人體的強調也招致許多教士神甫不滿,引致了之後天特會議的反宗教改革保守約束基調。其後的畫家魯本斯對銅蛇主題的畫作處理,以其一貫的華麗但也暗藏了反宗教改革思維。
    The brazen serpent was the symbol which Jesus made an analogy to himself on the cross, and thus formed a crucial motif in Christian paintings. Skillful painters conveyed different ideas and emphasis via their renditions on this matter. The thesis attempts to explore what the masters tried to tell the viewers by analyzing four masterworks. Pioneering reformer Martin Luther established his core concept of reformation around the Theology of the Cross and his contemporary Lucas Cranach Sr. made an artistic depiction of the theology. Hans Holbein Jr.'s later rendering nevertheless confounded Cranach's idea. Michelangelo's work on Sistine Chapel revealed eminent Greco-Roman tradition and the maestro's great emphasis on human bodies which irritated many among the Roman clergy and gave primal impetus to the restraining tone of Council of Trent that set the guidelines of counter-reformation. After the Council, Peter Paul Rubens painted the subject in his usual grandeur but with underlying notions of counter-reformation.
    指導教授:鄭仰恩
    Appears in Collections:[台灣神學院] 道學碩士
    [1. 道學碩士] 學位論文

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