夏爾·勒布朗作品中的聖家：十七世紀法國的宗教主題畫作

Abstract

夏爾˙勒布朗（Charles Le Brun, 1619–90年），身為法國國王路易十四（1654–1715年）的首席畫家及法國皇家繪畫與雕塑學院院長，是法國巴洛克時代早期古典藝術的縮影。本文的研究對象是他的一組聖家畫作，迄今為止受到的學術關注相對較少。這些畫作創作於17世紀中葉左右，勒布朗的學生克洛德三世˙尼維隆（Claude III Nivelon, 1648–1720年）在1690年代撰寫的傳記《勒布朗先生作品描述》中對其進行了記載。這些作品可被視為十七世紀法國廣泛流行聖家這一圖像主題的重要例證。本研究的目的是運用圖像和風格分析的方法來研究這一特殊題材的風行程度。更廣泛而言，本文會以反宗教改革的背景分析這些作品的圖像，其在16世紀中葉後從羅馬傳播到歐洲的天主教國家。自此之後，為了符合特倫托大公會議（1545–63年）提出的要求，新的圖像題材受到推廣。夏爾˙勒布朗周圍流行的宗教和思想潮流便成了需要探討的對象。接下來，畫家創作靈感的來源也會受到探究。因此，將對文藝復興晚期至巴洛克早期的義大利、法國和佛蘭芒繪畫進行研究。而論文最後的部分將探討勒布朗對圖像學的獨特貢獻。Charles Le Brun (1619–90), the premier painter to King Louis XIV of France (1654–1715) and the chancellor at the Royal Academy of Painting and Sculpture in Paris, epitomized classical art during the early French Baroque era. The target of this thesis is a group of his representations of the Holy Family that have received relatively little scholarly attention to date. These paintings were created around the mid-seventeenth century and documented by Le Brun’s student Claude III Nivelon (1648–1720) in his biography Description des œuvres de Mr Le Brun composed in the 1690s. The works can be considered significant examples of the widespread popularity of the iconographic theme of the Holy Family in seventeenth-century France.The aim of this study is to examine the popularity of this particular subject matter by applying iconographic and stylistic methods. More broadly, the iconography of the works will be analyzed in the context of the Counter-Reformation, which spread from Rome to the Catholic countries in Europe after the mid-sixteenth century. Since then, new iconographic subjects were promoted to meet the requirements outlined by the Council of Trent (1545–63). It will be necessary to explore the religious and intellectual currents prevalent in the entourage of Charles Le Brun. Next, an inquiry will be made into the sources from which the painter drew inspiration for his creations. To this end, an investigation into Italian, French, and Flemish paintings from the late Renaissance to early Baroque will be conducted. The distinctive contributions of Le Brun to the iconography constitute the final part of the thesis.