十七世紀荷蘭與法蘭德斯的繪畫 Dutch and Flemish Painting in the 17th Century 教育部人文領域人才培育國際交流計畫 十七世紀荷蘭與法蘭德斯的繪畫 Dutch and Flemish Painting in the 17th Century 計畫主持人：曾曬淑 執行單位：國立臺灣師範大學藝術史研究所

Dutch and Flemish Painting in the 17th Century 計畫摘要 十七世紀荷蘭與法蘭德斯的繪畫 Dutch and Flemish Painting in the 17th Century 計畫目標： 十六世紀的宗教改革為西方藝術發展史開創嶄新的局面，其最顯著的結果為十七世紀荷蘭與法蘭德斯的繪畫上宗教主題銳減，風俗畫、靜物畫、風景畫興起，結合道德教化之寓意，逐漸取代日漸流失之宗教教義的訓誨，是西方藝術發展史上相當重要的一個轉捩點，也是在文藝復興之後北方藝術大放光彩之時，名家輩出，留下許多不朽之作，尤以Rembrandt (林布蘭)與Rubens（魯本斯）這兩位風格截然不同，各自代表巴洛克時期的荷蘭與法蘭德斯的藝術大師，為北方藝術展開另一新的局面，成為十七世紀藝術的表徵，也是藝術史研究上最重要的課題之一。臺師大藝術史研究所特邀以研究巴洛克藝術著稱的波蘭籍德國藝術史教授Prof. Dr. Sergiusz Michalski來臺教授「十七世紀荷蘭與法蘭德斯的繪畫」這門課程，藉此提供國內研究生與國際重要學者對話之機會，並充實國內西方藝術史之教學。 計畫內容： Michalski教授以Rembrandt與Rubens之藝術為主軸，講授十七世紀政治、宗教與文化之變革對尼德蘭南、北地區藝術發展之影響，針對十七世紀荷蘭與法蘭德斯繪畫之傳承與丕變、重要代表藝術家及其工作坊、藝術重鎮、藝術贊助、義大利巴洛克大師Caravaggio風格之影響，以及經常為人所忽略之次要藝術家等等問題進行深入講解，亦將深入分析此主題相關之新近研究走向，以圖像學為主的研究者與以寫實主義為主的研究者間之論戰等等。本密集課程為期六週，由99年3月1日至4月9日止，三學分，總共教授十八個單元課程，每單元上課三小時，開放跨校選修或選讀，以嘉惠國內各相關科系研究所的學生。 預期效益： Michalski教授為著名的十六、十七世紀西方藝術史專家，對於宗教改革與藝術圖像之變遷、矯飾主義、藝術理論、藝術史方法學等範疇皆極為專精，熟知文獻史料與近年來的研究趨勢，其來臺教授「十七世紀荷蘭與法蘭德斯的繪畫」這門課，必能大為提升此一領域之教學與研究。 Michalski教授學識淵博，近年來陸續獲選為波蘭藝術科學院、瑞典皇家學院、哥廷根科學院等重要國際學術院之院士，深受國際學界之肯定與敬重。如此具代表性學者之來臺任教，更可增進我學術界之國際能見度。

圖書借閱: 1.臺灣師大藏書 2.各學術機構藏書館際借閱 閱讀圖書彙整

師資 Prof. Dr. Sergiusz Michalski 米赫斯基 現職： 德國杜賓根大學藝術史學系教授兼系所主任 Professor, Eberhard-Karls University, Tübingen 學歷： 波蘭華沙大學藝術史博士（1981） 經歷： Sergiusz Michalski教授出自波蘭外交官世家，1981年取得波蘭華沙大學藝術史學博士學位，為著名藝術史家Prof. Jan Bialostocki的得意門生。曾於德國Leipzig, Kiel, Braunschweig等地大學任教，於瑞士Fribourg、Zürich大學以及波蘭Torun的 Kopernik 大學兼課，2001始任教於德國圖賓根大學藝術史學系，兼任系主任多年，學問淵博，於教學與研究上皆極為精進卓傑。      Michalski教授為十六、十七世紀西方藝術史專家，對於宗教改革與藝術圖像之變遷、矯飾主義、尼德蘭與荷蘭繪畫、十八世紀法國繪畫、二十世紀藝術、公共紀念碑、藝術理論、藝術史方法學等範疇皆極為專精，著有專論近二十本，主編及研究論文近兩百篇，見解獨到、分析精闢，多本著作翻譯成多國文字，備受西方學界所敬重，尤其以The Reformation and the Visual Arts. The Protestant Image Question in Western and Eastern Europe. Routledge, London-New York 1993. Neue Sachlichkeit. Malerei, Graphik und Photographie in Deutschland 1919-1933, Taschen Verlag, Köln 2003. Public Monuments. Art in Political Bondage 1870-1997, Reaktion Books, London-New York 1998. L’art de l’Europe Centrale (mit Pierre Brullé, Marketa Theinhardt), Paris, Mazenod-Citadelles 2008等著作獲得學術界廣大迴響。延續其師Bialostocki對於藝術史方法學的貢獻，Michalski教授其最近即將出版藝術史研究導論一書：Einführung in die Kunstgeschichte. Wissenschaftliche Buchgesellschaft（Darmstadt 2010），以及Spinder將分別以德文、英文出版，集其藝術史研究之大成，對西方藝術史界必定有另一重大的貢獻。      Michalski教授榮任多個國家重要學術院的院士：2002年獲選為波蘭藝術科學院院士Polish Academy of Arts and Sciences (Polska Akademia Umiejetnosci - PAU)；2005年獲選為瑞典皇家學院院士The Kungl. Vitterhets, Historie och Antikvitets Akademien, Sverige (The Royal Academy of Letters, History and Antiquities, Sweden)；2009年獲選為哥廷根科學院院士The Göttingen Academy of Sciences，這些榮銜是對其學術成就最高的肯定。

宣傳海報、計畫網站 計畫網站：http://hoart.ntnu.edu.tw/dutchpainting/index.htm 宣傳海報

十七世紀荷蘭與法蘭德斯的繪畫課程單元 Date Lectures 1 3月1日（星期一） 2 3月3日（星期三） 3 3月4日（星期四） 4 The Northern and Southern Netherlands in the 17th century – political, religious and cultural aspects 2 3月3日（星期三） Problems of interpretation of Dutch art: Recent art-historical debates 3 3月4日（星期四） Genre, still life and landscape painting in the end of the 16th century 4 3月8日（星期一） Late Mannerism around 1600 and the impact of Caravaggio 5 3月10日（星期三） Prerembrandtists and the young Rembrandt 6 3月11日（星期四） Rembrandt till 1642 7 3月15日（星期一） Rembrandt’s work 1642 – 1669 8 3月16日（星期三） Rembrandt and his followers 9 3月18日（星期四） Dutch landscape painting 10 3月22日（星期一） Dutch genre painting 11 3月24日（星期三） Vermeer and the School of Delft 12 3月25日（星期四） Dutch still-life painting 13 3月29日（星期一） Rubens till 1622 14 3月31日（星期三） Rubens 1623-1640 15 4月1日（星期四） Rubens and his workshop 16 4月5日（星期一） Anthonis van Dyck 17 4月7日（星期三） Jordaens and lesser Flemish painters 18 4月8日（星期四） Dutch and Flemish painting in the last third of the 17th century.

教學剪影

學生作業：報告登記表

學生報告摘要 Chia-Yin CHANG Jacob Jordaens a portrait painter: Portrait of His Family The names of Rubens, van Dyck, and Jacob Jordaens, the triad of painters who conferred luster on seventeen century Antwerp. Unlike Rubens and van Dyck, Jacob Jordaens was not a court painter, he was never a diplomat like Rubens, nor a habitué of court like van Dyck. In this article, I’ll focus on his portrait painting, especially portrait of his family. Because Jordaens worked instead mostly for the local Netherlandish bourgeoisie and clergy, his portrait paintings are different from Rubens and van Dyck: for instance: dressing style, gesture and so on. Chen, Syuan-Yi The Dutch Flower Painting in 17th Century A bouquet of flowers may let people feel casual and happy today, and a vase of flowers could easily be placed in a room in 21th century. But in 17th century, flower was hard to get and only rich people could buy it. Flower painting became a replacement of real flowers, because many people couldn’t afford real flowers and wanted to have flowers from different seasons at once. Although still-life painting might be the last level in art, it took a big part in 17th century Dutch painting. Why flower painting was popular at that time? Was the meaning of flower different from today? How did people think at that time? How did painter arrange the flower? In this article, I will first discuss the meaning of the flower painting. Then I will introduce some important flower painters’ works, to see the main characters of flower paintings at that time. Irene Wu The Changes of Compositions on Ruben’s Christ subjects Rubens is a prolific artist. He had painted lot of subjects about Christ’s story. In many Christ’s subjects, Rubens especially likes two parts of Christ story, Adoration of Magi and Christ’s Passion (which is traditionally including Raising of the Cross, Descent from the Cross, Lamentation… and so on). Therefore, in this report, I will focus on paintings of these two subjects respectively, analyzing and compare their compositions in same subjects.

學生報告摘要 Wu, Fu An The Anatomy Lesson of Dr. Tulp: Rembrandt’s invention Rembrandt’s The Anatomy Lesson of Dr. Tulp (Mauritshuis, The Hague) (Fig.1) was one of his youthful masterpieces; it was finished in 1632, at that year Rembrandt was at most 26 years old[1]. This painting was Rembrandt’s first large group portrait, and was commissioned by Dr. Tulp and the other figures in the painting, who were members of Amsterdam Surgeon’ Guild. With this painting Rembrandt built his reputation on moving from Leiden to Amsterdam. The painting shows Dr. Tulp, who was a prelector of the Amsterdam Surgeons’ Guild, demonstrates the muscles mechanism of the forearm of a corpse with the help of the famous textbook by Vesalius, while the guild members listen and observe the demonstration. The eight figures compose an inclined triangle, with the apex figure in the left upper part of the image. On the other hand, the corpse is diagonally placed on a dissection table, with a drapery on and the text book near his feet. Moreover, the lesson is held in a space built by strong chiaroscuro; by the heavy dark on the two sides and relatively bright middle background with tones change gradually, Rembrandt depicted a vaulted space with depth. More dramatically, Rembrandt casted strong light on the foreground, especially on the body, made the figures to stand out of the image. Hsieh Pei-Chun The rendering of space in Dutch interior painting In my presentation of ‘the rendering of space in Dutch interior painting,’ I choose The Eavesdropper series by Nicolae Maes as my main element of interpreting the domestic space in Dutch genre painting. My presentation is basically based on the book An Entrance for the Eyes: Space and Meaning in Seventeenth Century Dutch Art written by Martha Hollander. I am interested in the way he used the interior space to reinforce the comic drama of seduction in Dutch genre painting. Hollander intelligently depicts how the interior space plays an important role in Dutch painting. It not only demonstrates the double space in Dutch genre painting as a playing of visual pleasure, but also shows that how artist like Nicolaes Maes used the interior space for rhetoric means to construct the story of the painting. I would arrange my into three parts, first I will try to provide a basic description of Maes’ The Eavesdropper; secondly, I will interpret the traditional space composition in seventeenth century Holland. Finally, there is a further explanation about how [1] Most of them lack of narration, contrast to those I classify.

學生報告摘要 Lydia Lin Jan Steen (1626-1679) and Dutch genre painting The feature of Jan Steen’s comic art and genre painting are that he often depicts the crowd in interior with mess, having the merry and delighted atmosphere. His genre paintings have got caught between an iconographic approach that seeks to secure meaning hidden behind the realist depiction. That is to say, Steen depicts the daily objects of people, and may have some implications on them. My question of Jan Steen is, besides the normal scene of everyday life, did he have tried to convey something on his painting? If he did, then what is the specific intention of him? Following seven pictures I would like to present may give some inspirations for us to him and his works. Steen also painted historical paintings, and this may be the influence by Nicolaus Knupfer. The Dutch proverb “a Jan Steen household” which is originated in the eighteenth century and is ued today to refer to a home in disarray, full of rowdy children, connotes a household at once. Unlike the word “a Vermeer household”, they are the words to describe the usage of the interior. Chen Chia-Ying Irreconcilable Existence: Men and Animals in 17th Century Paintings This article tries to explore the meaning of animal groups in seventeenth century’s Flemish paintings and attempt to interpret the relationship between man and Nature at that time. Except for drawings for research[1], according to the states of animals and environments in which animals exist , I divided Flemish animal paintings in 17th century into six types: hunting scene, still-life games, goods in market or kitchen, the trap, the Garden of Eden, and after civilization. Each of them tells variable viewpoints of animal depiction. I-Hsuan Liu The reference between De Hooch and Vermeer First of all, I’ll introduce delft school; it’s also the basement why I mention the reference between De Hooch and Vermeer. Because both of them followed delft school. Second, I’ll introduce the style of De Hooch and Vermeer. Third, I’ll connect the reference between De Hooch and Vermeer. Also I’ll compare the differences of them.

密集課程 修課人數統計 課程名稱 修課人數統計 總數 本校 校外人士 十七世紀荷蘭與法蘭德斯繪畫 教師 博士生 碩士生 大學生 16 1 13 合計 14 2

執行成果 「十七世紀荷蘭與法蘭德斯的繪畫」為西方藝術史上相當重要的一個課題。 Michalski教授以Rembrandt與Rubens倆人的繪畫為主軸，針對十七世紀荷蘭與法蘭德斯繪畫的傳承與丕變、重要風俗畫畫家及其工作坊，如：Vermeer, Pieter de Hooch, Jan Steen與Delft畫派，或Anthonis van Dyck, Jacob Jordaens，或重要的風景畫家如Jan van Goyen, Jacob van Ruisdael，或花卉、動物等等新興的繪畫類別及其發展史進行深入講解與討論。這門課程的開授除奠定藝術史本科學生對十七世紀荷蘭與法蘭德斯藝術的研究基礎，激勵研究生對於此領域的研究興趣與熱忱之外，更因為有多位大專院校的教師以及中國藝術史教師之參與旁聽，而促進跨界研究與對話的風氣。 Michalski教授為北方藝術史之專家，對於宗教改革與藝術圖像之關係、公共紀念碑、政治與藝術之關聯等議題見解獨到。其訪臺期間適逢本所主辦：「現代性的媒介―藝術史與跨領域研究的視野」研討會， Michalski教授為大會發表一場精闢的專題演講，演講為：「古典時期到現代歐洲智識傳統中的蜘蛛與蛛網」（The spider and its web in the European intellectual tradition from Antiquity to modern times ），引發與會學者與來賓熱烈的討論。 Michalski教授來臺期間數度參觀國立故宮博物院，對於： 《失落的疆界：清季西北邊界變遷條約輿圖特展》相當感興趣，特為撰文報導，題目為：〈Anmut contra Präzision. Eine Ausstellung in Taipeh erinnert an russisch-chinesische Grenzabkommen〉，2010年3月24日以全版刊登在歐洲三大德文報紙之一，瑞士《新蘇黎世日報》（Neue Zürcher Zeitung），增進臺灣以及故宮博物院在國際上的能見度。 Michalski教授為著名藝術史學者，近年來陸續獲選為波蘭藝術科學院、瑞典皇家學院、哥廷根科學院等重要國際學術院之院士，深受國際學界之肯定與敬重，其來臺授課大大提升國內西方藝術史之教學與研究，提昇本國藝術史學界之國際能見度。 藉著此次短期聘邀，建立起本所與圖賓根大學藝術史學系之間良好的交流管道。在此基礎上本所今後將與此一歷史悠久的德國著名大學進行更多的國際交流與合作。