從聖經救恩史看文藝復興早期安基利科修士【聖告圖】中「道成肉身」的象徵與記憶

The Symbol and Memory of Incarnation in Fra Angelico's Annunciation from the Historical Viewpoint of Salvation in Holy Bible

「聖告」（Annunciation）在基督宗教歷史上從聖經經驗事件，也隨著基督宗教神學思維而形成先驗的、具有豐富啟示意涵的信仰概念。聖多瑪斯．阿奎納（St. Thomas of Aquinas）在其《神學大全》（＂Summa Theologica＂）中曾言：「精神總是躲藏在事物的譬喻之後」。本論文為探究「聖告」裡充滿精神性與象徵性「道成肉身」（Incamation）的救恩隱喻如何透過一位謙遜敬虔的天主教道明會修士藝術家之圖像呈現？亦從其聖告視覺圖像之「非文字」，與聖經訓詁之「文字」間的關聯與跨文化議題深入探索。本文從文藝復興早期基督宗教藝術家安基利科修士（Fra Angelico）所創作之數幅聖告圖像所隱含的「道成肉身」象徵與記憶來進行以下幾點探究：一、「道成肉身」可見的不可見者之象徵和記憶；二、「道成肉身」與「人的救贖」之關聯；三、「道成肉身」預示時間與場域之記憶圖像的象徵性意義。此論文採用中世紀以來詮釋聖經所發展出來的歷史（＂Historia＂）、寓意（＂Allegoria＂）、倫理（＂Tropologia＂）和奧秘（＂Anagogia＂）之四層意義說法來詮釋和理解安基利科修士所再現聖告圖像「隱藏」的意義。希冀藉由本文探究安基利科修士【聖告圖】所闡釋超越歷史、超越時空與超越表象於基督宗教救恩史中的神學和美學意味；亦欲探求不可見者如何以「非相似」，（non-resemblance）之可見形象來表達的神秘力量。

In the history of Christianity, the Annunciation was formed to be a pre-experienced concept and an abundantly inspiriting belief according to Christian theological thoughts. St. Thomas of Aquinas argued, in his ＂Summa Theologica＂ that the spirit is hidden behind the metaphor of things. This article examines how a humble and sincere Catholic Dominican friar artist presented bountiful metaphor in salvation of spiritual and symbolic Annunciation by pictures. The interplay among visual/ non-text Annunciation, Bible glossary and cross-cultural issues is also researched. This paper aims at studying the symbol and memory of the incarnation embedded in the pictures of Fra Angelico's Annunciation, a Christian artist in the ear1y Renaissance, in the following areas: 1. the visible/ invisible symbol and memory of incamation; 2. the association with the incamation and the salvation of human being; 3. the symbolic meanings of incamation in the space-time presage. This article adopts the four-fold method of biblical interpretation, which consists of ＂Historia＂, ＂Allegoria＂, ＂Tropologia＂ and ＂Anagogia＂, developed since the Middle Ages, to explain and understand the hidden meanings of Fra Angelico's Annunciation. This research scrutinizes the artist's revelation of the theological and aesthesis meanings in the Christian salvation far beyond history, space-time and iconography. It also studies the invisible mystic power used to present the non-resemblance by visible images.