在公眾服飾的遮蔽中彰顯的私密真實：以希利雅德於一五九一年為唐恩所繪的纖細畫像為例

The Private Truth Revealed in the Concealment of Public Costume: John Donne's 1591 Portrait Miniature by Nicholas Hilliard, a Case in Point

在英國的文藝復興時期，公眾空間與私密空間之間的關係處在既分又台；藕斷絲連的狀態。當時有人一本這兩種空間本可交互流通的原則，認為具有公眾展示意味的服飾具有外顯個人內在自我的功能，也有人秉著這兩種空間理應涇渭分明的理念，強調服飾遮蔽內在；無能彰顯自我的性格。但因這兩種空間當時正處在由合一逐步走向分離的過渡階段，結合兩種相左的空間觀念的人也所在多有。希利雅德為唐恩在一五九一年所繪的纖細畫像便是一例。本文就以此畫像為例，分析希利雅德的畫風如何在這個過渡時期裡結合兩種相左的空間觀，不僅運用唐恩穿戴的服飾來外顯他的內在世界，更重要的是，他也利用公眾服飾遮蔽畫中人內在世界的性格，來彰顯他幽微的宗教信仰。

In the early modern England, the private sphere was gradually being separated from .the public sphere, but the demarcation line between them was not yet clear-cut. At that time, some people saw no distinction between these two spheres, believing that the public costume one wore could reveal his private self. But it did not hold water for those who emphasized the distinction. For them, the costume was simply an empty signifier conveying nothing but the concealment of inner self. However, in such a period of transition, there were some people who held the opposite views at the same time. Nicholas Hilliard is a case in point. My article concerns itself with analyzing the portrait miniature of John Donne he painted in1591. In this portrait miniature, Hilliard makes sumptuous costume a transparent medium to signify the religious allegiance of the 18-years-old Donne. At the same time, he also takes a devious route in this portrait to reveal the sitter's inner self. Besides being a transparent vehicle, the costume is also treated as the translucent veil through whose concealment the young Donne's subtle attitude toward his faith is revealed.