技術性藝術史透鏡下的作品：奇美博物館藏之（仿）楊．荷賽特的《聖母子》

Examining the Copy of Jan Gossart's Madonna and Child Housed in Chimei Museum Through the Lens of Technical Art History

本文以技術性藝術史為研究取徑，探討奇美博物館典藏畫作－－（仿）楊．荷賽特《聖母子》：在現存多個「聖母子」版本中的定位與其所反映出的15至17世紀尼德蘭仿作文化。第一部分回顧技術性藝術史的緣起與其跨學科的研究面向與方法，第二部分則透過案例分析，針對《聖母子》的風格與圖像分別進行分析考證，並結合15至17世紀尼德蘭繪畫產業的運作模式，廓清《聖母子》在此一圖像之系列仿作中的定位，以及所反映出的仿作製作策略、過程與仿作者之間的合作方式。而科學檢測分析方法，如紅外線反射攝影（infrared reflectography, IRR）與大面積X螢光射線光譜掃描儀（macro X-ray fluorescence, MA-XRF），則用以檢視畫作上所遺留的創作工法痕跡，協助回頭檢視、驗證藝術史研究針對《聖母子》所提出的仿製意圖與模式，並提供未來的研究方向。

Adopting a technical art history-based approach, this article explores the copy of Jan Gossart's Madonna and Child owned by Chimei Museum, specifically its position among the various versions of Madonna and Child as well as the aspects of the painting that reflect the copy culture of the Netherlands during the 15th to 17th centuries. The first section of this article reviews the origin of technical art history as well as related dimensions and methods in interdisciplinary research. The second section of this article presents a case analysis of the aforementioned copy of Madonna and Child, with a particular focus on its style and iconography. Drawing on a business model of 15th-to 17th-century Dutch painting, this section also clarifies the position of this copy among other copies based on similar iconography and examines the copy strategies and processes as well as the collaborations among copyists reflected therein. In addition, scientific detection and analytical techniques such as infrared reflectography (IRR) and macro X-ray fluorescence (MA-XRF) scanning were used to reveal the traces of specific painting techniques, which provided insights into the intent and context of the creation of this copy of Madonna and Child from the perspective of art historical research. Directions for future research are also presented herein.