塔代伊圓雕中受驚的耶穌

The Frightened Jesus in The Taddei Tondo

本文的重點是對米開朗基羅（Michelangelo Buonarroti, c.1475-1564）的塔代伊圓雕（Taddei Tondo）的視覺分析，並聚焦在如何理解塔代伊圓雕中受驚的耶穌。在過去的文章，甚少深入說明與分析塔代伊圓雕中的耶穌是否受驚和如何表現受驚。因此，本文目的為確立此部分，並揭示米開朗基羅在複雜狀態中所做的藝術選擇。本文加入學者的解釋，並整理相關的正反觀點。再以視覺分析剖析構圖、題材元素等，強調耶穌和金翅雀之間的互動。該分析深入研究了浮雕的細節，目的是為了顯示米開朗基羅面對相關的元素時，表現對於聖嬰的人性之理解，並以其作為理解作品的關鍵。同時，本文還建立了塔代伊圓雕與早期藝術作品之間的聯繫，探索米開朗基羅如何藉由傳統形式，加入個人理解，以傳達真實性並強調耶穌的人性。

The focus of this paper is on the visual analysis of Michelangelo Buonarroti's (c.1475-1564) Taddei Tondo, specifically addressing the understanding of the startled Jesus depicted in the artwork. This artwork is housed in the Royal Academy of Arts in London. The historical context reveals the challenges Michelangelo faced and the incomplete nature of the relief. Previous articles have seldom delved into a detailed explanation and analysis of whether Jesus in the Taddei Tondo is startled and how the portrayal of being startled is expressed. Therefore, the purpose of this paper is to establish this aspect and reveal the artistic choices Michelangelo made in depicting the startled Jesus in a complex state. The paper incorporates scholars' interpretations and organizes relevant perspectives, presenting both affirmative and opposing viewpoints. It then utilizes visual analysis to dissect the composition and thematic elements and emphasizes the interaction between Christ Child and the goldfinch. The analysis delves into the details of the relief with the aim of showcasing Michelangelo's understanding of the humanity of the Holy Infant when dealing with related elements, considering it a key aspect of comprehending the artwork. Additionally, the paper establishes connections between the Taddei Tondo and earlier artworks, exploring how Michelangelo, by incorporating personal understanding into traditional forms, conveys authenticity and emphasizes the humanity of Jesus.