從Caravaggio的Judith and Holofernes論16、17世紀交替年間之藝術思潮與宗教題材表現上的關聯性

The Relationship between the Representation of Religious Subject Matter and the Artistic Conception around 1600 Based on Caravaggio's Judith and Holofernes

Judith and Holofernes（《朱蒂思和荷羅佛納》）一畫是卡拉瓦喬(Caravaggio,1571-1610)最早的歷史性題材畫作的作品。這幅畫不僅記錄了卡拉瓦喬在藝術表現形式及觀點上的轉變，同時也說明他欲藉此作品樹立自已身為歷史性題材畫家的身份地位。在卡拉瓦喬之前，次經朱蒂思的故事已是眾多畫家，甚至是劇作家的藝術創作題材。然而，卡拉瓦喬是第一位以荷羅孚尼遭斬首的當下做為朱蒂思故事畫面表現主題的藝術家。這一戲劇性的時刻就如同亞里斯多德(Aristotle, 384-322BC)詩論中的情節轉折處（peripeteia），帶出了整個故事敘述性的張力，此亦為畫家選擇此刻作為圖像表現的原因之一。卡拉瓦喬利用對比的表現方式（contrapposto）及對每位人物個性及特質的深入描繪，不僅勾畫出故事情節的戲劇性，同時更賦予畫作詮釋上不同的意涵。在宗教改革後，宗教性題材的表現更強調藉由畫面或圖像來引起觀者（信徒）和畫中人物在情感上的共鳴，而戲劇表演形式在這段期間亦被轉變為道德性教育及宗教宣導的工具。暴力或衝突性畫面的呈現及對悲劇性情感的強調皆在教育人心的前提之下被加以合理化。卡拉瓦喬在朱蒂思畫作中的表現語言似乎也反映了當時理論家們對於戲劇表演形式的討論。另外，由於朱蒂思這幅畫為私人收藏作品（Kabinettstück），雖其為宗教性題材卻不須受限於一般置於公開場合的宗教題材所應有的規範。透過對朱蒂思畫作圖像表現的分析，將有助於對卡拉瓦喬藝術語言的瞭解、對其美學觀點的探討及對畫作的詮釋，此亦為筆者將於本文討論的重點。

'Judith and Holofernes' is one of the earliest history paintings of Caravaggio. The painting fully demonstrates the transformation in Caravaggio's Language of Art and his artistic conception; in addition, it shows that Caravaggio try to establish himself as a history painter of grand manner. Before Caravaggio, the apocryphal story of Judith has already inspired many of the artists and even writers. Nevertheless, Caravaggio is the first artist who depicts the very moment of the beheaded Holofernes as the real subject of the painting. This unexpectedly dramatic moment just as the peripeteia which Aristotle has formulated in his Poetic, brought out the whole narrative tension, and furthermore this is one of the reasons why Caravaggio chooses this moment for the representation. Caravaggio makes great use of contrapposto-principle and pathos-theory to construct and to give each character a specific personality and distinguishing characteristic with the view of enhancing the dramatic effect, expanding the interpretative possibilities of the painting. After the Reformation, the representation of the religious subject matters emphasizes the emotional resonance between spectators and characters in painting. During this period of time the drama has been exploited as a method of moral education and religious advocacy. Under such premise scenes of violence and tragic events were to be rationalized. The expressive of language in Caravaggio's Judith seems to have reflected the theoretical debate on theatrical performances. Even though the story of Judith is a religious theme, Caravaggio's painting of Judith belongs to a private collection as Kabinettstueck; consequently, it does not need to follow the strict decorum of the religious paintings which have to be exposed in public places. Therefore, the cautious analysis of the painting of Judith will help us to deeply understand the development of artistic language of Caravaggio, and to widely explore his aesthetic conception and the expressive meanings of the painting.