瞻望．默觀．記憶：義大利文藝復興時期佩魯吉諾升天母題主祭壇畫與平信徒觀眾的相遇

Look with Reverence, Contemplation, and Memory: Lay Audiences Encountering Ascension and Assumption Motifs in Perugino’s Renaissance High Altarpieces

本文藉由檔案與文獻回溯，梳理佩魯吉諾於文藝復興時期教堂主祭壇所繪《基督升天》與《聖母升天》的歷史情境，探討這些祭壇畫與平信徒觀眾之間的視覺和心靈互動。佩魯吉諾運用天界／人界、垂直／水平並置的構圖，創造重複的記憶結構與往上望向不可見者的視覺修辭，導引觀者由凝望進入默觀和神聖體驗；透過此些皆位於主祭壇升天畫作的統一性來強化救恩臨在，使信眾主動連結基督宗教聖祭禮儀的蘊含，進而深化對救恩史的體悟。在圖像、空間與感知的交互作用下，促使「畫作參與者」男女平信徒得以默觀升天母題之歷史真實、宗教價值與文化意涵。

In this paper I discuss the historical context in which the Italian Renaissance painter Pietro Perugino was commissioned to paint the high altarpieces the Ascension of Christ and the Assumption of the Virgin. The paper seeks to explore the interaction between these high altarpieces and the lay audiences of that time through archival research and document analysis. By using a compositional strategy consisting of visual symbols of a similar type and juxtapositions of vertical/horizontal and the celestial and human worlds, Perugino creates a rhetorical system of repeated recollections conducive to deeper understanding, leading inwards and upwards, towards that which is felt or intuited, allowing lay viewers to enter into the sacred verities depicted therein. Perugino uses the unity present in the motif of ascending to heaven to emphasize the immanence of grace and to engender in the lay audiences an experiential knowledge of Christian ritual practice, who thereby recollect and understand the glory and grace of Christ implied therein. Through the interplay of image text, altar space, and visual perception, Perugino enables both male and female lay audiences, as“participants of the paintings,”to contemplate the historical truth, religious value, and cultural meaning of the Ascension of Christ and the Assumption of the Virgin.