臺灣博碩士論文加值系統

　　莫里斯．德尼是十九世紀末傑出的藝術家，然而其那比派理論家的身份，讓藝術史忽略他的繪畫作品；而其著名的繪畫定義則將他定位於現代藝術先驅，忽略其古典主義的思維。因此，本論文歸納分析德尼的第一手資料，再比對其它研究德尼之文獻，最後審視其畫作與藝術思維間的關係，以達到客觀且全面了解畫家繪畫思想之目的。論文結構以第一章為緒論。第二章從德尼的天主教信仰延伸探討其家庭與國家觀，證實內密性為畫家的藝術思想根源。第三章承繼德尼的內密性發展，並在探討其象徵藝術手法以及內涵之餘，提鍊出畫家裝飾與理性特質，以及對中世紀的嚮往。第四章透過德尼對塞尚的詮釋，來連結畫家與古典主義的關係。並從塞尚範例來檢視其畫作之形式與主題的比重，藉以釐清德尼融合現代藝術框架與古典本質的思緒。最後，在演譯德尼思想脈胳的一致性時，也了解宗教信仰在其藝術及生命裡的決定性影響；在形塑德尼繪畫樣貌之餘，不但確立其畫家的身份，還能窺見十九世紀末的法國精神。

　　Maurice Denis, one of the excellent painters in 19th century, was somehow misplaced in the history of art because of being seen as a theorist of Nabis. He was also seen as a pioneer in modern art because of his definition on paintings. However, his thinking in classic painting was once again being ignored. In order to understand his thinking on painting thoroughly and objectively. This thesis would try to collect and analyze the first-hand materials, and also compare with other studies. At the end, we would also discuss the interaction between his paintings and thinking on art.
　　In this thesis, first chapter starts as an introduction. In addition, his view on catholic religion, family, and nation would be discussed in chapter two. In chapter three, we would continue to discuss how Maurice Denis symbolized his art and what he hid within. In chapter four, we would see how he interacted with classicism by seeing his interpretation on Cezanne. In addition, we would analyze the form and theme of Denis's painting in the frame of Cezanne's style. Therefore, we will be able to clarify the true meanings of the combination of Denis's modern art and classicism. By reconstructing his thinkings, the significant of his religion in his art of life could be found, and we could not only define him as a painter, but also see the french spirit in the end of 19th century.

第一章 緒論 1
第一節 研究動機與目的 1
第二節 文獻探討 3
第三節 研究方法與內容 6
第四節 研究局限與解決方法 8

第二章 德尼的內密性 10
第一節 天主教信仰 11
第二節 家庭觀念 18
第三節 國家意識 24

第三章 象徵藝術的表現 30
第一節 神秘氛圍：方法與內涵 31
第二節 虛實幻境：理性與裝飾 38
第三節 理想世界：中世紀情懷 46

第四章 古典主義的詮釋 53
第一節 古典脈絡的追尋 54
第二節 塞尚範例的禮讚 61
第三節 形式與內容的相互制衡 67

結論 75

參考文獻 79
參考圖版 84
附錄一 莫里斯・德尼年表 93

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中文書目
阿部謹也著，《在中世紀星空下》，李玉滿、陳嫺若譯，台北：大雁，2008。
李明明，《古典與象徵的界限：象徵主畫家莫侯及其詩人寓意畫》，台北：東大，1994。
谷寒松，《神學中的人學》，台北：光啟文化，2008。
吳嘉瑄，《莫利斯．德尼早期繪畫中的宗教特質（1889-1895》，台北：中央大學藝術學研究所碩士論文，2002。
Belinda Theomson著 ，《高更》，張心龍譯，台北：遠流，1995。
Hal Foster著，《反美學：後現代文化理論基礎》，呂健忠譯，台北：立緒，1998。
Herschel Chipp著，《現代藝術理論》，余珊珊譯，台北：遠流，1995。
Jack Tresidder著，《象徵之旅：符號及其意義》，石毅、劉珩譯，北京：中央編譯，2001。
Leszek Kolakowski著，《理性的異化：實證主義思想史》，高俊一譯，台北：聯經，1988。
Michael Burns著，《法國與德雷福事件》，鄭約宜譯，台北：麥田，2003。
Paul Cézanne等著，《塞尚書簡全集》，潘襎譯，台北：藝術家，2007。