臺灣博碩士論文加值系統

德籍藝術家安塞姆‧基弗的作品以其處理題材和巨大尺幅為人所知。本文將焦點鎖定在基弗藝術中的猶太教神秘主義主題－喀巴拉，做各方面的探討。首先略述喀巴拉教義的內容，及其相關神話題材。再來提出基弗處理喀巴拉的作品。建基於這兩個研究對象的認知上，開始對基弗與喀巴拉的關係做討論。其中鉛材質的豐富內涵為貫穿基弗喀巴拉題材的關鍵。而藝術家以其德國身分又採用猶太題材的對比，也是本文重點所在。這應與基弗欲借用猶太思想擺脫德國傳統制式思考有關。

緒論 1
第一章 猶太神秘主義喀巴拉 17
第一節 名詞釐定－喀巴拉神秘主義 17
第二節 基本概念－上帝、流溢與數 26
第三節 路力亞學派、梅爾卡巴神秘主義、莉里特神話 31
第二章 基弗作品中的喀巴拉題材 39
第一節 〈馬格麗特－蘇拉米特〉系列與策蘭 39
第二節 〈流溢〉與〈數〉系列、路力亞學說、梅爾卡巴神秘主義 50
第三節 鉛書、〈莉里特〉系列 66
第三章 基弗對喀巴拉題材的運用 76
第一節 鉛的使用及其象徵意義 76
第二節 「迷宮」特質－圖像的自由運用 86
第三節 對「再現」的詮釋 92
第四章 基弗使用喀巴拉與猶太神話的內在意含 99
第一節 轉向喀巴拉題材及其後相關發展 99
第二節 觀點轉變、主題擴充－擺脫傳統線性思考 107
第三節 小結－兼論基弗藝術的創作背景 117
結論 122

一、主要參考資料
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Huyssen, Andreas. “Anselm Kiefer: The Terror of History, the Temptation of Myth,” Twilight Memories: Marking Time in a Culture of Amnesia. N Y; London: Routledge, 1995.
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Kuspit, Donald B. “Flak from the ‘Radicals’: The American Case Against German Painting,” Art after Modernism: Rethinking Representation. Ed. Brian Wallis. New York: New Museum of Contemporary Art, 1984.
LeVitte Harten, Doreet. “Canticle for a God Unkown,” Lilith. NY: Marian Goodman Gallery, 1991.
López-Pedraza, Rafael. Anselm Kiefer: The Psychology of “After the Catastrophe”. NY: George Braziller, 1996.
McEvilley, Thomas. Anselm Kiefer: Let a Thousand Flowers Boom. London: Anthony d’Offay Gallery, 2000.
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Panofsky, Erwin. Meaning in the Visual Art. Chicago: Chicago UP, c. 1955.
Roob, Alexander. The Hermetic Museum: Alchemy & Mysticism. Köln: Taschen, 1997.
Rosenthal, Mark. Anselm Kiefer. The Art Institute of Chicago; Philadelphia Museum of Art; NY: Neues Publishing Company, 1987.
Saltzman, Lisa, Anselm Kiefer and Art After Auschwitz. Cambridge: Cambridge UP, 1999.
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Schjeldahl, Peter. “Anselm Kiefer,” Art of Our Time: The Saatchi Collection, vol. 3. London: Lund Humphries, 1984, pp. 15-17.
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Seymour, Anne. Anselm Kiefer: Watercolours 1970-1982. London: Anthony d’Offay Gallery, 1983.
Stebbins, Jr., Theodore E. and Susan Cragg Ricci. A Book by Anselm Kiefer. London: Thames and Hudson; Boston: Museum of Fine Arts; NY: George Braziller, Inc., 1988.
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Wolosky, Shira. Language Mysticism: the Negative Way of Language in Eliot, Beckett, and Celan. CA: Stanford UP, 1995.
Zweite, Armin. “The High Priestess: Observations on a Sculpture by Anselm Kiefer,” The High Priestess. London: Anthony d’Offay Gallery; Thames and Hudson, 1989.
二、展覽圖錄
Anselm Kiefer (text by Cacciari and Celant). Milan: Edizioni Charta, 1997.
Anselm Kiefer: Bruch und Einung (text by John Hallmark Neff). NY: Marian Goodman Gallery, 1987.
Anselm Kiefer: Holzschnitte. Electa Napoli, 1997.
Anselm Kiefer: I Astrup Fearnley Museet for Moderne Kunst. Oslo, 1996.
Anselm Kiefer: The Seven Heavenly Palaces 1973-2001. Basel: Foundation Beyeler; Hatje Cantz. 2001.
Anselm Kiefer: Stelle cadenti (essay by Danilo Eccher). Torino; Bologna: Allemandi & C.; Galleria D’Arte Moderna, 1999.
Carnegie International. NY: Neues; Carnegie Museum of Art, 1988.
The High Priestess. London: Anthony d’Offay Gallery; Thames and Hudson, 1989.
Lilith. NY: Marian Goodman Gallery, 1991.
三、訪談
Burckhardt, Jacqueline, ed. Ein Gespräch / Una Discussione: Joseph Beuys, Jannis Kounellis, Anselm Kiefer, Enzo Cucchi. Zürich. 1986.
Comment, Bernard. “Anselm Kiefer: cette obscure clarté qui tombe des étoiles,” Artpress 216 (September 1996), pp. 19-27.
Hecht, Axel, and Alfred Nemeczek. “Malen als heroische Tat. Bei Anselm Kiefer im Atelier,” Art 1 (1990), pp. 30-48.
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Kuspit, Donald. “Anselm Kiefer,” ed. Jeanne Siegel. Artwords 2: Discourse on the Early 80s. Ann Arbor, Mich.: UMI Research Press, 1988, pp. 85-90.
Madoff, Steven Henry. “Anselm Kiefer: A Call to Memory.” Art News, 86:8 (October 1987), pp. 125-30.
Riding, Alan. “Dodging the Spotlight as He Turns to Jewish Mysticism,” The New York Times (April 3, 2001), p. E.1ff.
四、期刊、論文與其他
Alvarez, José. “Anselm Kiefer à la chapelle de la Salpêtrière,” Connaissance des Arts 575, Septembre 2000, pp. 130-31.
---. “Anselm Kiefer: un art de complétude,” Connaissance des Arts 551. Juin 1998, pp. 78-85.
Attias, Laurie, “‘Anselm Kiefer’s Identity Crisis,” Art News, vol.96, no. 6 (June 1997), pp. 108-111.
Beyer, Lucie. “ Germany: Anselm Kiefer, Paul Maenz, Cologne.” Flash Art, no.116 (March 1984), pp. 45-46.
---. “Anselm Kiefer: Paul Maenz.” Flash Art, no.128 (May-June 1986), p.61.
Buchloh, Benjamin. “Divided Memory and Post-Traditional Identity: Gerhard Richter’s Work of Mourning.” October 75 (Winter 1996), pp. 61-82.
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Fisher, Jean. “A Tale of the German and the Jew.” Artforum, v. 24, no. 1 (September 1985), pp. 106-10.
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---. “Kiefer in Berlin.” October 62 (Fall 1992), pp. 25-45.
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Schjeldahl, Peter. “Our Kiefer.” in Art in America (March 1988), pp. 116-127.
---. “Springtime for Kiefer: A mini-retrospective of Germany’s master of apocalypse,” The New Yorker 42, vol. 74 (18 January 1999), pp. 83-84.
Schwartz, Sanford. “Anselm Kiefer, Joseph Beuys, and the Ghosts of the Fatherland.” The New Criterion 1:7 (March 1983), pp. 1-9.
---. “The Saatchi Collection, or A Generation Comes into Focus,” The New Criterion, v. 4, no.7 (March 1986), pp. 22-37.
Schwerfel, Heinz Peter. “Anselm Kiefer, ‘Ich wollte noch einmal neu anfangen.’ Ein Interview mit Anselm Kiefer,” Art 7, pp. 14-29.
Waite A. E., “The Pictorial Key to the Tarot,” 1910. http://www.sacred-texts.com/tarot/.
Zervigón, Andrés Mario. “Kiefer’s Paradox,” Art Journal 3, vol. 58 (Spring 1999), pp. 103-5.