臺灣博碩士論文加值系統

義大利盛期巴洛克建築師波羅米尼（Francesco Borromini, 1599-1667）出生於瑞士，其後在米蘭建構建築的相關知識與功法，並在羅馬這打造出舉世聞名的教堂建築。在建築形式上，他在教堂外部採用凹凸曲線，在室內則以繁複與華麗的裝飾性創造了連續性的空間，同時也擅於在教堂的穹窿頂上製造出比實際高聳的錯覺，其曲線式的柱頂線盤在室內進行裝點，使窗子似乎發出炫目的光，不但製造出奇蹟般的效果，似乎指引著人們所嚮往的天國。但是，不論是以民族性或是在建築的形式表現上對於羅馬人來說，他始終來自北方，因此波羅米尼式的建築風格在羅馬最後仍是曲高和寡。
本文主要以波羅米尼的教堂建築為主，融合巴洛克教堂建築的發展脈絡，深入分析波羅米尼教堂建築的風格形式與象徵意涵，研究過程中發現其建築特色包含五種面向：早期基督教的宗教意涵、汲取哥德式建築的精髓、考古知識、矯飾主義的延用和蛻變後衍生的個人特色。總體而言，波羅米尼的建築風格是高度融合了歷代建築輝煌的成果，其作品宛如建築風格史上的百科全書，在意識形態上標榜著早期基督宗教精神的復興，形式上則延續文藝復興及矯飾主義以來大師們的風格，可說是綜合歷代建築的精髓所締造出的個人建築語彙。
巴洛克泛指十七世紀在歐洲興起的藝術風格，起源於義大利隨後散佈至各地，於此就波羅米尼建築風格的影響性而言，筆者透過對建築的形式分析與描述，發現波羅米尼建築風格的足跡不只局限於羅馬，更是遠及阿爾卑斯山以北地區。再從十七世紀義大利巴洛克興起的時代氛圍，與德奧地區十八世紀的時代性進一步討論，發現在義大利與德奧間之共同性。此時義大利與德奧皆處於紛亂、矛盾與衝突後的狀況，上位者力圖以視覺來挽回民心，進而壯大自我國家之意識，這些促使兩地有著相同的藝術需求，反映出相似的時代精神；同時將藝術回歸到精神層面上的觀點，波羅米尼本來自北方，在原有民族特性上使得德奧地區更容易去接受與採納波羅米尼那形式繁複與充滿意喻性的建築風格。時代精神與民族精神的相互謀和，成為波羅米尼的建築風格能夠影響德奧地區之主因。

Francesco Borromini (1599-1667) is an Italian High Baroque architect, who was born in Switzerland. Borromini learned architectural knowledge and techniques in Milan, and had built a world-famous church in Rome. As for the architectural style of Borromini’s churches, he adopted concave and convex curves for the appearance; for the interior, he created continuous spaces with complex and magnificent decorations. Borromini was also good at creating illusions on the domes to make churches look taller than actual from the inside. He used curvy entablatures, making the windows shining with blinding glow in the interior decorations, which produced miraculous effect as if aspiring people’s spirit into the heaven. However, Borromini was still an outsider in Romans’ opinion from his nationality and presenting style. As a result, Borromini''s works were hard to get identified with that time in Rome.
This thesis mainly focuses on Borromini''s architecture of churches, integrating the development of Baroque churches, to have an in-depth analysis on the style and symbolic implications. We found out that the features of Borromini’s works contain 5 aspects, which are the religious implications of early Christian, essence derived from Gothic cathedrals, knowledge of archaeological, and adopted Mannerism and converted to his own style. To sum up, the style of Borromini’s works are highly integrated with the essence of prior masterpieces, his works are like the encyclopedia of architectural style history. Ideologically, his works represented the renaissance of early Christian spirit. As for the style, he followed the Masters from Renaissance and Mannerism. In all, Borromini had merged the essence formal architectural masterpieces and made it to his own vocabularies.
Baroque is referred to as an artistic style, which emerged in the 17th century Europe. It originated from Italy and later spread out to the worldwide. By analyzing and describing the architectural style, we examined the influence of Baroque on Borromini and found that his style had spread not only to Rome but also farther extended to the northern region of Alps. We further discuss the atmosphere of the emerging Baroque of 17th century Italy and the south of Germany and Austria of 18th century. At that time, Italy and south of Germany and Austria faced the same situation that both were in confusion, contradictions and conflicts, leaders were trying to regain residents’ confidence and expand nation awareness by visualized effect in the mean time. These had urged both places to have the same artistic needs, reflecting the similar Zeitgeist, that is, returning art to spiritual level. And, the reason that people in the south of Germany and Austria could easily accept the Borromini’s complex and implication-rich architectural style could also attribute to the similar nationality. The combination of Zeitgeist and nationality is the main reason that Borromini’s architectural style could have profound influence in the south of Germany and Austria.

緒 論 1
第一章 波羅米尼生平與時代背景 14
第一節 巴洛克建築溯源 15
1. 巴洛克建築的興起 17
2. 巴洛克建築理論 25
第二節 波羅米尼生平與藝術養成 29
1. 在瑞士出生的波羅米尼 29
2. 在米蘭的建築學習之路 31
3. 在羅馬與貝爾尼尼之爭 32
第二章 波羅米尼的建築理論與實例 36
第一節 融合早期基督教建築的宗教意涵 37
第二節 汲取哥德藝術的精髓 40
第三節 應用考古知識 43
第四節 沿用矯飾主義的建築形式 45
第五節 波羅米尼的個人風格 47
第三章 波羅米尼建築風格的北傳及影響 51
第一節 對瓜里尼建築理論與實踐的影響 52
1. 瓜里尼建築形式分析 52
2. 瓜里尼建築理論與傳播 58
第二節 對德奧地區巴洛克建築的影響 61
1. 十七世紀末至十八世紀中葉教堂建築的潮尚 62
2. 德奧地區教堂形式受波羅米尼影響的原因 66
結 論 72
附錄一 波羅米尼生平年表 77
附錄二 波羅米尼建築作品年表 79
參考文獻 85
圖 版 89

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外文期刊
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