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±q¤½¤¸¤»¥@¬ö°_¶}©l¤F²Ä¤@­Ó¶Àª÷®É´Áªº«ô¥e§ÊÃÀ³N­·®æ¤§¸t¹³¡A¥¦ªºµo®i¤£©¯¦b¤½¤¸726¦~¨ü¨ì¤Ï¹ï±R«ô¸t¹³ªÌªº½ÄÀ» (Iconoclastic Controversy) ¦Ó°±¹y¦Ü¤½¤¸¤E¥@¬ö¤U¦¯¡A¥O·í®Éªº¸s²³¤Àµõ¬°¤ä«ù¶Ç²Îªº©M¤Ï¹ï±R«ô¸t¹³ªº¨â¤j°}Àç¡C³o½Ä¬ðªº®Ú·½»P·í®É¹ï°ò·þ½×ªº¯«¾Ç«H©À¤§¥Ù¬Þ¦³Ãö¡G´N¬O³Ì°ò¥»ªº­C¿q°ò·þ¤§¤H©Ê¤Î¤Ñ¥D©Êªº¦ì»ÚÃö«Yªºª§Ä³¡C¦bªÀ·|¤Î¬Fªvªº¼h­±¤W¡A³o¤]¬O¬F©²»P±Ð·|Åv¤O°«ª§ªº®É´Á¡C¦Ó¯«¾Ç¤Wªºª§Ä³©Ê¤]¾É­P¤Ñ¥D±Ð»PªF¥¿±Ð¦b³o«H©À¤Wªº¤Àª[¡A³Ì²×·í±Ð©v¥Î²§ºÝªºú¨Ä³µ´»@¤FªF¥¿±Ðªº©v¥D±Ð¡A¦b¤½¤¸1054¦~¤Ñ¥D±Ð»PªF¥¿±Ð²×©ó¥¿¦¡¤Àµõ23¡C


·í®É­Y¦¹ªk¥OÄY®æ¦a¦b¥þ«Ò°ê°õ¦æ¡A®£©È«ô¥e§Ê¸t¹³ÃÀ³N·|³Q§ó­P©R©Êªº¥´À»¡C©¯¦Ó«á¨Ó·í¤ä«ù¶Ç²Îªº°}Àç24¾Ô³Ó¤Ï¹ï±R«ô¸t¹³¬£¤§«á¡A«ô¥e§Ê¸t¹³ÃÀ³N¯à°÷¦A¦¸±q¤½¤¸¤E¥@¬ö¥½´Á¦Ü¤½¤¸¤Q¤@¥@¬öÄ~Äò¨ä²Ä¤G¦¸ªº¡u¤¤´Áµo®i¡v25¡C¥H¤W²Ä¤K¥@¬ö¡u¥tÃþªº¡vÃÀ³N¼Ò¦¡¡A´N¬O¨ü¤F¡u¤¤´Áµo®i¡vªº«ô¥e§ÊÃÀ³N­·®æ¦Ó³Ð§@¤Fªº¤Q¦r¬[¸t¹³¡A»P²{®É°O¸üªºICON ¸t¹³ªºµeªk¥]¬A³y§Î¡B¦â½Õ¡B­±³¡ªí±¡¡B¸Ë¹¢©Êªº³W«hµ¥¯S¼x³£¬O»á¬°¬Û¦üªº26¡C


4. ¤¤¥@¬ö²Ä¤E¥@¬ö¥H«á¸t±ÐÃÀ³NªººtÅÜ

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4.1¬d¨½°Ò¤j«Òªº¡u¥[¬¥ªLªº(¤åÃÀ)´_¿³¡v(The Carolingian Revival)

¨ì¤F¬d¨½°Ò¤j«Ò¡A¥L¥»¤Hªº¶¯¤ß¡A¬O¥Hù°¨«Ò°ê¥¿²Î¦Û©~¡AºÉ¤Oª§¨ú»P«ô¥e§Ê«Ò°ê¤À®x¤®Â§¡C¬d¨½°Òªº°^Äm¬O·¥¤O´£°ª¦Ú¥Áªº¤å¤Æ¤ô¥­¡A§Æ±æ§â¦Û¤vªº®c§Ê«Ø³]¦¨¬°¾Ç³N¤¤¤ß¡A¦]¦Ó¤j¤j´£°ª¥L²ÎªvªºªkÄõ§J (Franks) °ê®aªº¾Ç³N¤ô¥­¡Aµ²ªG¬O¤ñ¥L§Æ±æªºÁÙ­n°ª¡C¥L¦b¤å¤Æ¤Wªº¼vÅT¡A¶W¶V¤F¥LºÞªvªº®É­­¡A¾ú¥v¤WºÙ³o­Ó¡G­Éų¥jù°¨¤å¤Æ·P¥l¤Oªº®É´Á¬° ¡u¥[¬¥ªLªº(¤åÃÀ)´_¿³ (Carolingian Revival)¡v¡C 


À°§U¬d¨½°Ò¹ê²{¡u¥[¬¥ªLªº(¤åÃÀ)´_¿³¡v¹Ú·Qªº¡A°£¤F¹ï¤â«ô¥e§Êªº¤@©w¼vÅT¥~¡AÁÙ¦³·Rº¸Äõ¤H¡B­Û¤Ú²Ä¤H¡B¦è­ô¯S¤Hµ¥¡A·íµM¤]¥]¬AªkÄõ§J¥»±Úªº¤H¡C±q³o¦¸´_¿³®É´Á¥i¥H¬Ý¥X¤¤¥@¬ö¤å¤Æ¥æ¬y¤§¬¡ÅD¡A¤H¤~¬y°Ê¤§¼sªx¡C¥i±¤¬d¨½°Ò®É©Ò«Ø³yªº¸t°ó¡A¤º¸Ìªº¾Àµe¡B±m¥ÛÆ^´Oµe¡B¯BÀJ¶ì¹³µ¥¸t±ÐÃÀ³N¡A¥u¥i¥H¦b¥[¬¥ªLªº¤åÄm¤¤§ä¨ì°O¸ü¡A¦Ó¹êª«¤x¸g¬OµL±q½]¦Ò¤F¡C


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4.2 ¼w°ê ¡u¶ø¦«¦¡ªºÃÀ³N¡v (Ottonian Art) ªº·s­·ªö

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§Ú­Ì¥i¯à·|°Ý¡G¡u¶ø¦«¦¡ªºÃÀ³N¡v±q¨º¸Ì±o¨ì³o¼Ë¤jÁx³Ð·sªºÃÀ³N·§©À©O¡H ¯uªº¡I¡§The Gero Crucifix¡¨ÅãµM¬O¨ü¨ì«ô¥e§Ê¸t¹³ÃÀ³Nªº¡u¤¤´Áµo®i¡v (Middle Byzantine Art) ©Ò¼vÅT¡A´N¬O»¡¨ººØ¬yÅSµÛ°ò·þ¦b¤Q¦r¬[¤W©Ò­nªí¹Fªº¼¦¼§¥@¤H¤§±¡31¡C³o­Ó®É´Á«ô¥e§ÊÃÀ³N¦b¼w°êªº¼vÅT¡A¥i¥H»¡¬O±q°ª¦ì¦Ó¨ì¥­¥Á¦Ê©mªº¡C¦]¬°¼w°ê»P«ô¥e§Êªº¬Ó«Ç¦¨¤F«Ã¿Ë32¡Aª½±µ¼vÅT¤F¬Ó«Ç©MÃÀ³N©e°U¤Hªº¦@¦P¤f¨ý¡C·íµM¼w°êªº¶ø¦«¦¡ªºÃÀ³N®a¤]­n«ä¯Á¡A¦p¦ó§â«ô¥e§ÊªºÃÀ³N¨ý¹D³Ð·s¡A¦AÂ×´I¦aªí²{¦b²{¹ê¯ë¤j¤pªºÀJ¨è¤W¡A³oºØ¡u´I©óªí²{ªº²{¹ê¥D¸q¡v (Expressive Realism) ¦Ü²{¤µ¤´¬O¼w°êÃÀ³Nªº±j¶µ¡I

4.3 ·Rº¸ÄõÁô­×°|¹ï¸t±ÐÃÀ³Nªº±À°Ê

Áô­×°|33¨ì¤F¤¤¥@¬ö²Ä¤»/¤C¥@¬ö´Á¶¡¡A¦b¼Ú¬w¦U¦a·¥½´«k¦a¿³°_34¡C¦b·Rº¸Äõ35¡]­^°ê¡^¡Bªk°ê¡B¼w°êµ¥¦a¯É¯É«Ø¥ß¡A¨ì¤F¤Q¥@¬ö¥H«á¡A§ó¦b·N¤j§Q¤]¦¨¥ß·sªº­×¹D°|¡CÁô­×¤h¦b¤¤¥@¬ö®É¡A¬O°£¤F¬Ó«Ç©M±Ð©v¥H¥~¡A¹ï±À°Ê¸t±ÐÃÀ³N¡]¥]¬A«Ø¿v¡BÀJ¨è¡Bøµe¡B¸Ë¹¢¡B§»ö¥Î«~µ¥¡^¬O¤£¿ò¾l¤Oªº¡A¹ê¦b¬O¾ú¥v±y¤[ªº¡C¥L­Ì¨­Åé¤O¦æ¡A¦³ªº¦Û¤v³Ð§@ø»s¡A¤]¦³¥Hª÷¿ú©Î¥H­×¹D°|¦W¸q©e°U¦W®aøµeªº¡CÁô­×¤h¬O¤Þ°_¾ú¥N¸t±ÐÃÀ³N®a­Ì²£¥Í¤¬°ÊÃö«Y¡B«O¦s¶Ç²Î©M±a°Ê³Ð·s¤§¥D­n°Ê¤Oªº¤@¸s¡A¥L­Ìªº¼vÅT¥i¿×©µÄò¦Ü¤½¤¸¤Q¤T¡þ¤Q¥|¥@¬ö¦Ó¹F¦Ü°ª®p¡A¨ä¾lªi¬Æ¦Ü¥iºÙ¹F©ó²{¤µ¡C 


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5.1 ³Ì¦­ªº°ò·þ©v±Ð¹Ï¹³¤§¯«¾Ç®Ú¾Ú 41

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±q¤½¤¸¥|¥@¬ö¡A°ò·þ®{¥i¥H¤½¶}¦a©ú»{«H¥õ¡C ¥­ÀR¦n´º¤£±`¡Aù°¨«Ò°ê¦b²ü¿Õ²¤¬Ó«Ò²Îªv®É (Emperor Honorius, 395CE)¡A«Ü§Öªº´N¤Àµõ¬°ªFù°¨©M¦èù°¨«Ò°ê¡A±q¦¹¥¦­ÌªºÃÀ³N©M¯«¾Çµo®i¦U¨«¦U¸ô¡C¤W­±´£¤Îªº¤å¦r©M¹Ï¹³Àu¦¸°ÝÃD¡A¾ú¥v¤W¦]³o°ÝÃDµo¥Í¤F±Ð¸q¤§ª§¡Aª½¨ì¤Ì¥±©Ò¤j¤½·|ij (Council of Ephesus, 431CE) 43 ¤~¥­ÀR¤U¨Ó¡C·|ijij¨M°ò·þ¬O¯u¤Ñ¥D¤]¬O¯u¤H¡G¥Ñ©ó¬O¯«¥ç¬O¤H¡B¥ç¬O¤G©Ê¤@¦ì¡C¸Ñú¨¤F¬°°ò·þ­C¿q³y¸t¹³ªº¯«¾Ç°ò¦¡F¦P®É¡Aº¿§Q¨È¬J¬O³o¤@¡u¦ì¡vªº¥À¿Ë¡A¦Ó³o¤@¡u¦ì¡v¤D¬O¤Ñ¥D¡A©Ò¥H¦oÀ³±o¡u¤Ñ¥D¤§¥À¡vªº´L¸¹¡C


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ªí²{¤F¡u¨ü­Wªº­C¿q°ò·þ¡vªº¤Q¦r¬[¸t¹³§@«~¡A¨ä¤¤¤@­Ó¥i¯àªº®Ú·½¦a¬Û«H¬O¸t¤èÀÙ¦Uªº­×·|¡A³o¬O¤j¬ù¤½¤¸¤Q¤T¥@¬ö¡C²{¤µ¤´µM¥i¥H¦b·N¤j§Q¸t¤èÀÙ¦Uªº¸t°ó (The Basilica of Saint Francis at Assisi: the upper & lower Churches) §ä¨ì³oÃþªº¤Q¦r¬[¸t¹³§@«~¡C³o­Ó¸t°óªº¤Q¦r¬[¸t¹³§@«~¬O¦b¤½¤¸1250-1320¦~¶¡¡A¥Ñ¼Ú¬wµÛ¦Wªºµe®a49 ø»sªº¦h­Ó¨t¦C¾Àµe¤¤§ä¨ì¡A¡]¥]¬Afootnote 47 ©Ò­zªº¡u­WÃø»P¸t¦º¡vÂõe¡^¡C¦b³o¤j·µ¤ºªº¤W¸t°ó (the upper Church) ¦³Fra Elias50 ©Òø»sªº¤Q¦r¬[¸t¹³§@«~¡A¦b¤½¤¸1236¦~§¹¦¨51¡C


¸t¤èÀÙ¦U¦Û¤v²¦¥ÍÄm¨­©ó¤Q¦r¬[¡A¥Lªº¶Ç°O§@®a¸tBonaventura°O¸ü¸t¤èÀÙ¦U¤]¬O·¥¤O¥D±i¥Lªº­×¹D¤h¡A§âª`·N¤O¶°¤¤¦b°ò·þ³Q°v¦º¦b¤Q¦r¬[¤Wªº¹Ï¹³¡B¥L­Ì­n»P­C¿qªº­WÃø¥´¦¨¤@¤ù¡A¬Æ¦Ü¥i¥H¥N´À»wŪ¤é½Òªº¦a¨B¡CÁöµM·í®É¤é½Ò®Ñµu¯Ê¬O¨Æ¹ê¡AµL½×¦p¦ó¡A¸t¤èÀÙ¦U¹ï­W¹³±R«ôªºª`­«¬O©úÅã¥i¨£ªº¡C¸t¤èÀÙ¦U¥i¿×¤@¥Í»P¤Q¦r¬[¸t¹³¦³¤£¸Ñ¤§½t¡AÅý§Ú­Ì­«·Å¤@¨Ç­«­nªº¤ù¬q¡G


¡@¡@¨º¦bSan Damiano¤p°ó»P¥L¡u¥æ½Í¡vªº­W¹³¦Ü¤µ¤´µM§´µ½¦a¦¬ÂæbSanta Chiaraªº¸t°ó¤º¡C³o­Ó¤Q¦r¬[¸t¹³¬O¥Îù°¨­·®æ (Romanesque) ªº¸t¹³§Þ¥©Ã¸»sªº§@«~52¡A¬O¡u¥úºaªº°ò·þ§g¤ý¡v(Christus triumphans)¡A´N¬O»¡­C¿q°ò·þªº¹Ï¹³¬O¡u¬¡µÛªº¡B¦b¤Q¦r¬[¤WÀ¹µÛ¬Ó«a¬ïµÛ¬ÓªAªº§g¤ý¡v¡C³o­Ó¤Q¦r¬[¸t¹³¬Oµe®aGiunta Pisanoø»sªº¡C


¡@¡@¬O¦P¤@ªºµe®a¡A¥L¤]¬°¸t¤èÀÙ¦U¦ºªº¦a¤è¤§¸t°ó53ø»s¤F¡u¨ü­Wªº­C¿q°ò·þ¡v(Christus patiens)¡A´N¬O»¡­C¿q°ò·þªº¹Ï¹³¬O¡u³Q°v¦º¤Fªº¡B¦º±o´d¶Ëªº¡B¨­ÂßÅs¦±ª¬ªº³Q°v¦º¦b¤Q¦r¬[¤W¡v¡C
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¸t¤èÀÙ¦U¥i¿×¡u¨ü­Wªº­C¿q°ò·þªº¤Q¦r¬[¸t¹³¡v¤§¤÷¡A¦P®É¤]¦]¬°¥L¼ö·R©M±À°Ê¹ï­W¹³ªº±R«ô¡A¤Q¦r¬[¸t¹³©M¥¦¦b¾ú¥v¤WªººtÅܨü¨ì¤FÃÀ³N®a¡B¯«¾Ç®a¡B©M·R¦n¸t±ÐÃÀ³N¤H¥KªºµÛ­«¡A¾ú¥N§g¤ý¡B±Ð©v¡B¨p¤H©e°U¤Hªº¤ä«ù©M¥L­Ìªº¬¡°Ê¡A«Kª¾¹D¸t¤èÀÙ¦U¼ö·R©M±À°Ê¹ï­W¹³ªº±R«ô¬O¨S¦³¥Õ¶Oªº¤F¡I


6. µ²½×¡G¤£¦P®É¥Nªº¤Q¦r¬[¸t¹³¤§±Ò¥Ü

¡u­C¿q°ò·þ¬Q¤Ñ¡B¤µ¤Ñ¡Bª½¨ì¥Ã»·¡A±`¬O¤@¼Ë¡C¤£¥i¦]¦UºØ²§ºÝ¹D²z¦Ó°¾Â÷¥¿¹D¡C¡v¡]§Æ13:8-9a¡^³o¬O©v®{®É¥Nªºª½±µ¶Ç¹Fµ¹²Ä¤@¥N°ò·þ«H®{ªº¡A¥L­Ì¦³¨Ç¤H»P­C¿q¦P®É´Á¡A¬Æ¦Ü¥i¥H¨£µý°ò·þªº¨ÆÂݮѫH¡A§i»|«H²³­n«O«ù©¾¹ê©ó±H¦s°ò·þ¯u¥¿©MÅv«Â©Êªº¶Ç²Î¡C³o¨Ç¸Ü»y¬O±q©v®{¡C¡u¬Q¤Ñ¡B¤µ¤Ñ¡Bª½¨ì¥Ã»·¡A±`¬O¤@¼Ë¡C¡v³o¥y¸Ü³Ì²×¥Øªº¬O­n¹D¥X¤F­C¿q°ò·þªº¶W¶V¦ÛµM©M¥¦ªº¯«¾Ç·N¸q¡G­C¿q°ò·þ¥H¥L¥Ã«í¦s¦bªº¥»½è¡A©õ¤é¬O¡u¤£Åܪº¤Ñ¥D¤§¤÷ªº¨v¹³¡A©Ò¥H¦P¼Ë¦a¥L¤]¬O¤£¯à§ïÅܪº¡I¡v54


¨º¥½¡A¬°¬Æ»ò§Ú­Ì¦b¤£¦P®É¥N¨£¨ì¤£¦Pªº¤Q¦r¬[¸t¹³©O¡H¬Oªº¡A¤Ñ¥D¬O¯uªº¤£ÅÜ¡I­C¿q°ò·þ¡A§@¬°¯u¤Ñ¥D©M¯u¤H¡A¦s¦b§Ú­Ì¤¤¶¡ (º¿28:20)¡F¥ç¥H¥L¥Ã«íªº¦s¦b¡A¥Îúp¦PªºÃÀ³Nªí¹F¤è¦¡ªº¹Ï¹³§l¤ÞµÛ«H²³¡A³o¨ÇÃÀ³N¹Ï¹³¥çªí¹F¤F¤H¹ï·í®É°ò·þ½×ªº¯«¾Ç«ä·Q¤§²z¸Ñ¡C¥Í¬¡¦b²Ä¤T­Ó¤dÁH¦~ªº¤µ¤Ñªº°ò·þ«H®{«Ü©¯¹B¡A¥i¥H³z¹L¾ú¥vªº±´°Q¨£µý¤£¦P®É¥Nªº¤Q¦r¬[¸t¹³ªº­±»ª¡C¦­´Áªº«H®{©Ò¨£ªº¤Q¦r¬[¸t¹³¡A¤W­±ªº¥½¥@©Ê¡u¥úºa¤§°ò·þ§g¤ý¡v½á¤©¤F¥L­Ì±æ¼w¡A¬O¦]µÛ«H¥õ°ò·þ¦Ó±a¨Óªº§Æ±æ¡C³o§Æ±æ¬O«H®{­Ì¡A¬Æ¦Ü¦b·¥¤jªºµh­W¤¤¡A¬Û«H¦]µÛ¨ü­WÃø¡B¦º¤`¡B©M¥úºa´_¬¡ªº­C¿q°ò·þ¡A¥L¦b²Ä¤G¦¸¨ÓÁ{®É¡A·|±aµ¹¥L­Ì¦P¼Ëªº¥úºa¡C¡]±o«e1:10¡^


³o­Ó¶Ç²Î«ùÄò¤F¤Q¦h­Ó¥@¬ö¡A¸g¾ú¤F¾ã­Ó¤¤¥@¬ö¡Aª½¦Ü¤åÃÀ´_¿³®É´Á¡C°ò·þ¹Ï¹³±q±j½Õ¡u¥úºaªº°ò·þ§g¤ý¡vªºªí²{§Î¦¡ÂàÅܬ°±j½Õ¡u¨ü­Wªº­C¿q°ò·þ¡vªºªí²{§Î¦¡¡A´N¦p¦P¤@­Ó¿ú¹ôªº¨â­±¡Aªí©ú¤Fªº´N¬O¦P¤@¡B°ß¤@¡B¥Ã«íªº¤Ñ¥D¡I¾ú¥v¤W¦UÃþªº±j½Õ¦¨¬°Â×´I¤F¸t±Ð·|¶Ç²ÎªºÄ_ÂáAÅã¥X¨C­Ó®É´Á«H®{ªº«H¥õ¥Í¬¡ªº¦h«º¦hªö¤Î¨ä¿W¯S©Ê¡C°ò·þªº¶V¹O¶øÂÝ©õ¤é¡B¤µ¤Ñ¡B¥H¦Ü¥¼¨Ó³£±aµ¹¤HÃþ±ÏÅ«¤§®¦¡A´N¦p¤W¥D¦Û¦³¤HÃþ¾ú¥v¤wÀ³³\ªº¡]­ô1:18¡^¡C°ò·þªº¤Q¦r¬[¡A¥Lªº­WÃø©M¦º¤`¦¨¤F¥Ã«í±Ï®¦ªº¬u·½¡A¦]¬°°ò·þ«ö·ÓÀq°ò·æ¼wªº«~¦ì¥Ã¬°¤j¥q²½¡]§Æ5:8-10¡^¡A¤Q¦r¬[¸t¹³¥ç¦]¦¹¦¨¬°°ò·þ®{±o±Ïªº²Å¸¹©M±Ï®¦ªº¼Ð°O¤F¡I


µùÄÀ

1 ¦¶¥ú¼çµÛ¡G¡m¦è¤è¬ü¾Ç¥v¡n¤H¥Á¤å¾Ç¥Xª©ªÀ¡C¥_¨Ê2003¦~5¤ë²Ä2ª©¡C
2 ¾Ú¤Ñ¥D±Ð¦Ê¬ì¥þ®Ñ¡G¡u¤Q¦r¬[¸t¹³¡v ¡]Crucifix,#2¡r ¬O«ü­C¿q³Q°v¦b¤Q¦r¬[¤W¤§¹Ï¹³¡C

3 ·s¬ù¸t¸g©v®{¤j¨Æ¿ý²Ä2³¹42¸`¡C
4 ¬ù¸t¸g¥X¨¦¬ö²Ä20³¹4¸`¡G¡u¤£¥i¬°§A»s³y¥ô¦ó......ÀJ¹³¡C¡v

5 ³Ì¦­´Áªº²{¦sChristian Art¬O±q¤½¤¸¤T¥@¬öªº¤@­Ó¤½±Ð®a®x¦í¦v©Òµo²{ªº¾Àµe (around 256CE,¦ì©ó Mesopotamian town of Dura Europos on the upper Euphrates).Painted Ceiling: 4th Century CE Catacomb of SS.Pietro e Marcellino, Rome (Fig. 296, p.233). (Ref. Janson H.W.,History of Art Harry N. Abrams Inc. Publishers, New York 1997)
6 ®Ú¾Ú¤¤¥@¬ö¶Ç»¡©M°@©^©v±Ðªº¸t¶Ç¡A§g¤h©Z¤B¤j«Ò¤§¥À¿ËSt. Helena¦b¸t¦a­C¸ô¼»ª~¬°¤F§ä´M¤Q¦r¸t¬[¡A©R¥O§â«ÍÅé©ñ¦b§ä¨ìªº¤T­Ó¤Q¦r¬[¤W¡A¨ä¤¤¤@­Ó¬Û¶Ç¬O¤Q¦r¸t¬[ªº¨Ï¦º¤H´_¥Í¤F¡ASt.Helena §â¸t¤ì±a¦^­º³£Constantinople (Istanbul)¡C¥i¨£·í®É¹ï¤Q¦r¬[ªº´M®Ú¼ö©M´L·q¡A¨Ã¦³¬Ó«Çªº¼ö¸Û¤ä«ù¡C

7 ¦b¤½¤¸¤»¥@¬ö Ravenna ªº S.Apollinare Nuovo ªº±m¥ÛÆ^´Oµe¤¤¤]§ä¤£¨ì­C¿q³Q°vªº¤@¹õ¡C
8 ¨£Ã¹°ê½÷½sµÛªº¡m¦b¦a­Y¤Ñ¡n91­¶¤¤¹Ï¡A­»´ä±Ð°Ï§»ö©e­û·|¥Xª©1999¦~4¤ë

9 ¨£Ã¹°ê½÷½sµÛªº¡m¦b¦a­Y¤Ñ¡n.89­¶¤§¹Ï¡A­»´ä±Ð°Ï§»ö©e­û·|¥Xª©1999¦~4¤ë
10 Diane Apostolos-Cappadona, Dictionary of Christian Art p.92 picture #55, The Continum Publishing Company, New York 1995.
11 ³o¥÷¡u¦w¸Ô¡v¬OÀJ¤u¥[¤W¶H¤ú°ª¶Qªº½è·P©Ò±a¨Óªº·P¨ü¡C
12 ³o¤h§L«á¨Óªº¦Ò¨s«üºÙ¥Lªº¦W¦r¬OLonginus¡C
13 ¥H¤W¬O­Y±æºÖ­µ²Ä¤Q¤E³¹26,34¸`­C¿q³Q°v¦º¦b¤Q¦r¬[®Éªº±¡¹Ò¡C
14 º¿ÄuºÖ­µ²Ä¤G¤Q¤C³¹5¸`°O¸ü¤FµS¹F´µªºµ²§½¬O¤W¦Q¦Ó¦º¡C


15 ¦bù°¨±ë¸¦©£ªº¡u³Ì«á¼f§P¡v¡AMichelangelo (1475-1564) ¤]¥Î¤F¡u¥kµ½¥ª´c¡vªº¤âªk¡C

16 ­C¿q§g¤ý¦¡¤Q¦r¬[¸t¹³¡G¬O²{¦s¦bù°¨¥j¥«¶° (Foro Romano)¥j¸t¥À¤j·µ (Santa Maria Antiqua) ¤Î¸¯¹F¤G¸t°óªº¤K¥@¬ö¾Àµe¡C(¨£Ã¹°ê½÷½sµÛªº ¡m¦b¦a­Y¤Ñ¡n 91­¶¤§¥k¹Ï¤Î92­¶¤§¥ª¹Ï¡A­»´ä±Ð°Ï§»ö©e­û·|¥Xª©1999¦~4¤ë¡C)

17 ¨£¥X39¡G1-31¡F¨Ì63¡G1¡Fº¿27¡G27-29¡F­Y18¡G33-19¡G22¡F§Æ10¡G1-22¡FÀq1¡G5,13
18 ù°¨ªºÃÀ³N¤j¦h­Éų©ó§Æþ¡A¦Ó«ô¥e§ÊªºÃÀ³N«o¬O®J¤Î¡B¬ü¯Á¤£¹F¦Ì¨È¡Bªi´µ¥H¤Î¤p¨È²Ó¨Èµ¥¥j¤å©ú¦@¦P§@¥Îªºµ²ªG¡C
19 ¸ë´µ¸¦¥§¦w¬Ó«Ò(Emperor Justinian, ruled 527 - 565 CE)
20 Ref.: Nigel Cawthorne,The Art of THE ICON, 26, Octopus Publishing Group Limited, London 2000
21 ¨Ò¦p¦b§J¹p´µ(Classe) ªüªi§Q©`º¸±Ð°ó(Basilica of San Apollinare,c.550CE)´N¬O¬Ó«ÒJustinian¦b¤½¤¸550¦~µo°_©M¥Ñ¤@¦ì«D±`¦³¿úªº»È¦æ®a¦W¥s¦¶§Q¦w(Julian)ªº¸ê§U¤U«Ø³yªº¡C(Ref.:Helen de Borchgrave,A Journey into Christian Art,20 ,Lion Publishing plc,Oxford,England 1999)
22 ¤j³¡¥÷ªº¦­´Á¦b§g¤h©Z¤B­º³£ªº«ô¥e§ÊÃÀ³N¤w³Q¯}Ãa¡A²{¦s¿òÂÝ¥i¥H¦b·N¤j§Q§ä¨ì¡C¥t¥~¦b­C¸ô¼»§Nªº¥j­×°|¤]«O¦s¤F²Ä¤@¶Àª÷®É´ÁªºICON ¸t¹³¡C(Ref.20,p.32 ¡§St.Catherine¡¦s monastery,Mount Sinai in Jerusalem during this period.¡¨)?

23 ¥Ñ©ó·í®É±Ð©v°í¦u±Ð¸q¦Ü´L©Ê¤Þ­P¤½¤¸1054¦~»P«ô¥e§ÊªF¥¿±Ðªº¤Àµõ¡A´N¬O¾ú¥v¤WºÙ¤§¬° ¡§The Great Schism¡¨ªº¨ÆÂÝ¡C
24 ¤ä«ù¶Ç²Îªº°}Àç¥H¦è³¡¬Ù¥÷¬°¤¤¤ß¡A¥ÑÁô­×¤h»â¾É¡F¹ï§Ü¥HªF³¡¬Ù¥÷¬°¤¤¤ß¤ä«ù°ê¬Óªº¤Ï¹ï±R«ô¸t¹³¬£¡A¤ä«ù¶Ç²Îªº°}Àç©ó¤½¤¸843¦~Àò±o³Ó§Q¡C
25 ¡u¤¤´Áµo®i¡v ¥Ñ Empress Theodora ¤Î Basil I the Macedonian ªº¬F±Ð¤ä«ù¤U«ùÄò¤F±q¤½¤¸¤E¥@¬ö¥½¦Ü¤½¤¸¤Q¤@¥@¬öªº«ô¥e§Ê¸t¹³ÃÀ³N«ì´_´Á¡C
26 Refs.:Helmut Brenske,ICONS: Windows to Eternity,Images of Christ, Table16-24,Berghaus,Germany 1996; Solrunn Nes,The Mystical Language of ICONS, The ICON- a glimpse of the Divine,8-21, St.Paul¡¦s Publishing, London 2000.
2 ¥Ñ©ó·í®É±Ð©v°í¦u±Ð¸q¦Ü´L©Ê¤Þ­P¤½¤¸1054¦~»P«ô¥e§ÊªF¥¿±Ðªº¤Àµõ¡A´N¬O?¥v¤WºÙ¤§¬°”the Great Schism”ªº¨ÆÂÝ¡C
3 ¤ä«ù¶Ç?ªº°}Àç¥H¦è³¡¬Ù¥÷¬°¤¤¤ß¡A¥ÑÁô­×¤h»â¾É¡F¹ï§Ü¥HªF³¡¬Ù¥÷¬°¤¤¤ß¤ä«ù°ê¬Óªº¤Ï¹ï±R«ô¸t¹³¬£¡A¤ä«ù¶Ç?ªº°}Àç©ó¤½¤¸843¦~Àò±o³Ó§Q¡C
4 ¡u¤¤´Áµo®i¡v¥ÑEmpress Theodora ¤ÎBasil I the Macedonianªº¬F±Ð¤ä«ù¤U«ùÄò¤F±q¤½¤¸¤E¥@¬ö¥½¦Ü¤½¤¸¤Q¤@¥@¬öªº«ô¥e§Ê¸t¹³ÃÀ³N«ì´_´Á¡C
5 Refs.: Helmut Brenske, ”ICONS: Windows to Eternity? Images of Christ, Table16-24, Berghaus, Germany 1996; Solrunn Nes, ”The Mystical Language of ICONS? The ICON ?a glimpse of the Divine, pp.8-21, St. Paul’s Publishing, London 2000.

27 ¸ë´µ¸¦¥§¦w¬Ó«Ò(Justinian) ºÞÁҩ󤽤¸ 527-565;¬d¨½°Ò¤j«Ò(Charlemagne, King of Franks)©ó¤½¤¸800¦~¸t½Ï¸`¥Ñ±Ð©v§Q¶ø¤T¥@¥[°Ã¡A¬O¯«¸tù°¨«Ò°ê(Holy Roman Empire)ªº²Ä¤@¥ô¬Ó«Ò¡AºÞÁҩ󤽤¸800 - 814¦~¡C

28 Gold and jewels, 35 x 26.7 cm now kept at The Pierpont Morgan Library, New York.(Ref.: Janson H.W.,History of Art, picture #355 p.274 Front cover of binding, Lindau Gospels. C. 870CE, Harry N. Abrams, Inc., Publishers, New York 1997.) 

29 ¼w°ê¦b¥[¬¥ªL³Ì«á¤§§g¥D©ó¤½¤¸911¦~¦º«á¡AÂħJ´Ë(Saxony)º¥º¥¦aÅܦ¨¬°¬FªvªºÅv¤O¤¤¤ß¡C±q¼»§J»¹(Saxon)ªº¦ë§Q¤@¥@(919 -1024 CE)­««Ø¤@­Ó¦³®Ä²vªº¤¤¥¡¬F©²¶}©l¨ì¶ø¦«¤@¥@(King Otto I), ¥L´_¿³¤F©õ¤é¬d¨½°Ò«Ò¬Óªº¶¯¤ß§§§Ó¡C¦b°ù¤F­Û¤Ú²Ä¬Ó«Òªº¹è°ü¬°©d«á¡A¥Lªº²Îªv¦ù®i¨ì·N¤j§Qªº¤j³¡¥÷¦a°ì¡C¤½¤¸962¦~±Ð©v­Y±æ¤Q¤G¬°¶ø¦«¥[°Ã¡A¨Ã½Ð¥L¥­©wù°¨¡A±q¦¹±Â¾¼w°êºÞªv¯«¸tù°¨«Ò°ê¡C¥i±¤¦«ªº«áÄ~ªÌ³£¤£¯à©Ó¾á³o­Ó¡u¹Ú·Q¡v¡A¥ç¶}©l¤F¤é«á¼w°ê¬Ó«Ò»P·N¤j§QªººÞªvªÌªº¥@¬ö½Ä¬ð¡A³oºØ«n¥_¤§·R»P«ëÃö«Y¡A¤@ª½¤dµ·¸UÁ\ªº©µÄò¦Ü¤µ¤Ñ¡C
30 The Gero Crucifix, (ref.: ù°ê½÷½sµÛªº¡m¦b¦a­Y¤Ñ¡n 92­¶¤§¥k¹Ï¡A­»´ä±Ð°Ï§»ö©e­û·|¥Xª©1999¦~4¤ë¡C)

31 The Crucifix Mosaic at the Monastery Church, Daphne, Greece, 11th Century. (Ref.: Janson H.W., History of Art picture #340 p.262, Harry N. Abrams, Inc., Publishers, New York 1997.) ³o¬O¤@­Ó¥j¨å«¬¦¡ªº«ô¥e§Ê±m¥ÛÆ^´Oµe¡A¤Q¦r¬[¤W¨ü­W­C¿qªºªí±¡¬O§t»W©M°ª¶Qªº¡A¥j¨å«¬¦¡ªº¤Hª«ª`­«²z·Qªº·P±¡ªí²{¦Ó¤£µÛ·NÅé§Îªº¯u¹ê©Ê¡C
32 ¶ø¦«¤G¥@(King Otto II)°ù¤F«ô¥e§Êªº¤½¥D¬°©d¡A¥O¨â­Ó¬Ó«Ç¤W¤U¦³ª½±µ¥æ©¹¤§Ãö«Y¡C
33 Áô­×°|¥Í¬¡/Åé¨î·§©Àªu¦Û¸t¤Ú¦U²ö, Saint Pachomius (d.346)¡A³QºÙ¬°¡§Father of Monasticism¡¨¡C¦Ó²Ä¤@­Ó©¾©óÁô­×¥Í¬¡ªº¬OSaint Anthony of Egypt (d.356)¡A¥Ñ©óSt. Anthony ªº¼ö¸Û¡A¥L§l¤Þ¤F¤@¸s¸òÀHªÌ¡C¦b¤½¤¸305¦~¥L²Õ´¤F¤@­ÓÁô­×¤hªº¹ÎÅé¡A¥L­Ì¨C¤H¦U¦Û¦í¦b¦Û¤vªº¤p«Î¡AÁõÄÝ©ó°|ªøºÞÁÒ¤§¤U¡A©Ò¥H¥L¤]³QºÙ¬°¡§Saint Anthony Abbot¡¨(Ref.: Peter & Linda Murray, Oxford Dictionary of Christian Art, Oxford University Press, New York 1996.) 
34 ·í¤¤¥@¬ö³B©ó®z¶Õ¬F©²©M¸gÀÙ¤£´º®ð¡B¦Ó¤å¤Æ±Ð¨|¤S¤£´¶¤Î®É¡A¦b¼Ú¬w¦U¦a¿³°_¤F«Ø¥ßÁô­×°|ªº­·®ð¡A¥L­Ì¦b¸gÀÙ¤W¨ü¨ì¤F¬Ó«Ò¡B¨p¤H¡B©M±Ð©vªºÃÙ§U¡CµÛ¦Wªº­×¹D°|¦³­^°êªºLindisfarne (635CE)¡Bªk°êªºCluny (910CE) ©M Clairvaux (1115CE)¡B¼w°êªº Hidesheim (1001-33CE) ©M ·N¤j§Qªº Assisi (1209CE)¡C¥L­Ì¬Oí©wªº¡B¿W¥ßªº©M¦Ûµ¹¦Û¨¬ªº²Õ´¡C¦bÄY®æ¿í´`©v±Ð¦u«h¥~¡A­×¹D°|¥çµÛ­«´¼¤O©MÃÀ³NªºÆp¬ã©M¹êÅç¡A³o¬O¤¤¥@¬ö®Éªº¯S¦â¤§¤@¡C¥Ñ©ó­×¹D°|¦³§Kµ|©M¨ü«OÅ@¡A¥L­ÌÅܱo´I¸Î©M¦³Åv¶Õ¡CÁô­×¥Í¬¡±Mª`°ò·þ©v±Ð±Ð¸qªº¬ã¨s¡F©¹©¹¤£³æ¥u¬O¼ö¤ß¯«¥\¡A¦P®É¤]¿n·¥°µ¾Ç°Ý¡CÁô­×¤h°£¤FµÛ§@©M¤â§Û®Ñ¥»¥~¡F¤]¾Ç²ß«Ø¿v¾Ç¡B¤uµ{¾Ç¡B¼Æ¾Ç¡BÂå¾Ç¡B©M­õ¾Ç¡F¨Ãø»sÀðµe©M¤ìªOµe¤Î¥H¹Ï¹³/¦r¬°¸Ë¹¢ªº¤â¼g¥»(illuminated manuscripts)¡C
35 ¤½¤¸600 - 800¦~¦b·Rº¸Äõ«Ø¥ßÁô­×°|¿³²±¡A¾ú¥v¤WºÙ¬°¬O¡u·Rº¸ÄõÁô­×°|ªº¶Àª÷®É´Á¡v¡C

36 Cross Page, from the Lindisfarne Gospels,c.700CE,Tempera on vellum. From the British Library, London. (Ref.: Janson H.W.,History of Art picture #352 p.272) ¡FThe Crucifixion, plague from a book cover, 8th century CE. Bronze, height 21 cm. National Museum of Ireland, Dublin. (Ref.: Janson H.W.,History of Art, picture #355 p.274)
37 ¨£5.3¤º®e¤Î¡u¤Q¤G¥@¬ö¸t¤èÀÙ¦U¡E¨È¦è¦èªº¤Q¦r¬[¡v¤§¹Ï¤ù¡C (Ref:ù°ê½÷½sµÛªº¡m¦b¦a­Y¤Ñ¡n 94-96­¶, ­»´ä±Ð°Ï§»ö©e­û·|¥Xª©1999¦~4¤ë¡C)

38 ¡§Elias has been a personal friend of Francis and his deputy from 1221 to 1227 ¡¨Ref.:Legend of the Three Companions, I, 2

39 Letter written by Brother Elias.
40 Elvio Lunghi,The Basilica of St.Francis of Assisi 6-7, Thames &Hudson.
41 Caroline H. Ebertshauser et al, Mary: Art, Culture, and Religion through the Ages, 225-263, The Crossroad Publishing Company, New York 1998

44 Caroline H. Ebertshauser et al, Mary: Art, Culture, and Religion through the Ages, 225, The Crossroad Publishing Company, New York 1998.

45¡§These features are: flatness of form, static figures, elongated proportions in the human forms, an emphasis upon frontality, and a code of color symbolism, characterized by a golden background and was without a normal sense of perspective or spatial relationship¡¨(Ref.: Diane Apostolos-Cappadona, Dictionary of Chritstian Art The Continuum Publishing Company, New York 1995.)
46¡§Proskynesis¡¨ (Gk. Veneration, reverence): During the Iconoclastic Controversy it was decided that worship (latria) is due to God alone, but a degree of veneration may be paid to people or even things-the Blessed Virgin, saints, icons, and relics. (Ref.: Peter & Linda Murray, Oxford Dictionary of Christian Art, 449, Oxford University Press, New York 1996.) 

47 Anne Derbes, Picturing the Passion in Late Medieval Italy Cambridge University Press, 1996
48 ³Ð2:17,ù5:12-6:14.
49 They included Cimabue, Pietro Lorenzetti, Simone Martini, and above all Giotto. (Ref.: Elvio Lunghi, The Basilica of St.Francis of Assisi? Thames & Hudson, London 1996.)
50 The First Painted Images, 16, (Ref.: Elvio Lunghi,The Basilica of St. Francis of Assisi, Thames & Hudson, London 1996.)
51¨£Ã¹°ê½÷½sµÛªº ¡m¦b¦a­Y¤Ñ¡n ¡u¤Q¤G¥@¬ö¸t¤èÀÙ¦U¡E¨È¦è¦èªº¤Q¦r¬[¡v 95­¶¤§¥ª¹Ï, ­»´ä±Ð°Ï§»ö©e­û·|¥Xª©1999¦~4¤ë¡C
52 Crucifix of San Damiano, at the Church of Santa Chiara was painted by Giunta Pisano, the Umbrian painter (12th Century) (¨£Ã¹°ê½÷½sµÛªº ¡m¦b¦a­Y¤Ñ¡n ¡u¤Q¤G¥@¬ö¸t¤èÀÙ¦U¡E¨È¦è¦èªº¤Q¦r¬[¡v 94­¶¤¤¹Ï, ­»´ä±Ð°Ï§»ö©e­û·|¥Xª©1999¦~4¤ë)¡C

53 For the shrine of Portiuncula (meaning a small portion), it is the small ruined church near Assisi which was one of the three repaired by S. Francis. This was where he received his vocation in 1208, where S. Clare received the habit from him in 1212, and where he died in 1226. It is now incorporated in the great 19th-century basilica built round it. (Ref.: Peter & Linda Murray,Oxford Dictionary of Christian Art?442, Oxford University Press, New York 1996.) (¨£Ã¹°ê½÷½sµÛªº ¡m¦b¦a­Y¤Ñ¡n ¡u¤Q¤G¥@¬ö¸t¤èÀÙ¦U¡E¨È¦è¦èªº¤Q¦r¬[¡v¤§¹Ï¤ù¡A95­¶ ¦³Christus patiens ¤§¤T­Ó¨Ò¤l, ­»´ä±Ð°Ï§»ö©e­û·|¥Xª©1999¦~4¤ë)¡C

54 Jaroslav Pelikan, The Illustrated Jesus through the Centuries, 1-2, New Haven & London, Yale University Press 1997

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