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題名 | In Pursuit of a Benign Imagery of a World City: Turner's London from Greenwich, 1809=追尋一個世界城市的文學意象:探究特納1809年London from Greenwich畫作 |
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作者 | 楊永源; | 書刊名 | 臺中師院學報 |
卷期 | 14 2000.06[民89.06] |
頁次 | 頁463-485 |
分類號 | 948.4 |
關鍵詞 | 文學意象; 特納; London from Greenwich畫作; 水彩畫; |
語文 | 英文(English) |
中文摘要 | 1809年特納(J.M.W. Turner)完成了London from Greenwich,此畫包含有關於倫敦的多樣的文學意象。往後的十多年間,特納完成了五、六張以倫敦為主是的水彩畫,包括1825年的Views of London from Greenwich。在London的主題中,特納表現商業與貿易時代的都市生活觀。倫敦作為英國商業與貿易中心,常被論者援引為例子,用以比美威尼斯、羅馬、迦[]基等古老帝國。而古老帝國的衰頹,常被視為政治力量起落的模式:「貿易-繁榮-腐敗」這三部曲,是古代輝煌帝國衰亡不可倖免的命運。而這個由繁榮到衰亡的模式,給了藝術史家詮釋London from Greenwich帶上道德色彩,認為特納拿此畫來警世,使社會免於腐化。從道德化的觀點,藝術史家把London from Greenwich作為佳例,用以比照威尼斯為主題的畫作---從1820年代開始特納即已著迷的題材。除此之外,特納的都市生活觀主題,亦取自James Thomson的Seasons。 本文探究特納的London主題,以及他在這畫中使用的文學的意象。特納使用Byron的詩在自己的Venice主題畫作上,藉此突顯文學意象中古老市國之起落,亦是本文亦探討之重點。同時本文也從廣泛的社會背景,研究自十八世紀以來London作為貿易都市的圖像。 本文之結論認為London from Greenwich是用以歌頌英國的國家榮耀,以及歌詠商業及貿易時代的到臨;特納對工業社會表現出樂觀而非觀之傾向。 |
英文摘要 | In 1809, Turner completed London from Greenwich (Fig.1), encapsulating broad range of literary imagery of the growing metropolitan London. Following the completion of London from Greenwich, there were nearly half dozen of watercolours on the theme of London finished by Turner in the next decade, including the 1825's watercolour Views of London from Greenwich. (Fig.2) In his London themes Turner represented his view of urban lives in a commercial and trading age. As centre of commerce and trade of Britain, London was more often than not taken as example of a rival of the past glorious cities and empires such as Venice, ancient Roam, and Carthage. However, the history of the declined and the ruined past glorious were considered to be model of the rise and fall of these political powers themselves. The three-step mode of rise and fall, Commerce-wealth-corruption, were thought to be inevitable fate that brought the past glorious to fade away. This episodic format of rise and fall helped art historians to interpret London from Greenwich in the light of moral concern which, for example, suggests that this painting was used by Turner as weapon to warn corruption. In this morality related perspective London from Greenwich has been taken by art historians as a sound example to parallel itself with Venice, the theme of cityscape Turner had been fascinated since the 1820s, and to suggest that Turner's London from Greenwich, and other pictures of British industrial scenes as well, were represented in moral perspectives. However, it was also the literary landscape imagery of Thomson's Seasons from which Turner might have derived in terms his pursuit of the images of urban lives. This essay discusses Turner's representation of London and his uses of literary imagery in this picture. In order to single out how literary imagery of the rise and fall of the ancient cities and empires, which became themes in literature in the eighteenth century, this essay also examines Turner's use of Byron's poems in his Venice series. Meanwhile, it also deals with the image of London as a trading city, in a broad social context, looking back to the early eighteenth century. Many useful literary and historical sources would be reviewed. This essay concludes that Turner's London from Greenwich was made to celebrate English national pride and to eulogize the new age of commerce and trade. It confirms that Turner represented industrial society in an optimistic rather than a pessimistic light, and one might expect his positive attitude towards social change to be found in London series as much as in industrial landscapes Leeds and Dudley. |
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