伊莉莎白一世肖像的形塑與詮釋

Abstract

本文由伊莉莎白一世在位期間繪製的肖像畫，探討其風格形式、政治運作與形象塑造。本文主要關注的面向有三：其一探究十六世紀王室肖像的用途與發展脈絡；其二伊莉莎白肖像的形式與風格轉變；最後由伊莉莎白個人肖像品味的再發現，延伸探討伊莉莎白在其肖像製作機制與管控措施擬定時所扮演的角色與影響。基於伊莉莎白時代肖像製作與管控措施皆未生效或落實、她也多次提及對肖像與肖像畫家的不信任，且多數時候無意與畫家面對面繪製新的肖像，顯示女王無意管控肖像的製作。進一步分析伊莉莎白的肖像喜好，女王偏好收藏袖珍肖像，而板面繪畫作品多為因應國政需求而製。因此，伊莉莎白肖像中再現的女王圖像，並不單為女王自我呈現或自我塑造的表現，而是在與朝臣及各類利益團體互動後妥協的結果。對於伊莉莎白肖像製作與管控的重新理解，將有助於修正長久以來被漠視的女王個人喜好，並重新審視袖珍畫在伊莉莎白肖像中的重要地位。

This thesis investigates the style, and self-representation in portrait paintings of Queen Elizabeth I which were produced during her reign. This study examines three aspects in her portraits. First, the uses and development of royal portraits in the sixteenth century Europe are probed. Subsequently, the style in Queen Elizabeth I’s portraits are examined. From the perspective of the Queen herself, this study finally explores further to two issues regarding portrait production and control which have long been overlooked. First is the role which the Queen has played in the production and control of her portraits. The other is how much the Queen’s personal preference and taste for her portraits affects the style of her portraits, as well as production and control mechanism for her portraits.Through analysis and comparison of surviving documents, the finding reveals that the Queen did not put much effort on controlling the production of her portraits. Her personal preference for portraiture was miniature rather than panel painting. The representation of the Queen’s image was not merely a reflection of her self-representation and self-fashioning, but a result of compromise after interacting with her courtiers and subjects. A reconsideration of the result and reexamination of the importance of miniature in the era may help to redefine the Queen’s personal preference that has been long neglected.