| Summary: | 碩士 === 國立臺灣師範大學 === 美術學系 === 98 === Puvis de Chavannes is a French painter in the nineteenth century. His mural paintings often decorated public buildings throughout France, including the museums in Amiens, Marseilles, Lyons and Rouen, as well as the Pantheon, the city hall in Paris, and the Sorbonne University. The poetic style of his paintings is really popular with the government and the crowd. This thesis concerns on the form of the sacred woods in the Sorbonne mural, and the words of “the sacred wood” are from the subject matter of Puvis’ Lyons mural that was inspired form Mount Parnassus where the Muses inhabited. By using Ewrin Panofsky’s method in Iconology, the purposes of this thesis are to describe, analyze and interpret the painting, discuss how this artist uses the imagery of “the academic sacred wood” in the Sorbonne University, and explain the influence of the allegory of this painting.
The content of this thesis includes the introduction, the text, and the conclusion. The text is divided into four chapters. In Chapter 1 I introduce the age and background of the artist, all the messages in this commission, representing the history and the important meaning of the Sorbonne University, and also the process of the creation and the change of the ideas through the artistic drafts. Because of the great size of the Sorbonne mural, the painting is divided into three parts. In Chapter 2 I study the subject matters of the Sorbonne mural, and discover the contents and the matter of this work. In Chapter 3 there is the image research of the related subjects, focusing on understanding the allegory of the Sorbonne mural through researching the history of the subject matters and images. In Chapter 4 I synthesizes the researches of Chapter 2 and 3 in order to discuss the complete allegory of the Sorbonne mural; to represents the influential force for the public, I also research some debates of the literatures, both on body and the gender, the reason why the government supported this artist, the theory of the unconscious, and the Frenchness. Finally, in the conclusion, I extend the discussion of Chapter 4, including the debates on the Frenchess that concerns the relationship of this artist and the country. By figuring out Puvis’ identity of the ground, nation, and the motherland, my conclusion is that he used the form of the sacred wood as the media not only to imagine the source, the present and the future of French, but also to explore his personal modern Utopia.
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