Please use this identifier to cite or link to this item:
|Other Titles: ||Meaning of Ensor's mask and the revelation of the face|
Sens du masque d'Ensor et la révélation du visage
|Authors: ||謝瓊儀;Hsieh, Chiung-Yi|
|Keywords: ||恩索爾;光;崇高;面具;臉;表情;人性;James Ensor;light;Sublime;Mask;face;expression;humanity|
|Issue Date: ||2014-01-23 13:14:47 (UTC+8)|
This thesis was developed mainly based on the creative concept of James Ensor. He constantly mentioned the importance of the individual in his own write and believed that there are no rules for artistic creation. In these abundant and varied creative elements, the artist noticed the relation of the vision and the light, and meanwhile he criticized the light ray used by the Impressionists and the Neo-impressionists. Due to the reason, the researcher tried to find out by Light what Ensor was against, and finally discovered that in fact the manner of using the light in the pieces of paintings of Ensor contains a sense of sublime. The result tells that the most important thing is always the emotional feelings from the painter. About the light and the light ray, the researcher also propose a question of representation : how to represent actually what we see ? The answer is in the mask which will be analyzed in the following part.
For Ensor, the mask is significant and it has become the most famous characteristic in his whole creations, so the researcher intended to pursue the way of seeing through the mask. The process of this research in this part responds to “Representation” by the light. How to lead the viewer to understand the meaning of Ensor’s mask ? Even though the masks he presented derived from the various types of drama and primitive society, Ensor didn’t follow the original appearance of features, instead he focused on the expression on the face. Regarding the expression, the concept of French philosopher Emmanuelle Levinas can support the point. How do we look at the expression from Ensor''s point of view ? Here we will discuss from the relation between outward and inward to the painter''s point of view. From masque to face, we can understand clearly the painter''s thought. He not only broke the limit of the symbol on the outward of the mask, but also told his own inner spirit which his so-called humanity. Above all, these concepts came from his own experiences and were included by his unique character.
In the content, first of all, the researcher clarify the direction of the thesis by analyzing the documents. Currently, the mask was considered in the category of Carnival and was interpreted with a rebellious spirit or a satire on human nature. However, the thesis is completely different from the Carnival logic but emphasizes merely on Ensor''s opinions. By the mask and the face, the researcher realized what the painter might want to express. After comparing the difference, the researcher will take a few paintings for example to notice the evolution and the related causes of Ensor’s paintings. This part will help to understand that changes of light and the mask are mainly from emotions of the painter. Then, entering the research through the light and the mask, the researcher also discusses several paintings to explain and lead the viewer to a better understanding to the painter''s perspective.
|Appears in Collections:||[法國語文學系暨研究所] 學位論文|
Files in This Item:
All items in 機構典藏 are protected by copyright, with all rights reserved.