本論文的研究對象為早期尼德蘭畫家Hans Memling（c. 1435–1490）作品中一種特有的祭壇畫。單屏的長方形尺幅上面有一系列有連續性之二十五個敘事故事被描繪統整在同一圖畫空間內。在Memling的所有作品中，有兩件相近此構圖類型的作品皆是祭壇畫。其中一件為1470年左右的作品，主題為耶穌基督受難，目前展示於義大利杜林市Galleria Sabauda美術館；另一件是1480年的作品，題名Seven Joys of the Virgin，描繪了聖母和耶穌基督的一生與三王朝拜（Adoration of the Magi）為主題的傳奇故事，目前展示在德國慕尼黑Alte Pinakothek（老繪畫美術館）。在1970年代，德國藝術史學家Ehrenfried Kluckert以德文「Simultanbild」指稱這典型的祭壇畫，學者對此類作品仍沿用這個名稱。

本論文以研究作品Seven Joys of the Virgin為主軸，分析藝術家如何在作品中呈現其敘事模式，以期許更加了解這類作品在Hans Memling創作中的藝術成就。此件作品利用鳥瞰式的高視角，將基督教信仰中的聖經故事呈現、鋪陳在全景式的圖畫空間，故事人物的互動從近景到遠景皆有安排，建築物旁、山坡地間、村子裡、城市中、海水邊，比較不像是神聖化的宗教圖像，反而像是真實世界裡的風景和人物。這個作品最初受到身兼布魯日市府參事的皮革馬具商人Pieter Bultinc 委託，於1480年完成，陳列在布魯日聖母教堂內皮革馬具商人工會禮拜堂之祭壇供奉。

近期學術研究將此祭壇畫與教堂內敬拜禮儀和中世紀晚期法蘭德斯地區重要慶典日裡的基督聖儀相作連結，並進一步指出這件祭壇畫與十五世紀一些重要的信仰讀本有關。例如當時廣泛流通由Ludolph of Saxony 所撰寫的Vita Christi (Life of Christ)，這類相關讀本主張從個人開始直接祈禱，並影響力行朝聖的重要性。而Memling的這件作品便存在一種精神上想像性質的朝拜功能，信仰者在祭壇畫前依循所描繪的故事祈禱，拜訪了各個聖經事件和場景，有如感同身受的到遠方聖地完成朝聖的實踐。可是以上這些研究多以探討作品的類型和功能為主，尚未見得針對作品裡個別圖像和場景之研究。

論文將以這點出發，專注於作品裡特定故事和場景進行研究。 在作品最前景的中間位置，三王朝拜聖母與子的場景尤其顯著，描繪面積也占相當比例，似乎有一種「特別的」重要性？此外Hans Memling有兩幅更早的三連屏祭壇畫同樣以三王朝拜聖母與子當作主題；本文將檢視兩件稍早的作品與本研究主軸作品在相同主題描繪上如何挪用、轉換，並分析其中差異。另外針對Hans Memling作品中三王朝拜主題的構圖，有學者指出此乃Memling曾停留布魯塞爾重要畫家Rogier van der Weyden工作室的見習證明。本文將會針對此課題進行檢視研究。此外，接續內容將會與德國科隆Stephan Lochner三王朝拜聖母與子的祭壇畫相連；此故事主題乃德國科隆大教堂的信仰核心，於西元1440年代，教堂裡Stephan Lochner的祭壇畫被科隆當地最有權力的市政組織The City Council of Cologne恭奉在該組織之禮拜堂內，該作品同樣描繪三王朝拜聖母與子的主題圖像，而Rogier van der Weyden 與Hans Memling 的作品也採用了如同該作品的中央對稱構圖。

最後本研究同時將會探討作品，從Hans Memling於畫作中如何鋪陳、描繪敘事主題內容裡的種種細節在畫面中、以及這些細節如何對觀者傳達敘事內容，以至於如此敘事方式對觀者而言將達成什麼樣的效果與閱讀理解。進一步藉由探討畫面中物件細節的描繪，一方面期望更深入的理解這樣作品在基督教信仰中的意義；另一方面則呼應稍早的學術研究成果，以理解Hans Memling的此件作品，在世俗商業工會的禮拜堂禮祭壇上，如何達成其藝術贊助主的需求，與其所衍生的藝術和信仰功能。

The present study is dedicated to a particular type of altarpiece in the work of the German-Dutch painter Hans Memling (c. 1435–1490), which combines a continuous series of representational scenes and narrative episodes in a unified picture space. Two of Memling’s works handed down to us follow this scheme: a panel representing scenes from the Passion of Christ in the Galleria Sabauda in Turin, which can be dated around 1470, and the so-called Seven Joys of the Virgin of 1480 with episodes of the life of Christ and the Virgin and scenes from the legend of the Magi, today in the Alte Pinakothek in Munich. In the early 1970s, the German art historian Ehrenfried Kluckert coined the term “Simultanbild” for this category of altarpiece, an expression which is still nowadays commonly used by scholars.

In order to intensify the view on Memling’s narrative mode and to obtain more results concerning the position of this genre of painting in the master’s complete œuvre, this survey will concentrate on one single work, the Seven Joys of the Virgin in Munich, which had been created for the altar of the tanners’ chapel in the Church of Our Lady in Bruges. Recent studies have connected this altarpiece with devotional practices performed on the occasion of the major Church festivals in late medieval Flanders. Scholars have moreover argued that the painting may have invited contemporary viewers to a spiritual pilgrimage in reference to 15th-century religious texts that helped readers to imagine the events of Christ’s life and passion in terms of undertaking an imaginary pilgrimage to the Holy Land. While recent studies on Memling’s Simultanbilder were mainly focused on the works’ religious function and thus considered the paintings in general, the complex microcosm of the single narrative scenes was rather neglected.

It cannot pass unnoticed that the scene of the Adoration of the Magi in the central foreground holds a special position among the twenty-five episodes due to its scale, layout and formal isolation. Therefore, this paper first exam the relationship of the composition of Adoration scene to two Memling’s earlier triptychs that the subject of their central panel represents the same motif we have concerned. The core of the comparison, then, finds how Memling’s particular interest in geometric rendering works especially to the same ruined stable in two different events, Nativity and Adoration of the Magi. The centralized arrangement of figures is Stephan Lochner and Rogier van der Weyden’s major character in their famous work, which also represents Adoration of the Magi. Hence, this paper analyzes how Memling’s appropriation works on the same topic.

Not only the prominence of the Adoration scene is noteworthy, but also the detailed description of the legend of the Magi is an exceptional feature, which must have been related to the painting’s original function. Special attention will, hence, be paid to this particular iconographic subject and the meticulous attention Hans Memling had addressed in the details of the narrative. A principal question will, therefore, be why the story of the Magi is rendered in such a detailed manner. The paper will further analyze what effects of these details have given to its viewer. It is the goal of this thesis to examine more closely Memling’s narrative mode by focusing on the legend of the Magi. The analysis of these scenes might lead to a better understanding of the work’s function in the context of a chapel used by a lay corporation.

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