本研究專注於蘇格蘭格拉斯哥建築師查爾斯．雷尼．麥金塔(Charles Rennie Mackintosh, 1868-1928)設計生涯中不同階段的兩棟建築上裝飾的植物題材，代表建築分別是皇后十字教堂(Queen’s Cross Church, 1897-1899)和蘇格蘭街道公立學校(Scotland Street Public School, 1903-1907)。皇后十字教堂建造於麥金塔成名之時，代表麥金塔個性化創作顛峰，它不同於一般基督教教堂，以大量植物題材代替十字架作為裝飾，象徵意味十足；而蘇格蘭街道公立學校則是代表麥金塔在1900年後設計生涯的另一個階段，此時建築上植物題材的裝飾傾向以幾何形式呈現。植物作為麥金塔一生的創作靈感來源，可由1883年至1894年麥金塔在格拉斯哥藝術學校期間所受課程訓練的成果得知，許多當時所繪的植物造型都延續到之後的建築設計上。植物的題材與特殊造型變成麥金塔個人設計風格特徵。上述這兩棟建築上的裝飾見證其植物題材創作風格的形成與轉變，因此值得深入討論，檢視作品當中呈現的個人化特色以及時代流行現象，並分析植物題材在宗教和世俗建築上分別代表的意涵和植物題材對麥金塔個人的意義，以及其風格轉變的因素。

This study focuses on the plant motifs decorated on two most distinctive buildings – Queen’s Cross Church (1897-1899) and Scotland Street Public School (1903-1907) – designed by Scottish architect Charles Rennie Mackintosh (1868-1928). When compared with the two construction phases of the Glasgow School of Art between 1896-1899 and 1907-1909, Queen’s Cross Church, his only ecclesiastical building, and Scotland Street Public School in Glasgow, his late complete educational commission, give a panorama of the development of Mackintosh’s architectural ornament associated with plant motifs in the 1890s and the decade after 1900. Queen’s Cross Church strongly shows his idiosyncratic details in the choice of the symbolic adaptation of plentiful plant motifs derived from his early graphics. Scotland Street Public School is a representative work used the geometric forms in architectural ornament.
This study is to explore the sources of and references in Mackintosh’s training toward plant motifs in school and how Mackintosh came to form his principles of design based on those of several plant motifs. Moreover, it looks at the analysis of Mackintosh’s plant images and interpretation of his plant motifs decorated on architecture by means of tracing back plant form studies that he once used as references in his work. The subject matter in chapters 2 and 3 of this thesis discusses the two main groups of materials used in two-dimensional graphics in Mackintosh’s student life, and those used in three-dimensional architectural ornament of Queen’s Cross Church and Scotland Street Public School, respectively. The conclusion summarizes analysis findings on the development of Mackintosh’s artwork, reaffirms the connotations of plant motifs, both in religious or secular symbolism, in order to define these meanings for Mackintosh, and interprets the significance of the gradual transitional steps both in the form and thought in Mackintosh’s artwork.

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