論文摘要
本論文意在藉《豐饒時節日課經》(Très Riches Heures)此一繪製作者與年代跨越法國十五世紀的祈禱書，探究作品背後變動的社會與文化現象。鑑於過去學者對〈十二月令圖〉單幅畫作的鑑定始終難有定論，且多半僅針對第一作者與贊助者，即蘭布兄弟和貝利公爵(1340-1416)的合作關係，而罕見作品完成者—傑昂‧科倫布工作坊(c.1430-1493)與薩佛瓦公爵之深入研究。是故，本文將借用視覺文化的觀點，從贊助的角度切入，鋪陳作品從繪製到使用的可能脈絡，以求突破以往僅著眼於單一作者，純粹討論風格定位與傳承的侷限。文中第一章著重在月令系列圖像與風格的追溯和分析，除了彰顯貝利公爵如何基於個人需求，主導畫家的繪製內容外，更歸結出蘭布兄弟繪製的宮廷系列，也就是〈一月〉、〈四月〉、〈五月〉、〈八月〉，以及傑昂‧科倫布工作坊繪製的勞務系列〈十一月〉。在引證前後兩工作坊的其他畫作後，分梳出該日課經中併置的「巴黎的國際歌德風」與「布魯日的地域風格」。第二章基於先前歸納的風格歧異性，以作者身份較明確的蘭布兄弟和傑昂‧科倫布為對照，分別探討兩者地域背景、畫家與贊助者的關係，並推測工作坊可能的不同運作情形。第三章主要以貝利公爵為釋例，闡述西歐王室贊助者的實際需求與文化品味。第四章著眼於消費者的立場，配合十五世紀日課經閱讀文化之相關研究，強調《豐饒時節日課經》的使用脈絡與視覺性，歸論〈十二月令圖〉匯聚法國十五世紀前、後兩種視覺模式的時代意義。
出自蘭布兄弟之手的宮廷系列，表面上雖符合十二月令的圖像典型，但畫中再現的人事物，幾乎皆可從貝利公爵的財產清冊或傳記中尋得確實依據，可謂其個人生命與重要財產的圖像史料，豐富而多變。相較之下，傑昂科倫布工作坊繪製的部分，不僅少有贊助者日常活動的再現，更重複套用早年習自Jean Fouquet工作坊的藍色漸層薩佛瓦背景，儼然成為其風格的註冊商標。儘管該書前後兩位贊助者皆為法國皇室之後，但他們委託、贊助的機制卻漸呈商業化、現代化。貝利公爵挾其豐厚的政經實力，網羅所有手抄本專業人員於其門下，針對其個人品味與需求共同合作，訂製出專屬的私人祈禱書。他除了遵照西歐王室贊助傳統，提供藝師生活所需，並授與王室封號外，更經由相互贈禮，拉近彼此距離，建立主僕中帶有友情、箝制中帶有自由的微妙關係。相較之下，薩佛瓦公爵的委託方式則因除卻交遊、保持距離，而顯得效率較高，這與當時Bourges一地手抄本製作產業因大學興建和貿易頻繁，促使不同專業工作坊各自獨立、系統化合作的機制有關。

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