十七世紀尼德蘭地區如雨後春筍般大量出現冬景畫，其質量與主題在藝術史的綿延長流中獨一無二，幾乎無其他地區或時代的作品可與之相比，成為不可忽視的一個研究領域。Hendrick Avercamp（1585-1634），便是十七世紀冬景畫的代表畫家，且幾乎傾其一生專注於冬季風景畫的創作。

　　Avercamp的冬景畫除描繪尼德蘭的冬季景致，也描繪有無數的人物活動景象，可說同時具有風俗畫與風景畫的特徵。本論文從冬景畫的發展脈絡開始，逐步為Avercamp的風格發展進行梳理、解析，同時將畫作內容與十七世紀尼德蘭的文化活動、地理資訊與繪畫理論分析比對，並加引小冰期的氣候資料，探討繪畫與氣候變化間的關係。

　　小冰期的肆虐與氣候變化，對十七世紀冬景畫的發展與圖像的內容帶來部分影響。但總體來說，時人的世界觀與繪畫的圖像及視覺傳統則扮演更重要的角色。Avercamp自南方佛拉蒙傳統中建構出北方特色，並使用無數的民間軼事組成魅力獨具的冬季景象。如同Karel van Mander的繪畫理論與喀爾文教派所推崇的「神性自然」，Avercamp的畫作成為一面反射十七世紀尼德蘭社會的鏡子；無論好壞、貧富、真實或者虛構，Avercamp如同在建立圖鑑百科般，將世界收進自己的畫作裡，創造出一個普世適用的冬季風景。使得直到今日，他的作品仍持續主宰我們對尼德蘭的冬季視覺印象。

In the 17th century, a large number of winter landscapes emerged in the Netherlands. The quality and themes were so unique, almost no other region or era can compare with it. Spent almost entire life devoted himself to winter landscapes, Hendrick Avercamp (1585-1634) became a representative painter of the winter landscape painting in the era.

The winter landscape of Hendrick Avercamp had both features of genre painting and Landscape painting since he not only depicting winter scenes but also drew countless human activities in the landscape. This dissertation begins with the history and development of winter landscapes, then gradually sorts out and analyzes the development of the style of Avercamp’s paintings. At the same time, I use culture activities, geographic information, and painting theory in the 17th century Netherlands to analyze and compare with the elements in the paintings. Finally, I discuss the relationship between painting and the climate change through climate data of the Little Ice Age.

The climate change and ravages during the Little Ice Age had partially affected the development of the winter landscape and the content of the images, whereas the metaphysical concept of the world and visual tradition played a more important role. Avercamp used countless anecdotes to create a unique winter scene and built out the northern character of south flemish tradition. As Karel van Mander's painting theory and the "divine nature" promoted by the Calvinists, no matter it was good or bad, rich or poor, real or fictional, Avercamp's paintings reflect the society of the 17th century Netherlands as a clear mirror. Avercamp collected the world into his paintings, created a universal winter landscape as an encyclopedic illustration. That is why his work continues to dominate our impression on the winter scene of the Netherlands until now.

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