根茲伯羅 (Gainsborough) 於十八世紀中期英國進入近現代時期旅居巴斯(Bath)，接觸當地的社交圈，其中不乏貴族、美學家、藝術家。當時英國社會對「風景園林」和「如畫」美學的討論風氣頗為興盛，就在此種氛圍下，根茲伯羅的風景畫或許受過影響而展現它的美學與鄉野獨特性。

根茲伯羅在巴斯時期新創了「鄉民市集行旅」主題，展現當時貴族對過往鄉村的懷舊、城市觀者對鄉村的好奇心、農民往返鄉村城市賣農產品求生活的情境，以及隱晦反映出圈地運動(the enclosure)和工業革命對鄉民所造成的影響。根茲伯羅一向對說教性的歷史寓意畫不感興趣，由於根茲伯羅的宗教取向與他天生感性，他的風景畫始終帶著表現性，讓觀者看到畫面就能引發感受。

本論文採藝術社會史學途徑，分析在前述特別的社會脈絡下根茲伯羅的藝術。第一，回顧文明的過渡與變遷，以瞭解英國歷代的文化遺留對英國鄉村與城市的影響。第二，查探根茲伯羅藝術中再現(representation)的理想模式與人物的真實性格在鄉民再現結果的不一致性，以期了解他如何在十八世紀的藝文環境中凸顯他的藝術才華。第三，探討勞工圖像的功能；在森林中活動這些勞工使得森林成為主題，圖像分析的結果將讓觀者得以獲悉根茲伯羅藝術的義涵。

本論文運用主要方法學有：布勞岱爾 (Fernand Braudel) 的「全面歷史觀」(histoire totale)的概念、圖像學的知識，以及社會史觀研究法的技巧，分析和根茲伯羅風景系列畫作主題相關的圖像和資料。

本論文運用主要方法學有：Fernand Braudel的「全面歷史觀」的概念、圖像學的知識，以及社會史觀研究法的技巧，它們均作為圖像和文資的分析，而這些分析與他的風景系列畫作主題相關。

關鍵字：根茲伯羅、英國繪畫、風景畫、鄉民市集行旅、巴斯時期

This thesis explores the theme of peasant migration in Thomas Gaisnborough’s landscape paintings made during his career of the Bath period. It analyzes the social and historical impacts Gainsborough had received and responded to the art world. Gainsborough settled in Bath in the mid-18th century, the pre-modern period in British social history. He ensconced himself in artistic circle of Bath; among whose members were the nobles, the aestheticians and the artists of his peer group. Conversations held among the groups on topics of ‘Landscape gardening’ and ‘the picturesque aesthetic’ tended to be their common interests, both in the theoretical and practical fields. Gainsborough’s landscape paintings represented his aesthetic awareness in picture making. His unique painting technique interwoven with intellectual dialogues might have helped in acquiring a supreme quality of rural beauty.

During his Bath period, Gainsborough established ‘the Countrymen Market Migration’ theme in landscape painting. In this specific theme, aristocratic nostalgia for rural life, curiosity of countryside from city-dwellers, peasants going to or returning from the market were carefully depicted. However, the influences of the enclosure movement and the industrial revolution upon countrymen were nevertheless vaguely reflected. Gainsborough had shown little interest in doing historical and allegory paintings. His landscape paintings were much more expressional other than didactic. This expressional mode in picture making gives direct emotional stimulations to the spectators, and response in return to Gainsborough’s religion and sensibility with repercussion and sympathy.

This thesis applies social historical approaches to analyze Gainsborough’s art in this specific social context. Firstly, it examines how British cultural legacies impact on rural and urban cultural in order to understand cultural evolution and social development in eighteenth-century. Secondly, this thesis explores the inconsistence between the ideal model and the real character in representation of countrymen in Gainsborough’s art in order to realize how he managed to illustrate his talent in the eighteenth-century art milieu. Thirdly, this thesis reveals the function of laborers that move in the forest as a theme to understand the meaning of Gainsborough’s art.

In the thesis, Fernand Braudel’s concept of “histoire totale” and knowledge of iconology, as well as skills of social historical researches are taken as the main methodologies in analyzing the pictures and documents that are related to Gainsborough landscape paintings of this specific theme.

Keywords：Gainsborough, English Painting, Landscape Painting, the Countrymen Market Migration, Bath period.

一、英文書目
Asfour, Amal and Paul Williamson. Gainsborough’s Vision. Liverpool: Liverpool University Press, 1999.
Barrell, John. The dark side of the landscape: The rural poor in English painting 1730-1840. Cambridge: Cambridge University Press, 1980.
Bellori, Giovan Pietro. The Lives of the Modern Painters, Sculptors and Architects. Translated by Alice Sedgwick Wohl. New York: Cambridge University Press, 2005.
Burke, Peter. Eyewitnessing: The Uses of Images as Historical Evidence. London: Cornell Univesity Press, 2001.
Belsey, Hugh. Thomas Gainsborough: A Country Life. Munich: Prestel, 2002.
Bermingham, Ann, ed.. Sensation and Sensibility: Viewing Gainsborough's Cottage Door. New Haven: Yale University Press, 2005.
———. Landscape and Ideology: the English Rustic Tradition 1740-1860. Berkeley: University of California Press, 1986.
Boulton, William B.. Thomas Gainsborough : His Life, Work, Friends, and Sitters. London: Methuen, 1907.
Bray, Xavier and Bartolomé Esteban Murillo. Murillo: At Dulwich Picture Gallery, London: Dulwich Picture Gallery, 2013.
Büttner, Nils. Landscape Painting: A History. Translated by Russell Stockman. New York: Abbeville Press Publishers, 2006.
Cormack, Malcolm. The Paintings of Thomas Gainsborough. Cambridge: Cambridge University Press, 1991.
Faith, Rosamond. The English Peasantry and the Growth of Lordship. London and New York: Leicester University Press, 1997.
Fulcher, Edmond Syer. Life of Thomas Gainsborough. Edited by George William Fulcher. London: Longman, Brown, Green and Longmans, 1856.
Gainsborough, Thomas. The Letters of Thomas Gainsborough. Edited by John Hayes. New Haven: Yale University Press, 2001.
Hayes, John. The Landscape painting of Thomas Gainsborough: A Critical Text and Catalogue Raisonné, 2 vols.. London : Sotheby Publications, 1982.
———. Drawings of Thomas Gainsborough, 2 vols.. London: A. Zwemmer, 1970.
Hermann, Luke. British Landscape Painting of the Eighteenth Century. New York: Oxford University Press, 1974.
Leopard, Jonathan Norton, ed. The World of Gainsborough: 1727-1788. United States: Time-Life Books, 1974.
King, Steven. Poverty and Welfare in England 1700-1850. Manchester: Manchester University Press, 2000.
Paulson, Ronald. Emblem and Expression: Meaning in English Art of the Eighteenth Century. Cambridge and Mass.: Harvard University Press, 1975.
Postle, Martin. Angels & Urchins: The Fancy Pictures in 18th-Century British Art. London: University of Nottingham, 1998.
Roche, Julian. The International Wool Trade. Cambridge: Woodland Publishing Ltd, 1995.
Rosenthal, Michael. The Art of Thomas Gainsborough: a Little Business for the Eye. New Haven & London: Yale University Press, 1999.
Rott, Herbert W. ed.. George Stubbs: 1724-1086 Sience into Art. Restel: Munich, 2012
Short, Brian ed.. The English Rural Community: Image and Analysis. Cambridge: Cambridge University Press, 1992.
Sloman, Susan. Gainsborough's Landscapes: Themes and Variations. London: The Holburne Museum, 2011.
———. Gainsborough in Bath. New Haven: Yale University Press, 2002.
Sutherland Gower ,Ronald. Thomas Gainsborough. London: G. Bell and Sons, 1903. (London: Chiswick Press, reprinted.)
Thacker, Christopher. The History of Gardens. California: University of California Press, 1985.
Vaughan, William. Gainsborough. London: Thames & Hudson, 2002.

二、英文期刊
Asfour, Amal and Paul Williamson. “Splendid Impositions: Gainsborough, Berkeley, Hume.” Eighteenth-Century Studies, Vol. 31, No. 4 (Summer, 1998): 403-432.
———. “Gainsborough’s Wit.” Journal of the History of Ideas, Vol. 58, No. 3 (July, 1997): 97-501.
Belsey, Hugh. “A Visit to the Studios of Gainsborough and Hoare.” The Burlington Magazine, Vol. 129, No. 1007 (Feb., 1987): 107-109.
Bending, Stephen. “Horace Walpole and Eighteenth-Century Garden History.” Journal of the Warburg and Courtauld Institutes, Vol. 57, (1994): 209-226
Blunt, Anthony.“The Heroic and the Ideal Landscape in the Work of Nicolas Poussin. ” Journal of the Warburg and Courtauld Institutes , Vol. 7 (1944): pp. 154-168.
Editorial. “Gainsborough’s Collection of Pictures.” The Burlington Magazine, Vol. 84, No. 494 (May, 1944): 106-110.
Hayes, John. “Gainsborough Drawings: A Supplement to the Catalogue Raisonné.” Master Drawings, Vol. 21, No. 4 (Winter, 1983): 367-391.
Hind, A. M.. “Van Dyck and English Landscape.” The Burlington Magazine, Vol. 51, No. 297 (Dec., 1927): 292-297.
Holmes, Charles. “Gainsborough, Rembrandt and Claude.” The Burlington Magazine, Vol. 61, No. 353 (Aug., 1932): 77-79.
Lambirth, Andrew. “Gainsborough in Town and County.” The Art Book, Vol. 10, Issue 3 (Jun., 2003): 4-6.
Nygren, Edward J.. “Review.” Eighteenth-Century Studies, Vol. 18, No. 2, (Winter, 1984-1985): 239-242
Paulson, Ronald. “Gainsborough's Landscape Drawings.” Eighteenth-Century Studies, Vol. 6, No. 1 (Autumn, 1972): 106-117.
Martin, F. David. “Review.” The Journal of Aesthetics and Art Criticism, Vol. 35, No. 1 (Autumn, 1976): 99-101.
Pointon, Marcia. “Gainsborough and the Landscape of Retirement.” Art History, Vol. 2, No. 4, (December, 1979): 441-455.
T., P. M.. “Gainsborough’s Discoveries at Ipswich.” The Burlington Magazine, Vol. 51, No. 296 (Nov., 1927): 239.
Thomson, Gladys Scott. “Two Landscapes by Gainsborough.” The Burlington Magazine, Vol. 92, No. 568 (Jul., 1950): 200-202.
Waterhouse, Ellis Kirkham. “Gainsborough’s Fancy Pictures.” The Burlington Magazine, Vol. 88, No. 519 (Jun., 1946): 134-141.
Whiffen, Marcus. “A Gainsborough Letter.” The Burlington Magazine, Vol. 80, No. 467 (Feb., 1942): 46-49.
Woodall, Mary. “Gainsborough Landscapes at Nottingham University.” The Burlington Magazine, Vol. 104, No. 717 (Dec., 1962): 560-563.
———. “A Note on Gainsborough and Ruisdael.” The Burlington Magazine, Vol. 66, No. 382 (Jan., 1935): 40-45.

三、中文書目
Braudel, Fernand，《15至18世紀的物質文明、經濟和資本主義 卷一 日常生活的結構：可能和不可能》(Civilisation Matérielle, Économie et Capitalisme, XVe-XVIIIe 1 - Les Structures du quotidien )，施康強和顧良譯，台北：廣場出版，2012。
———. 《15至18世紀的物質文明、經濟和資本主義 卷三 世界的時間》(Civilisation Matérielle, Économie et Capitalisme, XVe-XVIIIe 3 - Le Temps du Monde )，施康強和顧良譯，台北：貓頭鷹出版社，2000。
Mortimer, Ian，《漫遊中古英格蘭：十四世紀生活風物誌》(The Time Traveler’s Guide to Medieval England)，廖彥博譯，台北：時報出版，2014。
Hibbert, Christopher，《英國社會史上冊》（The English: a Social History Vol.1），賈士蘅譯，台北：國立編譯館，民84。
———.《英國社會史下冊》（The English: a Social History Vol.2），賈士蘅譯，台北：國立編譯館，民84。
Roberts, Clayton and David Roberts，《英國史上冊》（A History of England: Prehistory to 1714），賈氏蘅譯，台北：五南，民75。
———.《英國史下冊》（A History of England: 1688 to the Present），賈氏蘅譯，台北：五南，民75。
Ralph, Philip Lee, Lerner, Robert E., Meacham, Standish and Edward MacNall Burns，《世界文明史：古典時代的世界》（World Civilizations: Their History and Their Culture, 8th ed., 1991），文從蘇譯，台北：五南，民93。
———.《世界文明史：中世紀時代的世界》（World Civilizations: Their History and Their Culture, 8th ed., 1991），文從蘇譯，台北：五南，民92。
———.《世界文明史：近代早期的世界》（World Civilizations: Their History and Their Culture, 8th ed., 1991），薛克強譯，台北：五南，民93。
Smith, Adam，《國富論》(The wealth of nations, Books I~III) ，謝宗林和李華夏譯，台北：先覺，民89。
———.《國富論II》(The wealth of nations, Books Books IV～V)，謝宗林譯，台北：先覺，民94。
Stone, Lawrence，《貴族的危機1558-1641年》（The Crisis of Aristocracy:1558-1641），于民和王俊方譯，上海：上海人民出版社，2011。
Sombarts, Werner，《奢侈和資本主義》(Luxus und Kapitalismus)，王燕平和侯小河譯，上海：上海人民出版社，2000。
Wölfflin, Heinrich，《藝術史的原則》(Principles of Art History, 7th ed., 1929)，曾雅雲譯，台北：雄獅美術，2005。
Weir, Alison，《伊莉莎白》（Elizabeth the Queen），董彥廷譯，台北：廣場出版，2012。
許介鱗，《英國史綱》，台北：三民書局，增訂二版，2008。
姜德福，《社會變遷中的貴族－16-18世紀英國貴族研究》，北京：商務，2004。
陳懷恩，《圖像學－視學藝術的意義與解釋》，台北：如果出版社，2008。

四、中文期刊
陳玲華，〈花團錦簇：牧歌與伊莉莎白女王崇拜〉，《中外文學：生態意識與自然寫作》，第二十三卷第十二期總第二七六期，台北：台灣大學外文系中外文學月刊社，民84，頁43-48。
何順果，〈特許公司—西方推行“重商政策”的急先鋒〉，《世界歷史》，(京)2007年1期，頁46-62。http://www.2vi.org/s/shijieshi/LS20070000K5/LS20070000K5076.html(檢索時間: 04/19/2015)

五、未出版論文
黃郁珺，〈十八世紀英國紳士的大旅遊〉，(台北：碩士論文，國立輔仁大學，民94)。
莊媛晰，〈威廉•霍加斯「現代道德主題」版畫中女性的罪與罰〉，(台北：碩士論文，國立台灣師範大學，民99)。

六、電子資料
(一) 電子書籍
Locke, John, Thomas Hollis ed., The Two Treatises of Civil Government(1689), (online: Liberty Fund, Inc., 2015).
http://oll.libertyfund.org/titles/222 (檢索時間: 04/02/2015)
Smith, Adam, Edwin Cannan ed., An Inquiry Into the Nature and Causes of the Wealth of Nations (1776), (online: Liberty Fund, Inc., 2015).
http://oll.libertyfund.org/titles/smith-an-inquiry-into-the-nature-and-causes-of-the-wealth-of-nations-cannan-ed-in-2-vols (檢索日期：3/1/2015)

(二) 線上資料
吳方正，〈從學院到前衛－中環美術館藏〉，2003。
http://www.cmcart.com/collection/ (檢索日期：3/19/2015)。
AAT-TAIWAN:
http://aat.teldap.tw/AATFullDisplay/300055829 (檢索日期：3/19/2015)
Louvre Museum Official Website: http://www.louvre.fr/en/oeuvre-notices/pastoral-concert (檢索日期：3/19/2015)
DICTIONARY OF ART HISTORIANS:
https://dictionaryofarthistorians.org/index.htm (檢索日期：2/25/2015)
荷蘭與法蘭德斯的巴洛克藝術:
http://vr.theatre.ntu.edu.tw/fineart/th9_1000/open-28-broadcast.htm (檢索日期：3/19/2015)