Guankan yü zhengjiu zhijian : Kelanahe tuxiang zhong de lingxing jiaolü yü Lude shenxue de huixiang 觀看與拯救之間 ：克拉納赫圖像中的靈性焦慮與路德神學的回響 = Between Vision and Salvation: Spiritual Anxiety in Cranach’s Images and the Echo of Luther’s Theology / by Zhao Chenqing 趙晨清 Huang Baoluo 黃保羅

https://www.sinowesternstudies.com/latest/no-29-2025/

Published in Guoxue yu xixue 國學與西學 = International journal of Sino-western studies, no.29 (2025) : 119-132.

Local access dig.pdf [Zhao_Chenqing_Huang_Baoluo_guankan_zhengjiu.pdf]

Abstract:

老盧卡斯·克拉納赫，16 世紀德意誌宗教改革與文藝複興的重要人物，兼具畫家、政治家與商人等多重身份。其繪畫作品深刻反映了改革前夕社會宗教焦慮及對人文主義思潮與羅馬教會救贖觀的回應。“路德肖像”、圖像論戰、反聖像運動等重要事件揭示着，二者對於賦予圖像生産與觀看以主體性的肯定態度。克拉納赫筆下有關宗教改革事件、耶穌、聖母等主題的圖像，不僅是路德教義傳播的媒介，更喚起觀者在觀看中確認個人信仰與救贖的視覺機製。其圖像在新教改革的語境中，成爲教義表達、信仰確証與視覺參與的實驗場，體現出路德開啟的主體性下視覺語言的多元開放與神學歸屬的張力並存維度。

Lucas Cranach the Elder, a significant figure of the sixteenth-century German ReformationandRenaissance, held multiple roles as a painter, politician, and merchant. His paintings deeply reflect the social andreligious anxieties on the eve of the Reformation, as well as responses to humanist thought and the RomanChurch’s doctrine of salvation. Key events such as the “Luther portraits,” the image controversies, andtheiconoclastic movement reveal Cranach’s and Luther’s shared affirmation of subjectivity in both the productionand reception of images. Cranach’s depictions of themes related to the Reformation, Jesus, and the VirginMaryserved not only as media for disseminating Lutheran doctrine but also as visual mechanisms that evoke viewers’affirmation of personal faith and salvation through the act of looking. Within the context of the Protestant Reformation, his imagery became an experimental site for doctrinal expression, faith confirmation, andvisual engagement, embodying the plural openness of visual language inaugurated by Luther’s concept of subjectivity, alongside the persistent tensions of theological affiliation.