十六世紀的紐倫堡印刷事業，在宗教改革的環境之中，不斷開發多種主題和
形式的版畫。浴場主題的版畫也成為一種特殊的類型，其內容表現各種裸身浴者
在浴場中的姿態與行為，看似為一種紀錄浴場文化的描繪。然而，晚近的研究已
指出，這些浴場圖中雖有生活經驗的擷取，卻不乏想像創造的成分。紐倫堡的浴
場主題版畫之中，畫家Sebald Beham（1500-1550）的《青春之泉─浴場》為四聯木刻版畫的形式，為尺幅最大者（37.5 x 109 cm），不只揉合青春之泉傳說的藝術表現，更加大量集結各種浴場圖的視覺元素。此具代表性的浴場主題版畫，加上後人對於《青春之泉─浴場》的重製版本，亦可見到十六世紀德意志地區洗浴文化的豐富想像。

　　本論文以Beham及其浴場主題版畫為中心，探討十六世紀德意志地區對於
浴場的視覺想像。首先，以Sebald Beham 的藝術養成與視覺表達作為出發點，將之放在紐倫堡印刷業的環境來看，Beham如何立足於開放變動的版畫市場。接著，本文試論浴場圖像作為一種版畫畫種，如何將德意志的浴場文化作為其版畫特色，以區別義大利地區的情色洗浴敘事場景。然後，進入Beham的《青春之泉─浴場》，分析其混雜多樣的視覺元素，看畫家如何綜合青春之泉、德意志浴場圖和義大利版畫的多元組成，以吸引潛在的版畫消費者。最後，本文透過辨析《青春之泉─浴場》在Beham逝世後的重製版本，企圖探索不同觀眾對於浴場圖像的接受觀點，呈現十六世紀德語區觀眾對於浴場圖像多樣的觀看視角，以及對於浴場文化多重的視覺想像。

　　During the age of reformation, diversified pictorial themes and printing forms were increasingly developed by printmakers in Nuremberg. Bathhouse prints which often represent various gestures and activities of naked bathers also became one of these newly developed printed images. At first sight these prints seemed to be naturalistic depictions of bathing practices. However, although there are factual elements from daily life in these bathhouse images, fictional parts are inevitably created by artists as recent studies have suggested. Among all the bathhouse prints, Nuremberg painter Sebald Beham (1500-1550) designed a four-sheet woodcut Fountain of Youth-Bathhouse which was the largest one of its kind (37.5 x 109 cm). In this work, Beham combined the visual elements of Fountain of Youth as well as bathhouse. Also, at least three kinds of derivations appeared after Beham’s death.

　　The thesis explores visual imaginations of bathhouse through Beham’s Fountain of Youth-Bathhouse and his other bathhouse prints. Firstly, through his artistic development and visual expressions, chapter one examines how this Nuremberg painter established himself at an open and changeable print market. Secondly, chapter two argues that bathhouse prints worked as a pictorial theme and a marketing feature in order to distinguish itself from the erotic bathing pictures in Italy. Thirdly, various visual elements in Fountain of Youth-Bathhouse were analyzed. And these hybrid visual components served for attracting potential buyers. Lastly, derivations from Fountain of Youth-Bathhouse made after Beham’s death provide opportunities to investigate different perceptions on this bathhouse print under disparate circumstances. Hence, the thesis demonstrates diversified perspectives on bathhouse images and multifarious imaginary of bath culture in sixteenth century Germany.

誌謝 i
摘要 iii
Abstract iv
目錄 v
凡例 vii
導論 1
研究背景與動機 1
文獻回顧與探討 4
研究目的 10
章節安排 12
第一章　Sebald Beham的藝術養成與視覺表達 14
第一節　Sebald Beham與紐倫堡 14
第二節　紐倫堡版畫業 18
（一）印刷事業的經營 19
（二）多聯木刻版畫的製作 21
第三節　Sebald Beham的視覺表達 23
小結 28
第二章　德意志浴場圖 29
第一節　十五世紀的洗浴圖 29
第二節　形塑德意志浴場空間 32
第三節　浴場圖之間的效法與競技 38
小結 42
第三章　Sebald Beham《青春之泉─浴場》 43
第一節　十五世紀的「青春之泉」 43
第二節　「青春之泉」結合「浴場」 46
第三節　借用與轉化義大利版畫的視覺元素 49
第四節　賦色與增文的效果問題 53
（一）色彩以及添加汙穢行為的版本 54
（二）嘉年華式的德語詩文 55
小結 60
第四章 Sebald Beham《青春之泉─浴場》的圖像流變 62
第一節　德語水療指南的書名頁插圖 62
第二節　增添拉丁文的可收藏鐫刻 65
第三節　女貴族浴室的裝飾壁畫 69
第四節　反思「圖像環路」 73
小結 75
結論 77
參考書目 80
附錄一、十六世紀前後紐倫堡浴場主題圖像列表 87
附錄二、Sebald Beham生平事略 89
圖版 90

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網路資源
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Art Institute of Chicago
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