THE ARNOLFINI WEDDING PORTRAIT
阿諾芬尼的婚禮


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In addiction, characters of three dimension and distance between characters and space are specifically illustrated. The mirror reflects the depth of field, a means of painting within a painting is employed to contain more messages into the painting. This novel illustrating method is not coming out of the tradition of painting in the Middle Age, but from the painter’s personal observation and creativity. Ever since oil paint becomes the dominant medium for painting because of its pigment transparent light performance conductive to depict reflective objects, mirrors, glasses and metal products are widely embraced by painters to put into paintings so as to bring up the theme, to vividly strengthen the painting, and also pass the symbolic meaning through the way of reflection. This artwork piece of Arnolfini Wedding Portrait is assisted through the mirror to portray its composition. The mirror back on the wall reflecting the indoor scene records the critical moment of the wedding ceremony in the means of picture-in-picture presentation. The mirror reflects the two newlyweds and two other witnesses in the wedding scene, as well as the bedchamber door that fails to be depicted in front of the couple. The image out of the convex mirror is distorted, especially the part by the edge of the mirror. The shape is intensively bended along the rounded curve. The tone of the reflection is relatively darker compared with the actual colour of the characters and furniture.

In this case, the characters and furnitures are outlined by the surrounding light. Considering the ongoing scene in the painting as well as the space and mirror reflection, we are able to reconstruct the entire wedding scene alive. This piece of secular painting with the frame decorated with the Passion of Jesus Christ and resurrection, and the rosary next to the hanging mirror, reveals the meaning of the religious space. The mirror painted with the image of Jesus Christ implies the presence of Jesus, while the rosary is served as a symbol of the Virgin Mary’s intercession. The secular marriage is thus transformed into a religious sacred scene.

此外,他具體地畫出人物的立體感以及人物與空間的距離,並利用鏡子反照出景深,以畫中畫的方式攬進更多容,這些新穎的構圖皆非來自中世紀的繪畫傳統,而是畫家個人的觀察和創意。自從油畫顏料成為繪畫的主要媒材後,由於顏料透明光亮的性能有利於描繪反光的物體,鏡子、玻璃和金屬製品紛紛被畫家攬進構圖裡,以陪襯主題、加強畫面熠熠生輝的效果,並且還藉由反光的作用傳遞象徵的意涵。此幅《阿諾芬尼的婚禮》便是以鏡子來輔助構圖容,利用背景牆上的鏡子反照室的景象,以畫中畫的方式記錄下婚禮進行中關鍵性的一刻。鏡中影反照出兩位新人和參與婚禮的另外兩個人,還有未能攬入構圖的臥房入口處。凸鏡中反照出來的物象,因凸起的鏡面而變形,尤其是靠凸鏡周邊的部分,東西的形狀順著圓形的弧度強烈彎曲,而且鏡中反影的彩度也較實際人物和家具暗沉,在這種情況下,受光的輪廓略微呈現人物和家具的形體。綜合畫中的片段室空間與鏡中的反影,我們便能重組起婚禮現場的整個實況。這幅世俗畫由鏡框上的基督受難與復活之圖飾,以及吊掛鏡旁的念珠,透露出宗教性的空間意涵。繪飾著基督圖像的鏡子暗示著基督的臨在,玫瑰念珠則象徵聖母的的代禱,如此一來便將世俗的婚姻場所,轉化成宗教性的神聖地方。

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The painting looks like on its surface only composing an ordinary domestic scene, but in fact the esoteric meaning is hidden behind the scene. The groom raising his right hand indicates a ritual, a symbol of committed love, while the bride putting out her right hand on the groom’s left hand, is swearing to be the husband forever faithful companion. Everything in the bedchamber is related with a fulfilling matrimony symbolism. The front puppy and the mirror on the wall symbolize fidelity and pureness, whilst the windowsill and oranges on the chest indicate virginity of the bride. It is symbolized the purity of the bride by the single candle burning in the left rear holder of the ornate chandelier. The two pairs of clogs lying in the floor suggest the couple are standing barefoot while making a solemn commitment to each other, which allude to the belief that the bedchamber is a holy place for tying the knot. The men’s clogs being placed in the front near the door means the man conducts business outside of the home, and on the other hand, the women’s clogs being set in the back of the bedroom refers the woman stays at home to look after the family and household. Then the bedside carving is related to a symbolic blessing with women’s child bearing.

這幅表面為居家場景的構圖,其實暗藏著深奧的容,新郎舉起了右手,表示一種儀式,象徵矢志愛情;新娘則伸出右手,放在新郎的左手上,宣誓要永遠做丈夫的忠實伴侶。臥室的每樣東西都與婚姻美滿的象徵意義有關。前景的小狗與牆上的鏡子象徵忠實與純潔,窗台和矮櫃上的橙橘象徵新娘的貞潔。天花板上懸吊的吊燈點燃一支蠟燭,指新娘的純潔。地面上兩雙木屐,顯示著這對新人正赤站著發誓,暗指臥室乃婚姻的聖潔之地;男士的木屐放在前面靠近門口的地方,代表男主外;女士那雙紅木屐置於臥室深處,象徵女主。還有床邊的雕飾,則為與婦女生育平安相關的符號。


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