本论文以弗朗索瓦一世时期枫丹白露派的装饰艺术（包括宫苑建筑装饰、绘画、雕塑、壁毯、甲胄、金属餐具、版画等）为研究对象，其目的在于，通过梳理和呈现16世纪上半叶法国文艺复兴艺术自肇始迈向鼎盛的发展过程，分析、阐释绝对君主制下宫廷艺术的特征及模式，探讨欧洲各个地区之间文艺复兴艺术（以意大利、法国为主，尼德兰和德语地区为辅）的差异和共性。同时，借助艺术作品，揭示当时的物质文化，解释社会心理和生活方式的演变。 有别于意大利、尼德兰和德语地区，在法国，艺术赞助最主要的力量集中在宫廷。正是由于弗朗索瓦一世对文化与艺术的大力支持与赞助，法国才真正全面进入文艺复兴时期，多位意大利艺术家前往法国宫廷服务，枫丹白露宫进行文艺复兴式的重新改建，枫丹白露派由此形成。枫丹白露宫和枫丹白露派的装饰艺术是法国文艺复兴艺术和宫廷艺术的代表。它也在宣扬君主集权制、创立国王形象中发挥着重要作用。 枫丹白露派的装饰语言源于弗朗索瓦一世长廊。灰泥雕塑与湿壁画的结合，叙事性画面与单独装饰图案的呼应，令装饰效果华丽，错落有致，富有张力和节奏感。同时，装饰系统形式固定但图案多样，且装饰图案可根据装饰物用途及装饰面积大小置换选择，因此，枫丹白露派装饰语言扩展和延伸的范围广泛。它从王室建筑应用至日常用品，并借助版画从法国传播至欧洲其他地区，影响深远。 枫丹白露派的装饰题材基本为古希腊-罗马神话和英雄传说，通过题材内容的选择和表现方式，借古喻今。弗朗索瓦一世浴室作为王室收藏室的特殊功能和洗浴题材的装饰，奢华甲胄精致、平面化的图案以及金属餐具新设计、新器型的出现，皆反应出当时的社会心理与物质文化——对裸露和两性的开放态度，对暴力、攻击欲的抑制以及对就餐时规矩、礼仪的要求。 意大利文艺复兴艺术对枫丹白露派和法国产生重要影响，但后者不是简单地模仿。枫丹白露派的艺术家在吸收与借鉴意大利文艺复兴艺术的同时，更进行了改造、重新定位和本地化，因而使枫丹白露派的装饰艺术在短时间内蓬勃发展，并取得令人瞩目的成就。
This dissertation focuses on the decorative arts of First Fontainebleau School (including architectural ornament, painting, sculpture, tapestry, armour, silverware, engraving, etc.) during Francis I’s period (reigned 1515-1547). By studying the specific artworks, I hope to examine the development of Renaissance Art in France in the first half of 16th century, analyze the style and the pattern of courtly art under the absolute monarchy, and explore the differences and similarities of Renaissance arts in the various countries (Italy, France and Dutch). Meanwhile, the study contextualizes the artworks as historical evidence, which proves the evolution of manners and reflects the development of civilization. The study based on “the development of decorative arts at Fontainebleau in Francis I’s period,” which gradually expands its research. Its development consists of 4 sections, i.e. “cause,” “formation,” “evolution” and “influence.” Starting from the strategy on patronage of Francis I, I represent the historical background for the emergence of Fontainebleau School, and then summarize its decorative language— form, patterns, subject matter and style. By reviewing the important artists’ personal style, it introduces the overall change in the style of Fontainebleau School in this period. Finally, I analyses the extension and application of the formal language of Fontainebleau School in artworks, from architectural ornament to daily necessities，which spread in Europe by prints and make a great achievement. Through this study, I hope it will fill in the blanks in French Renaissance art research documentations. Meanwhile it promotes reconsideration on decorative art and comprehension on “inheritance and innovation”. The study involves three research methods. Firstly, analyze artworks with formalism. Secondly, with iconology, understand the subject matter and meaning of the artworks; by combining cultural and historical background, explain artist’s (patron’s) motivation for selecting the subject matter and expressive method. Finally, by following the opinion of the Annales School, I use the images as historical evidences; incorporate them into historical, social and cultural context, to explain the social custom and the process of civilization. In conclusion, the dissertation summarizes the above-mentioned research results, and reviews the value, function, formal language, consequent the pattern of courtly art at Fontainebleau in Francis I’s period, and its influence at the time and later on, in France and other European countries.
