本研究聚焦於十七世紀尼德蘭黃金時代靜物畫家彼得．克萊茲的早餐靜物畫，結合藝術史、新教倫理與光學理論，探討其如何重新定義觀看的本質，並回應當時文化環境的轉變。
　　在海上貿易與資本主義興起下，尼德蘭共和國發展出由商人階層主導、強調節制與秩序的市民文化。克萊茲選擇描繪日常早餐場景，畫面中常見東方瓷器與異國器皿，不僅展現全球貿易成果，亦反映出當時社會的文化價值。在技法上，其運用對角線構圖、透視法與光學處理，將畫面轉化為具有空間深度的視覺體驗，體現藝術與科學的結合。
　　研究進一步提出「抽象」之虛空意象，指出其藉由畫面留白與減少物件配置，引導觀者進行哲學性的內在省思。這種處理方式深受喀爾文主義節制與省思的影響，隱含對時間短暫與世俗虛幻的思辨，展現新教倫理中的節制美德與內在省思之追求。

This study focuses on the breakfast still-life paintings of Pieter Claesz during the Dutch Golden Age, integrating art history, Protestant ethics, and optical theory to explore how Claesz redefined visual perception and responded to cultural transformations.
Under maritime trade and capitalism, the Dutch Republic developed a bourgeois culture emphasizing restraint and order. Claesz depicted everyday breakfast scenes featuring Oriental porcelain and exotic vessels, demonstrating global trade achievements and reflecting contemporary cultural values. Technically, his diagonal composition, perspective, and optical treatment created spatial depth, embodying the integration of art and science.
The study proposes "abstract" vanitas imagery, arguing that through pictorial voids and reduced object arrangements, Claesz guided viewers toward philosophical introspection. This approach, influenced by Calvinist restraint and contemplation, contains implicit reflections on temporal transience and worldly illusion, manifesting Protestant ethical pursuit of temperance virtues and inner reflection.

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五、電子資源
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