黑達(Willem Claesz. Heda, 1593/94-1680/82)為十七世紀哈倫靜物畫家，為當時描繪單色靜物畫的重要畫家之一。畫作中所描繪的靜物與黑達所處的時代氛圍息息相關，在經濟貿易的部分關聯於國土的生產、與各國之間的貿易交流以及與東方諸國的遠洋貿易；宗教上受到宗教改革的影響，畫面中呈現抽象的新教思維，並且畫作具有道德勸誡的作用；風俗生活上，靜物涉及人們的平日的飲食生活，與風俗畫同樣反映了現實與非現實的層面，即畫家再現真實同時也融合警示的訊息。
黑達的畫作可依描繪風格分為三個時期：早期1625-33年、中期1634-1638年以及後期1640-1665年，而依據描繪的題材又可分為「空泛寓意靜物畫」、「早餐靜物畫」和「盛宴靜物畫」。透過對六十幅作品的畫面分析可以發現三種風格與三類題材在每個時期是相互交錯的，畫家在形式組構上具有反覆的特質，變動的形式再現了特定的物件。反覆的性質不僅於風格與題材的表現，它也存在於畫家對寓意的詮釋，畫家透過寫實的技法、單色的技巧以及獨特的形式表現，將空泛意涵置入靜謐的早餐靜物畫中，繪畫融合了道德勸諭與永恆的概念。

Willem Claesz. Heda(1593/94-1680/82) is an important Haarlem still-life painter, who depicts 'Monochrome' still-life pieces in the Seventeenth century. Images which Heda depicts are related to the environment of the age. In the economical aspect, the objects concerned with the native production, the commodities from elsewhere in Europe, and the commodities from East and West India Company. In the religious aspect, because of the Reformation, paintings represent the spiritual content of Protestantism with the function of moral admonition. In the custom, still-life painting are connected to everyday life, like genre painting, which reproduces realism and seeming realism.
The oeuvre of Heda in according with the style could be divided into three portions─the early stage about 1625-1633, the mid stage about 1634-1638, and the later stage about 1640-1665.And in according with the subject matters it could be divided as 'The Vanitas', 'The Breakfast pieces', and 'The Banquet pieces'. The artist represents the true life and at the same time integrate the warning message. Through the analysis of Heda's 60 works, we can observe that the three styles and the three subject matters are interweaved with the characteristic of repetition through the composition of form. While the repetition are also applied to the interpretation of content by using of realistic technique, monochrome depiction, and individual composition. The paintings show the concept of vanity with the moral warning and the spiritual permanent.

一、中文書目
(一)專書
林鴻信，《認識基督宗教》，臺北：校園書房，2006。
蔡維民，《永恆與心靈的對話》，臺北：揚智文化出版，2001。
顧忠華，韋伯的《基督新教倫理與資本主義精神》導讀，臺北：臺灣學生，2005。
Douwe Fokkema and Frans Grijzenhout，王浩、張曉紅、謝永祥譯，《歐洲視野中的荷蘭文化》，桂林：廣西師範大學出版，2007。
E. H. Gombrich，范景中譯，《秩序感──裝飾藝術的心理學研究》，湖南：湖南科學技術，2005。
Johan Huizinga，何道寬譯，《十七世紀的荷蘭文明》，廣州市：花城出版發行，2010年。
Max. Weber，張漢裕譯，《基督新教的倫理與資本主義的精神》，臺北：協志工業叢書出版，1960。
Shirley Ganse，張關林譯，《中國外銷瓷》，香港：三聯書局，2008。
二、外文書目
(一)專書
Anne W. Lowenthal, “The Object as Subject: Studies in the Interpretation of Still Life”, New Jersey: Princeton University Press, 1996.
A. TH. van Deursen, “Plain Lives in a Golden Age: Popular Culture, Religion and Society in Seventeenth-Century Holland”, Cambridge and New York: Cambridge University Press, 1991.
Adriaan van der Willigen, Fred G. Meijer, “A dictionary of Dutch and Flemish still-life painters working in oils, 1525-1725”, Leiden: Primavera Press in cooperation with the Netherlands Institute for Art History, 2003.
Arie Jan Gelderblom, The Low Countries as a crossroads of religious beliefs, Leiden: Brill, 2004.
Charles Wilson,“Profit and Power: A Study of England and the Dutch Wars”, London: Longman, 1957.
Christine Skeeles Schloss, “Travel, Trade, and Temptation: The Dutch Italianate Harbor Scene”, Michigan: UMI Research, 1982.
Christopher Brown, “Scenes of Everyday Life: Dutch Genre Paintings in the Seventeenth Century”, London: Faber and Faber, 1984.
Claus Grimm, “Still life: the Flemish, Dutch and German masters”, Belser Oxford: Distributed by Phaidon Press, 1990.
Donna R. Barnes, Peter G. Rose,“Matters of taste: food and drink in seventeenth-century Dutch art and life”, N.Y: Syracuse University Press, 2002.
David Freedberg, Jan de Vries, “Art in history, history in art: studies in seventeenth-century Dutch culture”, Chicago: University of Chicago Press, 1991.
Erik Larsen, “Calvinistic Economy and 17th Century Dutch Art”, Lawrence: University Press of America, 1999.
E. de Jongh,“Questions of meaning : theme and motif in Dutch seventeenth-century painting”, Leiden: Primavera, 1995.
Erwin Panofsky, “Early Netherlandish painting”, New York: Praeger, 1967
Gretchen D. Atwater, “The Impact of Trade by the Dutch East India Company on Seventeenth-century Netherlandish art”, Mich: UMI, 1992.
Hanneke Grootenboer, “The rhetoric of perspective :realism and illusionism in seventeenth-century Dutch still-life painting”, Chicago: University of Chicago Press, 2005.
H. Perry Chapman, Wouter Th. Kloek, Arthur K. Wheelock,“Jan Steen, painter and storyteller”, London: Yale University Press, 1996.
Ingvar Bergström, “Dutch still-life painting in the seventeenth century”, New York: Hacker Art Books, 1983.
Ildiko Ember, “Delights for the senses : Dutch and Flemish still-life paintings from Budapest”, Wisconsin: Leigh Yawkey Woodson Art Museum, 1989.
Jochen Sander, “The Magic of Things: Still-Life Painting”, Germany: Hatje Cantz Verlag, 2008.
James A. Welu, Pieter Biesboer, “Judith Leyster: A Dutch Master and Her World”, New Haven: Distributed by Yale University Press, 1993.
Julie Berger Hochstrasser, “Still Life and Trade in the Dutch Golden Age”, London: Yale University Press, 2007.
Jan de Vries, Ad van der Woude, “The First Modern Economy: Success, Failure, and Perseverance of the Dutch Economy”, Cambridge and New York: Cambridge University, 1997.
J.L. Price, “Dutch society, 1588-1713”, New York: Longman, 2000.
Kenneth Bendiner, “Food in painting: from the Renaissance to the present”, London: Reaktion Books, 2004.
Kristine Koozin, “The vanitas still lifes of Harmen Steenwyck : metaphoric realism”, Lewiston: E. Mellen Press, 1989.
Klaske Muizelaar, Derek Phillips, “Picturing men and women in the Dutch Golden Age: paintings and people in historical perspective”, New Haven: Yale University Press, 2003.
Liana DeGirolami Cheney, “The Symbolism of Vanitas in the Arts, Literature, and Music”, USA : E. Mellen Press, 1992.
Msriёt Westermann, “Art and Home: Dutch Interior in the Age of Rembrant”, Denver: Denver Art Museum and Newark: The Newark Museum, 2001.
Michael North, “Art and Commerce in the Dutch Golden Age”, New Haven and London: Yale University Press, 1997.
Maarten Prak, “The Dutch Republic in the seventeenth century: the golden age”,New York: Cambridge University Press, 2005.
Max. Weber, “The Sociology of Religion”, Boston: Beacon Press, 1963.
Mariet Westermann, “A worldly art : the Dutch Republic”, New York: Harry N. Abrams, 1996.
Madlyn Millner Kahr, “Dutch Painting in the Seventeenth century”, Boulder:Westview Press, 1993.
N. R. A. Vroom,“A Modest Message as Intimated by the Painters of the 'Monochrome Banketje'”, Netherlands: Interbook International B.V., 1980.
Norman Bryson, “Looking at the overlooked :four essays on still life painting”, Cambridge: Harvard University Press, 1990.
Norbert Schneider, “The art of the still life : still life painting in the early modern period”, Köln: B. Taschen, 1990.
Nanette Salomon, “Shifting priorities: gender and genre in seventeenth-century Dutch painting”, Stanford: Stanford University Press, 2004.
Pieter Emmer, Femme Gaastra, “The Organization of Interoceanic Trade in European Expansion”, Aldershot: Variorum, 1996.
Pieter Biesboer, “Pieter Claesz, master of Haarlem still life”, Washington: National Gallery of Art, 2004.
R. H. Fuchs,“Dutch Painting”,London: Thames and Hudson, 1978.
Ruud J. Spruit, “Salt and Slaves: the History of the West India Company”, Houten: De Haan, 1988
Simon Schama,“The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age”, Knopf: Distributed by Random House, 1987.
Silvia Malaguzzi, “Food and Feasting in Art”, Los Angeles: The J. Paul Getty Museum, 2008.
Segal Sam, “A prosperous past : the sumptuous still life in the Netherlands”,The Hague: SDU Publishers, 1989.
Vernon Hyde Minor, “Art History’s History”, N. J. : Prentice Hall, 2001.
Walther Bernt, “The Netherlandish painters of the seventeenth century”, London: Phaidon,1969.
Wayne Franits, “Looking at seventeenth-century Dutch art: realism reconsidered”, New York: Cambridge University Press, 1997.
Wayne Franits, “Dutch seventeenth-century genre painting: its stylistic and thematic evolution”, London: Yale University Press, 2004.
(二)期刊
Celeste Brusati, “Stilled Lives: Self-Portraiture and Self-Reflection in Seventeenth-Century Netherlandish Still-Life Painting”, Simiolus: Netherlands Quarterly for the History of Art, 1990-1991, pp. 168-182.
Erwin Panofsky, “Jan van Eyck's Arnolfini Portrait”, The Burlington Magazine for Connoisseurs, Mar., 1934, pp. 117-119+122-127.
Horst W. Janson, “The Putto with the Death's Head”, The Art Bulletin, Sep., 1937, pp. 423-449.
James H. Marrow, “Symbol and Meaning in Northern European Art of the Late Middle Ages and the Early Renaissance”, Simiolus: Netherlands Quarterly for the History of Art, 1986, pp.150-169.
Liana De Girolami Cheney, “The Oyster in Dutch Genre Paintings: Moral or Erotic Symbolism”, Artibus et Historiae, 1987, pp. 135-158.
Scott A. Sullivan, “A Banquet-Pieces with Vanitas Implications”, The Bulletin of the Cleveland Museum of Art, Oct., 1974, pp. 271-282.
Xander van Eck, “The artist's religion: Paintings commissioned for Clandestine Catholic Churches in the Northern Netherlands, 1600-1800”, Netherlands quarterly for the history of art, 1999, pp.70-94.

(三)網站
The Bible Society in Taiwan: http://www.biblesociety-tw.org/
Bible International: http://www.bbintl.org/indexb5.html