罌粟花是歐洲各地田野中常見的花卉，自古以來便被人類作為藥用植物使用，而隨著19世紀鴉片在全球的流行，罌粟花的形象也更加廣為人知。罌粟花因為其特殊的歷史背景以及花卉意涵，長久以來在圖像創作被忽視，這種現象直到19世紀漸漸出現轉變，罌粟花開始大量入畫，成為重要的創作主題，並經常與詩作、戲劇、神話等題材結合，使藝術與文學之間產生緊密的聯繫。
罌粟花象徵與19世紀末流行的致命女性(Femme Fatale)題材結合，出現在「無情的美女」圖像表現中，而「無情的美女」是取材自英國浪漫主義(Romanticism)詩人濟慈(John Keats, 1795- 1821)詩作《無情的美女》(La belle dame sans merci, 1819)。但濟慈原作從未提及「罌粟花」一詞，但卻出現在拉斐爾前派兄弟會(Pre-Raphaelite Brotherhood)的亞瑟．休斯(Arthur Hughes,1832-1915)與「最後的拉斐爾前派」法蘭克．卡多根．庫珀(Frank Cadogan Cowper, 1877- 1958)畫作中，罌粟花在兩位藝術家創作詮釋下為故事中的美女襯托出不同面貌的女性形象，罌粟花不僅隱含著對死亡與誘惑的隱喻，也展現了騎士與美女之間地位與力量拉鋸的微妙流動。
本文首先溯源19世紀以前西洋圖像史中的罌粟形象，並探討其在19世紀後大量入畫的原因，以及它如何成為當時英國文學與藝術創作的靈感泉源。接續論述休斯與庫珀「無情的美女」畫中的罌粟象徵，透過畫面分析與文本對照，梳理罌粟圖像與女性形象的聯繫，探討美女與騎士之間主導地位的轉變。

The poppy is a commonly found wildflower across Europe and has been used for medicinal purposes since antiquity. With the global spread of opium in the 19th century, the image of the poppy became increasingly well-known. Due to its unique historical background and Floral symbolism, The poppy has long been overlooked in the history of visual art.. However, This phenomenon didn’t change until the 19th century, when the poppy started to appear more frequently in paintings and emerged as a significant creative motif. They were often integrated with themes such as poetry, drama, and mythology, fostering a close interconnection between visual art and literature.
In the late 19th century, the poppy’s symbolism merged with the popular Femme Fatale theme and appeared in the visual images of “ La Belle Dame sans Merci” , based on the 1819 poem by English Romantic poets John Keats (1795-1821). Although the word “poppy” is never mentioned in Keats’s original poem, the flower appears in the paintings of Arthur Hughes (1832–1915), a member of the Pre-Raphaelite Brotherhood, and Frank Cadogan Cowper (1877–1958), often referred to as the “last Pre-Raphaelite.” In their works, the poppy is used to accentuate different representations of the female figure. It serves not only as a metaphor for death and seduction, but also as a visual cue that reflects the subtle shifts in power and status between the knight and the beauty.
This article first traces the origins of the poppy image in Western Art History prior to the 19th century, then explores the reasons for its widespread incorporation into paintings after that period, as well as how it became a significant source of inspiration for British literary and artworks. It subsequently examines the symbolism of the poppy in Hughes and Cowper’s “La Belle Dame sans Merci” paintings. Through visual analysis and textual comparison, the study clarifies the relationship between the poppy imagery and female representation, and investigates the shifting dynamics of dominance between the beauty and the knight.

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Codell, Julie F. “Painting Keats: Pre-Raphaelite Artists Between Social Transgressions and Painterly Conventions.” Victorian Poetry, Vol. 33, No. 3/4 . Baltimore: the johns hopkins university press, 1995, pp. 341- 370.
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四、西文雜誌文章
Gibson, Robin. “Arthur Hughes: Arthurian and Related Subjects of the Early 1860’ s.”The Burlington Magazine, Vol. 112, No. 808, Jul. London: The Burlington Magazine Publications, 1970, p.451- 456.
Hind, Lewis. “T.C. Gotch and His Pictures.” The Windsor Magazine , vol.4. London: Ward, Lock & Company, Limited, 1896, p.273- 279.
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