This paper considers the artist Arnold Houbraken (1660–1719) as an unconventional Christian and sheds new light on his representation of artists from religious minority groups in his Great Theatre of Netherlandish Painters and Painteresses (1718–1721). By exploring Houbraken’s years within the Flemish Mennonite milieu in Dordrecht (1660–ca. 1685) and investigating his representation of religious difference in his biographies within The Great Theatre, this study extends scholarship on Houbraken beyond the current focus on his later years as a writer in Amsterdam, and it offers findings on the experience and reception history of nonconformists and religious minority group members, like the spiritualist David Joris and the Mennonite martyr Jan Woutersz van Cuyck (among others), within the Dutch art world. The paper also addresses the historiographical disconnect between literature in the disciplines of art history, intellectual history, and history of religion that persisted until very recently regarding Houbraken’s status as a heterodox Enlightenment thinker.

本文将艺术家 Arnold Houbraken（1660-1719 年）视为一位非传统的基督徒，并在他的荷兰画家和女画家大剧院（1718-1721 年）中对他对宗教少数群体艺术家的表现进行了新的阐释。通过探索胡布拉肯在多德雷赫特（1660 年 - 约 1685 年）的佛兰芒门诺派环境中的岁月，并调查他在大剧院的传记中对宗教差异的表现，这项研究扩展了对 Houbraken 的学术研究，超越了目前对他在阿姆斯特丹作为作家的晚年的关注，并提供了关于不墨守成规者和宗教少数群体成员的经历和接受历史的发现，如唯灵论者 David Joris 和门诺派殉道者 Jan Woutersz van Cuyck（以及其他人），在荷兰艺术界。这篇论文还讨论了艺术史、思想史和宗教史学科文学之间的史学脱节，这种脱节一直持续到最近，关于胡布拉肯作为异端启蒙思想家的地位。