Abstract

The closely interrelated enterprises in the humanistic world of the Republic of Letters, especially in the production of emblem books, created collaborations between artists and scholars. The production of emblem books, with their characteristic interplay between word and image, creates a place where humanists and artists could meet. Consequently, not only did men of letters use pictorial expressions to articulate their ideas, but artists also used emblematic forms as rhetorical tools, and in this manner took an active part in the Republic’s enterprises. This essay examines Peter Paul Rubens’s use of emblematics, showing that he was not merely a user but a producer of emblems. The image of a bat and a bee in his Freising altarpiece not only constitutes a new emblem that attests to Rubens’s innovative contribution to both the artistic and literary enterprises of the Republic of Letters, but also serves as a case study of the artists’ instrumentalization of emblematic forms in their own discipline, making their voice heard in the discourse of the Republic of letters.

摘要

文人共和国人文世界中密切相关的企业，特别是徽书的制作，创造了艺术家和学者之间的合作。徽书的制作，以其文字和图像之间的独特互动，创造了一个人文主义者和艺术家可以相遇的地方。因此，文人墨客不仅用绘画来表达思想，艺术家们也用象征性的形式作为修辞工具，从而积极参与共和国的事业。本文考察了彼得·保罗·鲁本斯 (Peter Paul Rubens) 对标志的使用，表明他不仅是标志的使用者，而且是标志的生产者。