本文以恩索爾的創作理念為研究核心，畫家不斷在其書信中提到個人的重要性，他認為藝術創作是沒有任何規則可循的。在恩索爾豐富多變的創作元素中，他特別談到光與觀看的關係，同時也批判法國印象派與新印象派的光線，因此研究者首先以光為問題意識，試圖透過光尋求畫家最終要反對的是什麼，也發現了恩索爾對於光的呈現方式，事實上包含了一種崇高感，透過幾幅畫作與崇高之間的論證，畫家最終重視的皆是個人感受。事實上對於光與光線的分析探究，觸及了「如何呈現」的問題，究竟該如何表現創作元素？對此問題，研究者認為透過面具的研究即可得到完整解答。

　　接續光，研究者以恩索爾畫中的面具為分析對象。面具之於畫家，佔有不可或缺的重要性，同時也是他到創作晚期真正為人所知的特色，因此研究者最終以面具來看恩索爾所重視的層面與他的觀看方式，在研究過程中，也呼應了光所提出的「呈現」問題。究竟該如何帶領觀者看待畫家的面具？即使畫家面具的取材源自於戲劇與原始社會等各種類型，但他對於面具的呈現方式卻非遵循外觀原有的特徵，而是以臉所呈現的表情為主，這部分將藉由法國哲學家列維納斯對臉的觀點加以輔助分析。究竟如何看待恩索爾的表情？這裡將探討外在與內在的關係，並延伸至畫家的觀看方式。從面具到臉，可以看到恩索爾的創作理念，不僅打破了外觀符號的限制，更訴說了專屬於他個人內在的精神與看法，即他所觀察到的人性，而這正包含了創作者個人的獨特性。

　　在內容架構上，研究者首先透過文獻分析釐清本文的研究方向。現今對於面具的研究大多以嘉年華的範疇為基準，面具因此各具意涵，如嘉年華的反抗精神與對人性的諷刺等。本文脫離嘉年華的邏輯，純粹以探究畫家的創作觀點為重，藉面具與臉分析出畫家所要表現的藝術理念。釐清本論文之性質後，研究者以幾幅畫作為例，看畫家創作的演變及相關緣由，在這部分可以清楚理解光與面具轉變的原因，皆包含創作者的情感。接著才正式進入光與面具的研究，同樣以畫作為例進行說明論述，試圖帶領觀者一步步進入恩索爾的觀看視角。

This thesis was developed mainly based on the creative concept of James Ensor. He constantly mentioned the importance of the individual in his own write and believed that there are no rules for artistic creation. In these abundant and varied creative elements, the artist noticed the relation of the vision and the light, and meanwhile he criticized the light ray used by the Impressionists and the Neo-impressionists. Due to the reason, the researcher tried to find out by Light what Ensor was against, and finally discovered that in fact the manner of using the light in the pieces of paintings of Ensor contains a sense of sublime. The result tells that the most important thing is always the emotional feelings from the painter. About the light and the light ray, the researcher also propose a question of representation : how to represent actually what we see ? The answer is in the mask which will be analyzed in the following part.

　　For Ensor, the mask is significant and it has become the most famous characteristic in his whole creations, so the researcher intended to pursue the way of seeing through the mask. The process of this research in this part responds to “Representation” by the light. How to lead the viewer to understand the meaning of Ensor’s mask ? Even though the masks he presented derived from the various types of drama and primitive society, Ensor didn’t follow the original appearance of features, instead he focused on the expression on the face. Regarding the expression, the concept of French philosopher Emmanuelle Levinas can support the point. How do we look at the expression from Ensor's point of view ? Here we will discuss from the relation between outward and inward to the painter's point of view. From masque to face, we can understand clearly the painter's thought. He not only broke the limit of the symbol on the outward of the mask, but also told his own inner spirit which his so-called humanity. Above all, these concepts came from his own experiences and were included by his unique character. 
		
　　In the content, first of all, the researcher clarify the direction of the thesis by analyzing the documents. Currently, the mask was considered in the category of Carnival and was interpreted with a rebellious spirit or a satire on human nature. However, the thesis is completely different from the Carnival logic but emphasizes merely on Ensor's opinions. By the mask and the face, the researcher realized what the painter might want to express. After comparing the difference, the researcher will take a few paintings for example to notice the evolution and the related causes of Ensor’s paintings. This part will help to understand that changes of light and the mask are mainly from emotions of the painter. Then, entering the research through the light and the mask, the researcher also discusses several paintings to explain and lead the viewer to a better understanding to the painter's perspective.

緒論.............................................................................................1
I.	研究動機與目的.................................................................1
II.	研究架構.............................................................................3

第一章　文獻分析.....................................................................5

第二章　恩索爾繪畫創作之發展階段....................................10
第一節　恩索爾繪畫創作之發展與轉變................................10
第二節　朝向表現主義............................................................20

第三章　恩索爾繪畫創作光之崇高性....................................24
第一節　看待自然的方式........................................................24
第二節　印象派與新印象派的光線........................................30
第三節　恩索爾光之崇高性....................................................36

第四章　恩索爾面具創作中臉的精神意涵.............................50
第一節　面具的意涵.................................................................50
第二節　亞蘭‧米龍的臉.........................................................58
第三節　列維納斯臉的概念與恩索爾面具中臉的意涵.........64

結論.............................................................................................88
恩索爾相關文獻.........................................................................90
參考書目.....................................................................................93
圖錄.............................................................................................95
索引...........................................................................................110

I.西文參考書目與中譯本參考書目
A.西文參考書目　
Barnes, Jenifer, The book of art : a pictorial encyclopedia of painting, drawing and sculpture, Vol.7, New York : Grolier, 1965.
Baudelaire, Charles, Ecrits sur l’art, Paris, Librairie Generale Francaise, 1999.
Brown, Carol, James Ensor 1860-1949 Theatre of masks, London, Lund Humphries Publishers, 1997.
Burke, Edmund, Recherches philosophiques sur l'origine des idees que nous avons du beau & du sublime, Paris, Nabu Press, 2012. 
Cachin, Francoise, Seurat : Le reve de l’art-science, Paris, Gallimard, 1991.
Chatelet, Albert, L’histoire de l’art, Paris, Larousse, 1995.
Chevreul, Michel-Eugene, De la loi du contraste simultane des couleurs, Paris, Pitois-Levrault, 1839.
Delacroix, Eugene, Journal 1822-1863, Plan, 1996.
Draguet, Michel, James Ensor ou la fantasmagorie, Paris, Gallimard, 1999
Hoppenot, Eric, Emmanuel Levinas-Maurice Blanchot, penser la difference, Presses universitaires de Paris 10, 2007.
Kendali, Richard, Claude Monet par lui-meme, Paris, Editions Atlas, 1989.
Kuhn, Roland, Phenomenologie du masque a travers le test de Rorschach, Paris, Editions Desclee de Brouwer, 1957.
Lacoste, Jean, Friedrich Nietzsche oeuvres, Paris, Editions Robert Laffont, 1993.
Lalande, Andre, Vocabulaire technique et critique de la philosophie, Paris, PUF, 2010.
Lambrichs, Colette, Dame peinture toujours jeune. James Ensor, Paris, SNELA La Difference, 2009.
Levinas, Emmanuel, Autrement qu’etre ou au-dela de l’essence, Paris, Martinus Nijhoff, 1978.
Levinas, E., De l’existence a l’existant, Paris, Librairie Philosophique J. VRIN, 1998.
Levinas, E., Liberte et commandement, Paris, Fata Morgana, 1994.
Levinas, E., Totalite et infini, Paris, Martinus Nijhoff, 1971.
Levi-Strauss, Claude, La voie des masques, Paris, Librairie Plon, 1979.
Librairie Duchene, De l'impressionnisme a l'expressionnisme, Paris, Celiv, 1989.
Madeline, Laurence & Swinbourne Anna, Ensor, New York : The Museum of Modern Art & Paris : Musee d’Orsay, 2009.
Pernet, Henry, Mirages du masque, Geneve, Editions Labor et Fides, 1988.
Pruner, Michel, La fabrique du theatre, Paris, Editions Nathan/HER, 2000
Tricot, Xavier, James Ensor Lettres, Bruxelles, Editions Labor, 1999.
Verhaeren, Emile, Rembrandt, Paris, Henri Laurens, 1904. 
Verhaeren, E., Sur James Ensor, Paris, Editions Complexe, 1990.
Zola, Emile, Pour Manet, Paris, Editions Complexe, 1989.

B.西文參考書目中譯本
弗德里希‧威廉‧尼采著，《悲劇的誕生》，周國平譯，台北，左岸文化，2005。艾德蒙‧柏克著，《崇高與美之源起》，林盛彬譯，台北，典藏，2011。
克勞德‧李維史陀著，《面具的奧秘》，劉魁立主編，知寒等人譯，上海，文藝出版社，1992。

II.中文參考書目
香港聖經公會，《聖經》，1979。
黃文捷等編譯，《西洋繪畫2000年》，台北，錦繡出版，2002。

III.展覽專輯
《莫內花園》，台北市立美術館，2011。