西方廢墟從文化意象逐步轉向視覺化圖像的過程，與風景畫的發展密切相關。作為風景畫中的重要元素，廢墟圖像在不同歷史階段呈現出多樣化的象徵功能。十九世紀浪漫主義的興起，使廢墟圖像與民族意識、文化根源及歷史記憶等議題結合，進一步轉化為國家根基、自然風景、時間軌跡乃至歷史教訓的象徵。
　　本文旨在以藝術史的視角，結合文獻與圖像分析方法，先彙整十七至十八世紀廢墟與文化的關係，再聚焦十九世紀浪漫主義廢墟圖像的各式表徵。筆者通過對風景畫中廢墟圖像的分析，探討其在不同歷史階段和不同國族藝術家中，如何表現文化認同與藝術發揮，並進一步揭示其隨時代與地域變化所形成的多重意義與轉向。
　　本研究論述西方浪漫主義風景畫中廢墟圖像的四重意涵，包括：國族根基、自然風景（第四章）以及證明時間存在的證據和歷史的教訓（第五章）。此外，雖本論文標題為「西方」，但以日耳曼語系之浪漫主義藝術家為主要討論對象，包含：德國藝術家弗列德里希（Caspar David Friedrich, 1774-1840）、英國藝術家透納（J. M. W. Turner, 1775-1851）、英國藝術家康斯塔伯（John Constable, 1776-1837）、美國藝術家科爾（Thomas Cole, 1801-1848），其中弗列德里希的作品挑選兩幅，透納作品為一成對繪畫，康斯塔伯則是單一一幅作品，科爾則為一系列五幅作品，透過對這些藝術家作品的綜合比較討論，本研究揭示了「廢墟」這個圖像元素與浪漫主義風景繪畫的深層文化關聯。

關鍵字：弗列德里希、透納、康斯塔伯、科爾、歷史感、大自然、日耳曼、羅馬帝國、國族、民族

　　The process by which Western ruins gradually transitioned from a cultural image to a visual representation is closely linked to the development of landscape painting. As an important element in landscape painting, the image of ruins presents diverse symbolic functions at different historical stages. The rise of Romanticism in the nineteenth century integrated the image of ruins with issues such as national consciousness, cultural roots, and historical memory, further transforming it into a symbol of national foundations, natural landscapes, temporal trajectories, and even historical lessons.
　　This study aims to examine the relationship between ruins and culture from the perspective of art history, combining literature and image analysis methods. It first consolidates the relationship between ruins and culture in the seventeenth and eighteenth centuries, then focuses on the various representations of the image of ruins in nineteenth-century Romanticism. Through an analysis of the image of ruins in landscape painting, the study explores how it expresses cultural identity and artistic expression among different national artists at various historical stages, and further reveals the multiple meanings and shifts it underwent in response to changes in time and geography.
　　This study discusses the fourfold significance of the image of ruins in Western Romantic landscape painting, including national foundations, natural landscapes (Chapter 4), and evidence of the passage of time and historical lessons (Chapter 5). Although the title of this thesis refers to the "West," the primary focus is on Romantic artists from the Germanic language family, including German artist Caspar David Friedrich (1774-1840), British artist J. M. W. Turner (1775-1851), British artist John Constable (1776-1837), and American artist Thomas Cole (1801-1848). Among these, two works by Friedrich are selected, a pendant painting by Turner, a single painting by Constable, and a series of five works by Cole. Through a comprehensive comparative discussion of the works of these artists, this study reveals the deep cultural connection between the image of "ruins" and Romantic landscape painting.

Keywords: Friedrich, Turner, Constable, Cole, sense of history, nature, Germanic, Roman Empire, nation, nationalism

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“Inspired by Chatsworth: A Selling Exhibition.” Sotheby's, https://www.sothebys.com/en/auctions/ecatalogue/2019/inspired-by-chatsworth-n10201/lot.29.html.
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“Study for the Death of Cora from Last of the Mohicans.” Detroit Institute of Arts, https://dia.org/collection/study-death-cora-last-mohicans-38230.
“Time, Apollo and the Seasons.” Art Institute of Chicago, https://www.artic.edu/artworks/53214/time-apollo-and-the-seasons.