音樂與視覺藝術的類比：史特拉汶斯基．貢查羅娃．畢卡索

The Analogy between Music and Visual Art: Stravinsky, Goncharova, and Picasso

10.3966/101562402015070029003

彭宇薰(Elisa Yu-Shun Pong)

史特拉汶斯基 ； 音樂與視覺藝術 ； 貢查羅娃 ； 畢卡索 ； 藝術跨領域研究 ； Igor Stravinsky ； music and visual art ； Natalia Goncharova ； Pablo Picasso ； interdisciplinary approach to arts

藝術評論

29期（2015 / 07 / 01）

81 - 118

繁體中文

雖然聽覺對於音樂家是最重要的傳媒感官，但對俄國音樂家伊果．史特拉汶斯基（Igor Stravinsky）而言，他藉由視覺藝術的啟迪，深化與闊延音樂的可能性與連結性，使他成為二十世紀現代音樂的先鋒性人物。誠然，藝術間相互地給予力量，以超出原有的侷限，分享與讓渡其中奧秘的元素，史氏音樂與視覺藝術的類比關係探討，恰是人類藝術文化史上的絕佳例證。本文由俄羅斯現代藝術文化之啟蒙運動開始，先敘述俄羅斯批判寫實主義的「巡迴畫派」與音樂「五人團」的時代背景及其平行關係，再從俄國的新原始主義談及史氏與娜塔莉雅．貢查羅娃（Natalia Goncharova）的風格呼應及二人合作關係，《春之祭》（Le Sacre duPrintemps）與《婚禮》（Les Noces）是為其例。但是另一方面，《春之祭》原始性格道地到位之感，又常與帕布羅．畢卡索（Pablo Picasso）的《亞維儂姑娘》（Les Demoiselles d'Avignon）相互引述，因此，筆者再把史氏作品置放於立體主義的發展脈絡中，處理史氏與畢卡索在技巧與風格表現的類比性，並援引他們的重要作品作為案例。最後，筆者以史氏「把自我置放於古典傳承脈絡中的期許」作為結論，意指史氏在藝術文化脈絡中，以古典理想為其終極依歸，並期許自己成為古典傳統家族之一員。

Even though the sense of hearing is the most important transmission media for musicians, it was visual art that inspired Igor Stravinsky (1882-1971) to expand the possibilities of music and made him a pioneer of modern music in the 20th century. Indeed, the arts share their secrets and transfer to each other beyond their own limitations. Undoubtedly the analogy between music and visual art is best demonstrated by Stravinsky's case. This article starts with a discussion of Russian modern art movements: from critical realism known as Peredvizhniki (Wanderers), through musical Kuchkism (the Mighty Handful), to Neo-primitivism. In addition to discussion of Le Sacre du printemps, the cooperation between Stravinsky and Natalia Goncharova (1881-1962) will be the focus, where Les Noces serves as the sample. However, since Le Sacre du printemps is often related to Les Demoiselles d'Avignon by Pablo Picasso (1881-1973), it is necessary to put the former in the context of French Cubism. In order to draw an analogy between Stravinsky’s and Picasso's art, the author examines the styles and the techniques applied in each one's essential works. Finally, the author concludes that Stravinsky wished to position himself in the heritage of Classicism, a tradition he admired for most of his life.

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