現代繪畫詮釋與柏格森哲學研究－以奧菲主義之德洛內爲例

The Bergsonian Interpretation of Modern Painting-Robert Delaunay of Orphism for Example

10.7065/MRPC.200807.0161

尤昭良(Chao-Liang Calvin Yu)

野獸主義 ； 立體主義 ； 綿延風格 ； 未來主義 ； 奧菲主義 ； 柏格森 ； 現代繪畫 ； 柏格森風格 ； Orphism ； Bergsonian style ； Cubism ； Durée style ； Futurism

哲學與文化

35卷7期（2008 / 07 / 01）

161 - 182

繁體中文

本文是以位居上個世紀之交(1889-1914)法國文化核心人物之一：柏格森(Henri Bergson)生命哲學的角度，去詮釋同一時期現代繪畫的研究計劃之一部分。該研究初始於筆者有關「現代繪畫之父」塞尚(Paul Cézanne)與柏格森之間的實質對比研究；隨後，亦已分別地探討了後繼的藝術運動：野獸主義(Fauvism, 1905)、立體主義(Cubism, 1907)、韻律主義(Rhythmism, 1909)與未來主義(Futurism, 1909)之代表性藝術家於理論與創作裡的柏格森哲學質素。 本文再續其論旨，以形上學裡「表象與實在」暨知識論裡「直覺與理智」之分析進路，探討立體主義之旁支奧菲主義(Orphism, 1912)之代表性藝術家：德洛內(Robert Delaunay)的「柏格森風格」。希望由此前後密切相關的研究，得以進一步論述現代繪畫與柏格森哲學，在同一文化氛圍與意義體系中互動與發展的情形；以及在此一詮譯架構下，現代繪畫的多重藝術風貌；以有別於目前一般較著重形式或作品分析的論述。

Henri Bergson's philosophy shares great importance in the late 19(superscript th) and early 20(superscript th) centuries in French. This is the point of departure I will take in this article, which constitutes the third part of my modern painting research. The first part of the research started from the issue regarding Cézanne and Bergson. While the second part regarding representatives of Cézanne's successors: Fauvism, Cubism and Rhythmism was also probed. On these grounds and under the same direction, this article moves forward for further research. Namely, I will take the similar approach to interpret Robert Delaunay of Orphism (a section of Cubism). With these I will show the multiple styles of modern art with Bergsonian viewpoints. Consequently, a principal characteristic of early 20(superscript th) century European painting could better be interpreted as the multiple formal expressions and innovative developments of ”Bergsonian style”, or the crystallization of Bergsonian spiritual-positivism.

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