第四章 潛意識時代的自我遺棄者
第三節 威權與道德的排泄者
pour des figures à la base d'une crucifixion）【圖100】，靈感來自於宗教「釘刑 圖」（Crucifixion），是培根早期創作的重要主題之一。然而培根「並不特別
“ Content for him has to do with despair and the gruesomeness of existence, the hopelessness of everything, which is fair enough for the times, the postwar era.”
167 Lawrence Gowing and Sam Hunter, Francis Bacon（N.Y., London : Thames and Hudson, 1989）, 19.
“ One’s basic nature is totally without hope…It does not make any difference to my awareness of the shortness of the moment of existence between birth and death. Perhaps…despair is more helpful, because out of despair you may find yourself making the images in a more radical way by taking greater risks.”
168 Dawn Ades and Andrew Forge, Francis Bacon（London : Thames and Hudson, 1985）, 11.
“ Bacon is not particularly interested in subscribing to any other given set of beliefs, although he is profoundly interested in the philosophical problem involved.”
169 大衛‧希爾維斯特（David Sylvester）原著，陳品秀譯，《培根訪談錄》（Interviews with Francis Bacon）（台北：遠流，1995），142。
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（Fragment d’une crucifixion）【圖 102】，表現人類虛弱乏力的身軀釘掛在十 字架上受苦的情景，面孔上開合著不規則的空洞獸性口器，無聲嘶吼的痛楚
171 Dennis Farr and Massimo Maritino, Francis Bacon：A Retropective（New York：Trust for Museum Exibitions,1999）, 8.
“ People always seem to think that in my painting I’m trying to put across just existence itself as one goes between birth and death. It’s not that I want to emphasize that side of things－but I suppose that if you’re trying to work as near to your nervous system as you can, that’s what automatically comes out…Life…is just filled, really, with suffering and despair.”
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讓他更貼近野獸。173 斯帕爾丁（Frances Spalding，1950~）認為：「培根的 教宗像他所有的人物畫一樣，處於一種危機的時刻，似乎被推向忍耐的邊173 Dawn Ades and Andrew Forge, Francis Bacon（London：Thames and Hudson, 1985）, 15.
“ Perhaps his idea was to test one of the greatest portraits ever painted, of a man set highest above his fellow men（the archetypal father, verging on the divine）in the grip of a feeling so intense that the only expression of it brought him close to the beasts.”
174 Frances Spalding, British Art since 1900（London: Thames and Hudson, 1986）, 148.
“ Bacon’s popes like all his figures, are found in a moment of crisis, as if pushed to the edge of endurance. Some are trapped within a glass frame, which heighten their isolation.”
175 Lawrence Gowing and Sam Hunter, Francis Bacon（N.Y., London : Thames and Hudson, 1989）, 30.
“ Bacon’s vivid invention transformed the crafty and smug prince of the church into a threatening, even depraved, modern image.”
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176 Lawrence Gowing and Sam Hunter, Francis Bacon（Whashing, D.C.：Smithsonian Institution,1989）, 16.
“ Bacon’s picture gain their momentum not only from the authority of the time-honored by vexing and victimizing the paternal serenity of this－in every sense－father figure of religious and artistic establishment.”
177 Francis Bacon, Repères - Cahiers d'art contemporain n°39（Paris: Galerie Lelong, 1987）, 42.
“ Je pense que les gens sont si attachés à leur ego qu’ils préfèrent le tourment au simple anéantissement.”
178 參閱：Lawrence Gowing and Sam Hunter, Francis Bacon（N.Y., London : Thames and Hudson, 1989）, 33.
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是他藝術生涯上重要而悲痛的一年。那年十月正當他於巴黎的大皇宮舉辦個 人作品回顧展，於會場上接受各界肯定與讚賞之時，他的好友兼摯愛的伴侶 戴爾（George Dyer，1934~1971）自殺身亡。自此，培根的畫中經常出現在 洗臉台前嘔吐，或者坐在馬桶上捲曲的人物，這些影像其實也是培根本身痛 苦的縮影。【圖107】法國思想家巴塔耶(Georges Bataille, 1897~1962)認為 :
「性關係本身就是交流與活動，它具有慶典的性質，正因其本質為一種交 流，它從初始就引發某種從自身排遺的運行。」179巴塔耶的論述或許正可解 釋那些坐在馬桶上或洗臉台前嘔吐排泄的人物背景：在培根纖細又敏感的情 緒中所支撐的，是脆弱的生命與愛情，以及伴侶所帶來足以耽溺於愛戀與性 愉悅的安適感，然而一切皆如他將老去的肉身一般逐漸失去控制能力，儘管 他血管裡流浪的基因依然狂暴，枯竭的靈魂將潑撒噴流的顏料處理成帶有血 腥色彩慶典儀式的性隱喻，但是他的繪畫中已無法負荷如此的陰暗巨流，自 我異化成身處於冷漠異常衛浴空間裡扭曲的人形，無處躲藏而徹底崩潰。
179 Georges Bataille, L'érotisme（Paris : Éditions de Minuit, 1957）, 231.
“ La relation sexuelle est elle-même communication et mouvement, elle a la nature de la fête, c’est parce qu’elle est essentiellement communication qu’elle provoque dès l’abord un mouvement de sortie.”
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