第二章 世紀末的原慾啟蒙
第一節 恥感繾捲的甦醒－ 庫爾培
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l C h engchi U ni ve rs it y
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第二章 世紀末的原慾啟蒙
第一節 恥感繾捲的甦醒－ 庫爾培
人體是精妙的圖像載體，但在現實之中，源自後天教育而生成的恥感情 緒使極少人願意在大庭廣眾下公開袒露自己的身體。私密的肉身是令人羞恥 的意象，人們會將這些部分保護起來，築起道德的藩籬以使自身免於遭受外 界的評論。然而就近代哲學觀念而論，道德並非純粹之具文，它必須是一種 行為與對行為的一種詮釋及規範，而圖像無關乎道德，因為它並未構成行 為，它只是靜止不動的觀賞物。因此，當我們提到圖像藝術表現時，它應是 獨立於規範之外不受道德評論。然而，這樣的觀念是在人類歷史進程非常後 期才發展出來，並建立成明確價值的思考邏輯。歐洲早期基督教對女性刻板 的規範源於經典所紀錄的夏娃，因此長期以來女性一直被植入道德束縛，型 塑成誘惑者的圖式，道德反而成為繪畫圖像與觀者接觸的第一層顏料。文藝 復興時期雖然推崇人本思想，讓裸體的人類形象再登大雅之堂，然而，對裸 身的女性圖像依然延續前代的歧視觀感。布洛涅（Jean-Claude Bologne，
1956~）認為：「十八世紀時，文化上的去宗教化，肇使人們對裸女的看法越 來越理性化。」17但理性面對恥感標的物並非平順地朝向觀念的理性，雖然 十八世紀的歐洲歷經工業革命的洗禮，大量生產的效益使人類開啟了前所未 有的物質文明啟蒙。當時的歐洲已然是世界開放思想發展最迅速的地區，思 想界百家爭鳴，文化藝術受中產階級的興起蓬勃發展。但是經由一個世紀推 展的去宗教化觀念與開明的性別思想辯證，卻依然存在著極大的僵局。以繪 畫圖像為例：寫實主義大師庫爾培（Gustave Courbet，1819~1877）在十九 世紀歐洲被視為驚世駭俗的作品《酣睡》（Le sommeil）【圖1】以同性戀為 主題，描繪女同性戀歡愉後的疲態和繾捲，女體散發出淫佚的官能氣息與私 密氛圍。宣揚同性戀的作品極受當時衛道人士的排斥，然而卻被現代同性戀
17 Jean-Claude Bologne , Histoire de la pudeur（Paris: Hachette Littérature, 1986）, 17.
“ La laïcization de la culture au XVIIIe siècle entraînera de plus en plus une rationalisation de la pudeur féminine.”
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19 萊昂·甘必大（Léon Gambetta，1838~1882），法國共和派政治家。1879~1881 年擔任眾議 院議長，1881~1882 年被任命為法國總理。
20 路多維·阿勒威（Ludovic Halévy，1834~1908）是法國作家和劇作家。
21 Ludovic Halévy, Trois dîners avec Gambetta（Paris：Grasset, 1929）, 86-87.
“ There was no end to our enthusiastic reactions, Gambetta told Ludovic Halévy, the author and vaudevilliste. It's marvelous-a masterpiece it seems. Courbet didn't bat an eye. We began
enthusing again.”
22 Francine Prose, “Behind the Green Veil: a Paean to Courbet's Origin of the World,” Modern Painters, v. 20 no. 4 (May 2008)：64-67.
“ Even to describe Gustave Courbet's painting《The Origin of the World》 requires all manner of delicate andchallenging choices among various synonyms for the female genitalia. Most critics take refuge in describing the subject's borders. They write that the painting portrays a naked woman's body between the chest and the thighs or, in the words of the 19th century politician
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影師兼作家居尚（Maxime du Champ，1882~1894）認為：掀起帷幕，任何人都很震驚地看見一個同女性實體大小的、奇特的、
Leon Gambetta, who saw the painting in 1866, when it was first displayed, ‘a naked woman, with no feet and no head’. Braver or more exacting critics and viewers add that the woman's legs are spread. The New York Times critic Roberta Smith described the painting as ‘an unembellished close-up of a woman's torso and open thighs’ that, Smith was careful to add, is
‘more clinical than erotic’.”
23 Isabelle de Wavrin, “Ambroise Vollard: les recettes d'un marchand d'art de légende,” Beaux Arts Magazine no. 277 (Juillet 2007)：66-67.
“ Maxime du Champ, the writer, photographer, and traveling companion of Flaubert, wrote,
‛Lifting the veil, one was stupefied to see a life-sized woman in frontal view extraordinarily, convulsively aroused, remarkably painted…But by some incredible oversight, the craftsman, who had copied his model from life, had omitted to show the feet, legs, thighs, belly, hips, bosom, hands, arms, shoulders, neck, and head. There is a word for people capable of this kind filth…but I shall not pronounce it for the reader, it being used only in butchering trade’.”
24 Francine Prose, “Behind the Green Veil: a Paean to Courbet's Origin of the World,” Modern Painters, v. 20 no. 4 (May 2008)：67.
“ The work could hardly be more realistic, could hardly seem more real－that is, more like a real woman's body without soft focus, without the mediating or distorting lenses of idealization or disgust, without the aid of the airbrush or cosmetological intervention. It's no accident that the painting is called The Origin of the World. Courbet is showing us nothing less than the apparatus of baby making, the reason why we continue to survive as a species.”
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當收藏家貝衣（Khalil Bey，1831~1879）27將繪畫藝術懸掛在牆上作為財物 展現的同時，卻必須懸掛在家中廁所的布簾之後，28庫爾培藉這些畫作來諷25 John Berger, Ways of Seeing（London: British Broadcasting Corporation, 1972）, 54.
“ In the average European oil painting of the nude the principal protagonist is never painted. He is the spectator in front of the picture and he is presumed to be a man.”
26 John Berger, Ways of Seeing（London: British Broadcasting Corporation, 1972）, 63.
“ In the art－form of the European nude the painters and spectator－owners were usually men and the persons treated as objects usually women. This unequal relationship is so deeply embedded I our culture…”
27 哈利勒貝（1831～1879），埃及人，是奧斯曼帝國的外交官和藝術收藏家。
28 “The Nude：Tradition Transgressed ” in Gustave Courbet, by Sylvain Amic et al（Ostfildern：
Hatje Cantz, 2008）, 381.
29 約翰‧普爾茲（John Pultz）原著，李文吉譯，《攝影與人體》（Photography and the Body），
（台北：遠流，2005），53。
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30 約翰‧普爾茲（John Pultz）原著，李文吉譯，《攝影與人體》（Photography and the Body），
（台北：遠流，2005），53。
32 Francine Prose, “Behind the Green Veil: a Paean to Courbet's Origin of the World,” Modern Painters, v. 20 no. 4 (May 2008)：67.
“ …it's nearly impossible to discuss The Origin of the World without mentioning the model's