第四章 潛意識時代的自我遺棄者
第一節 野獸與雌牛－馬格利特
1947年是馬格利特（René François Ghislain Magritte，1898～1967）在繪 畫上的 「雌牛時期 」（La Période Vache），馬格利特以「Vache」這個字眼
131 Esther Schlicht and Max Hollein, “René Magritte 1948. La Période Vache,” Schirn Kunsthalle Frankfurt Press Release（24 October 2008）：2.
這個馬格利特用來稱呼他新的一批作品的詞彙「vache」，大多被理解為具有對野獸派 歷史性運動的諷刺意味，在馬格利特的作品中模仿其誇張的色彩以及他們裝飾性愉快的 特色。再者，在法國，“vache”並不僅僅意味著「牛」，也同樣意指著「卑劣的」或「骯 髒的」，“vacherie”意味著「惡毒的」。其他相關的詞“femme vache”是一個極為肥胖的 女人，“peau de vache”是一個可怕的、惡意的人，或“amour vache”是野蠻且肉慾的愛。
因此，這個詞彙暗示著這些畫侵略性和蓄意粗糙化的特徵。
“ The term ‘vache’ used by Magritte for his new group of works is mostly understood as a n ironical allusion to the historical movement of the Fauves, whose exaggerated coloring Magritte’s works parodied as much as their decoratively pleasing character. Yet in French,
‘vache’ does not only mean ‘cow’, but also as much as ‘mean’ or ‘nasty’; ‘vacherie’ signifies a mean trick. Other related words are ‘femme vache’ for an extremely corpulent woman,
‘peau de vache’ for a horrible, malicious person, or ‘amour vache’ for brutal carnal love. Thus, the term hints at the aggressive and deliberately crude quality characteristic of the pictures.”
132 Suzi Gablik, Magritte（London: Thames and Hudson, 1987）, 149.
“ He hoped the paintings would annoy the Parisians, who seemed to him at the time overly complacent and self-satisfied in their artistic tastes and habits. Magritte was attacking their facility by making a painting a day, crudely and uncensored by his usual deliberation. In a truculent technique of instant gestures and angry brushwork, he tried to caricature the Fauvist style.”
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同樣散發低級情色意味的畫還有《心理學家》(Le psychologue) 【圖66】，畫 中裸體的男人手持著花，含羞帶怯地歪頭斜睨，略帶嬌嗔的表情令人啼笑皆 非。謝力特（Esther Schlicht，1971~）與何蘭（Max Hollein，1969~）認為：
「馬格利特的雌牛時期的作品的中心思想和風格並不構成一貫的整體性，而 是把自己呈現像是不同偽風格東拼西湊的結果，其中或多或少是公開借鑒其 他藝術家和自己的早期作品。」136如馬格利特模仿馬內的作品《羅拉德瓦斯 林》（Lola de Valence）【圖67】，刻意將它變形的像裝飾的彩色壁紙，用以諷 刺馬蒂斯（Henri Matisse，1869~1954）的畫風，藉以達到羞辱野獸畫派目的 攻擊目的。
133 Esther Schlicht and Max Hollein, “René Magritte 1948. La Période Vache,” Schirn Kunsthalle Frankfurt Press Release（24 October 2008）：1.
“ The artist deliberately conceived the exhibition as a provocation of and an assault on the Parisian public. Painting in an unexpectedly crude, playful, and intentionally ‘bad’ manner.”
134 Esther Schlicht and Max Hollein, “René Magritte 1948. La Période Vache,” Schirn Kunsthalle Frankfurt Press Release（24 October 2008）：1.
“ Relying on a new, fast and aggressive style of painting – and particularly inspired by popular sources such ascaricatures and comics, but also interspersing his works with stylistic
quotations from artists like James Ensor or Henri Matisse …”
135 Esther Schlicht and Max Hollein, “René Magritte 1948. La Période Vache,” Schirn Kunsthalle Frankfurt Press Release（24 October 2008）：2.
“ These elements are transformed into something comic, trivial, or grotesque by being blended with aspects of popular visual culture.”
136 Esther Schlicht and Max Hollein, “René Magritte 1948. La Période Vache,” Schirn Kunsthalle Frankfurt Press Release（24 October 2008）：2.
“ Regarding both their motifs and their style, the works of Magritte’s Période Vache do not constitute a consistent ensemble but rather present themselves as a patchwork of different pseudo-styles borrowing more or less openly from other artists and drawing on the artist’s own earlier works.”
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度復仇的良機。」1371948年，馬格利特於巴黎的弗布畫廊（Galerie du Faubourg）展出「雌牛時期」時期的十五幅的油畫和十幅膠彩畫，然而，他137 Esther Schlicht and Max Hollein, “René Magritte 1948. La Période Vache,” Schirn Kunsthalle Frankfurt Press Release（24 October 2008）：2-3.
“ …This was the polemical context in which Magritte regarded his invitation to Paris in 1948 less as an overdue chance of success in the French metropolis but rather as an opportunity for taking revenge – for the arrogance of the capital’s art scene and the ossified attitude of a Surrealism that had outlived itself and become far too socially acceptable – by pulling off a surprising coup.”
138 Jacques Meuris, René Magritte, 1898~1967（Köln ; London ; Los Angeles : Taschen, 2004）, 181.
“ The response of the public, according to Magritte, verged on almost total incomprehension：
The usual tripe：‘not so profound as he used to be’, ‘Belgian humour’, ‘you can see he’s not from Paris’.”
139 Esther Schlicht and Max Hollein, “René Magritte 1948. La Période Vache,” Schirn Kunsthalle Frankfurt Press Release（24 October 2008）：3.
“ The exhibition in Paris turned out the expected failure. Not one picture was sold. The press reacted frostily. The public was appalled. The Paris Surrealists kept their distance. Only one of the vache works was exhibited again during Magritte’s lifetime.”
140 1940 年三月，德軍入侵比利時，馬格利特避居南卡爾卡松（Garcassonne）三個月，德
國的佔領可以當作是他的藝術創作的轉折點，他的作品的意義就是『反反抗』
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Récamier）【圖68】及《透視法：馬內的陽台》（Perspective, le balcon de Manet）【圖69】，這兩幅詭異的致敬畫充滿了高妙的嘲諷，他用黑色幽默來嘲諷畫
141 Suzi Gablik , Magritte（London: Thames and Hudson, 1987）, 150.
“ Eluard ‘likes’ my exhibitions, but he would prefer to buy ‘the Magritte of yore’. His equivocal word…must be taken in a good sense, he claims. He wouldn’t like to have the exhibited paintings ‘on his walls’, even though he likes them.（No doubt because we no longer look at paintings once they are on the wall）.”
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馬格利特十三歲時，他罹患精神病的母親蓓婷香（Régina Bertinchamp）投 水自盡，如此經歷足以使一位少年抑鬱一生。馬格利特早年的生活資料不
142 A.M.Hammacher, René Magritte（London : Thames and Hudson, 1986）, 108.
“ Magritte was fascinated by death throughout his life, beginning with the experience of his mother’s suicide by drowning while he was a boy and then his perverse attraction to playing in the graveyard at Signes . During a visit to a friend who was a coffin maker, Magritte spent an afternoon in a magnificent coffin. But the experience did him no good, for what had begun as a joke ended a week later in fits nervous anxiety.”
143 Richard Calvocoressi, Magritte（Oxford：Phaidon, 1984）, 9.
“ For many years it was thought that the face of suicide had been found shrouded in her nightdress and that, when uncovered, it had worn an expression of calm beauty；it was also alleged that the thirteen-years-olds Magritte had been present at the moment.”
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身。兩幅完成於同年，尺寸幾乎相同的《情人》（Les amants）(1928)【圖 70】一對是隔著白紗正在親吻的戀人，一對是頭蓋白紗並肩而立的頭像，直接表 現了他對母親的印象與孺慕想望；《事情的核心》（L'histoire centrale）【圖71】
中蒙著臉的女人勒著自己的脖子，旁邊放著象徵要遠行的行李箱以及吹奏輓 殺現場【圖77】。《夜行性動物》（Le genre nocturne）中女性刻意以雙手遮住 面容，而並列於畫面右方破碎的物體暗示生命的破滅及記憶的殘缺【圖78】。
144 A.M.Hammacher, René Magritte（London : Thames and Hudson, 1986）, 12.
“ His pronounced hostility to the idea of the symbol in relation to his work, his undisguised dislike of psychoanalysis in particular, and his distrust of any and every interpretation naturally had reasons.”
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1937 的《向麥克·賽納特致敬》（En hommage à Mack Sennett）【圖 81】提 出看法：145 A.M.Hammacher, René Magritte（London : Thames and Hudson, 1986）, 8-12.
“ Magritte’s private life permits little psychoanalytical excavation.To undertake such work would be to disregard the ban the artist himself laid on such investigation, yet this need not mean that any prospective lawbreaker would not come home with valuable booty. Magritte’s unwillingness to talk about the past and his feigned indifference to highly disturbing events in his youth are obviously due to repression. His past must have been a source of powerful unconscious influence…If, therefore, we try to understand something of the meaning of his resistance－and Magritte never forbade us to attempt that－we shall come closer to his work by this roundabout way.”
146 A.M.Hammacher, René Magritte（London : Thames and Hudson, 1986）, 78.
“ Everyone is aware of the feelings that the clothes of someone we love can arouse. But it is not only the erotic that it involved, for the clothes of the dead often have the power of conjuring up their presence again. No one can say whether it is mainly the projection of
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馬格利特之後又持續創作了《閨房裡的哲學》（La philosophie dans le
boudoir），畫中再現了宛若母親墜河當晚身上的睡衣，不少他筆下的女體都
卡爾佛寇列希分析《幾何精神》（L'esprit de Géométrie）【圖83】：「這種 類型的作品中，最具弗洛伊德形式的可能是泰特美術館（Tate Gallery），最 初稱作《母愛》（Maternité）的水彩畫《幾何精神》（L'esprit de la Géométrie），
畫中嬰兒與母親的頭部比例相互對調了。」148迥異於古典作品中母子溫馨的 亞」（Maderia）這個林木茂密的島嶼，意指「木頭」，源自「母親」（mater），
以及「材料」（materia）這兩個字」149依照弗洛伊德的解讀，這畫中的女人
memories, which take shape as an ‘image’ through the clothes, or whether it is the clothes themselves, in all the various shapes the body molded them into, which touch one’s sensual and visual nerve center.”
147 Richard Calvocoressi, Magritte（Oxford：Phaidon, 1984）, 9.
“ Magritte was affected by the story of nightdress: the image stuck in his unconscious and appears to have resurfaced in certain of his paintings where images of cover or concealment play a prominent role.”
148 Richard Calvocoressi, Magritte（Oxford：Phaidon, 1984）, 6.
“ Possibly the most Freudian of all such works is the Tate Gallery’s small gouache The Spirit of Geometry（Originally called Maternity）, where the heads of a baby and its mother are interchanged to scale.”
149 A.M.Hammacher, René Magritte（London : Thames and Hudson, 1986）, 66.
“ …Freud saw a connection betweem wood and the idea of the woman, the mother. He referred to the name ‘Maderia’, the wooded island, since it means ‘wood’ and is derived from the words mater（mother）and materia（material）.”
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立 政 治 大 學
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N a tio na
l C h engchi U ni ve rs it y
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象徵著畫家死去的母親，她身上如棺木般的木紋似乎透她的死亡。希爾維斯 特（David Sylvester，1924~2001）探討馬格利特的《獨行者的沉思》（Les rêveries du promeneur solitaire）【圖 85】：
畫面背景設計成一條河，是按照夏德雷（Châtelet）的松貝河的比例
繪製，有一座橋橫跨於其上，全都籠罩在漢諾特（Hainault）典型的 陰霾天色中。畫面前方是個漂浮在空中的裸像，或許是人體，也可能 是躺著的人偶，例如在櫥窗中的人體模型，是死亡的神祕意象。150 根據希爾維斯特的考證，畫中重現了當年悲劇發生的場景，天色濃厚陰鬱的 河堤邊，一具沒有血色的軀體漂浮在畫面前景中，背對著「它」的是一個走 向遠方的身影，身著馬格利特慣常穿戴的黑衣及黑禮帽，暗示他不願面對漠 然的軀體與冰冷的過去。沃芬斯坦（Martha Wolfenstein，1911~1976）直接 指出這些漂浮物隱喻「對尋回他所失去與再復生的深切渴望」，151流露出漠 然的馬格利特對母親逝去依然存在著不捨之情。《潘朵拉的盒子》（La boîte à Pandore）同樣以河堤為背景，一身黑衣黑帽以背面示人的形象再次出現在 畫面中央，仍然意味對回憶的規避。一朵白玫瑰則取代了《獨行者的沉思》
中蒼白的軀體，同時似乎也暗示對亡者的追悼紀念【圖86】。
根據弗洛伊德的精神分析理論，人在幼年時期所經歷的重大事件（尤其
是傷害）必將對其一生產生無法消彌的影響，卡爾佛寇列希認為：
150 David Sylvester, Magritte：the silence of the world（New York：Harry Abrams, The Menil Foundation, 2002）, 14.
“ The setting presents a river, one on the scale of the Sambré in Châtelet, with a footbridge across it, under a lowering sky that is typical of Hainault. In the foreground, the naked figure floating in the air－perhaps a body, perhaps a lay figure, such as shop-window mannequin－
is a myth image of dead.”
151 Martha Wolfenstein, The image of the lost parent. Psychoanalytic Study of the Child（Glencoe, IL: Free Press.28, 1973）, 450-451.
“ …a deep longing for revival and return of what has been lost.”
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（Les chasseurs de la nuit）。偶爾在他作品中描述安祥平靜的死亡，
看似雲淡風輕，但是我們也可將這想像的描繪歸因於幼童時期的喪 親，其中有幾個版本的《記憶》（Memory）最令人印象深刻。152
《夜晚的獵人》（Les chasseurs de la nuit）【圖 87】確實流露出逃避的企圖，
以及試圖低調壓抑的恐懼與面對的緊張情緒；此外，三幅各自相隔多年的《記
152 Richard Calvocoressi, Magritte（Oxford：Phaidon, 1984）, 9.
“ Magritte’s ability convey abnormal physical or psychological states－claustrophobia, anxiety, panic（for example, The Hunters at the Edge of Night）－is one of the most distinctive and original features of his arts. Less immediately alarming but possibly also traceable to the fictive account of childhood bereavement are the occasional references in his work to the serene composure of death, of which the several version of Memory are among the most haunting.”
153 A.M.Hammacher, René Magritte（London : Thames and Hudson, 1986）, 17.
“ In regard to psychoanalysis, Magritte is ironical；he fends it off. He never overcomes his aversion to it, which indeed grew stronger with the years.”
154 A.M.Hammacher, René Magritte（London : Thames and Hudson, 1986）, 18.
“ Psycho-analysis has nothing to tell us either about works of art, which evoke the mystery of the world.”
155 M. Paquet, René Magritte 1898-1967 thought rendered visible（Köln: Benedikt Taschen Verlag GmgH., 2000）, 24.
“ The only recollection which Magritte himself admitted to having of the affairs was that of a feeling pride at suddenly finding himself the focal piont of interest and sympathy both in the neighbourhood and among his fellow pupils.”
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157 Lawrence Gowing and Sam Hunter, Francis Bacon（N.Y., London : Thames and Hudson, 1989）, 32.
“ His abiding concern for the irrational is evident in his imagery of the abnormal and impaired, underscoring a darker view of a humanity only partially evolved from an ignoble, animal condition.”