肖像畫的另一種可能－論雨果．波納敏的幽魂肖像系列

作為一種特殊畫類，肖像畫在繪畫史上具有極為悠久的歷史與重要的地位。在漫長的歷史中，雖經歷代藝術家的創意表現，手法與樣貌繁多，但肖像畫因其「可辨識為特定人物」的特質與限制，至今似乎很難再有讓人耳目一新的可能。此想法直至筆者於瑞士巧遇法國畫家雨果．波納敏（Hugo Bonamin）的「幽魂肖像系列」（Portraits Fantômes）後，有了令人振奮的改變，原來似乎陳舊的肖像畫仍有新的發展空間。自古以來為了複製或紀錄特定人物的容貌，肖像畫便必須具有「可辨識性」的特質，而在該特質被攝影術取代之後，畫家才開始在風格形式上恣意發揮。發展至今，肖像畫似乎離不開在「可辨識性」與「風格表現」之間作文章，但倘若在作品中帶入「空間」（個人特質與特定場域的結合）與「時間」（時間的重疊或延續）的要素，則肖像畫的表現仍在深度與廣度上大有可為。本文中，筆者列舉波納敏的「幽魂肖像系列」作品，分析其作品風格、表現手法及歷史意義等，以呈現其肖像畫的特殊性。

關鍵字

肖像畫；雨果．波納敏；幽魂肖像系列；挪用；時間重疊

並列摘要

As a unique type of painting, portraits have long been an important part of art history. Throughout the ages, artists have creatively used various media and techniques to portray their subjects. However, portraits were under the restriction of being ＂identifiable as specific person＂ and thus seemed limited in their portrayal. This mindset changed after the author came across the French artist Hugo Bonamin's Portraits Fantômes in Switzerland and discovered the possibility of innovation and growth for the seemingly stale portraits. Portraits were needed as a record of the appearance of specific persons and therefore were required to be ＂identifiable＂. After the requirement was supplanted by photography, artists had more freedom in the style and expression of portraits. Until now, portraits have yet appeared to leave the realm of identifiability and stylization. However, should one introduce elements of ＂space＂ (the amalgamation of personal traits and specific places) and ＂time＂ (the overlapping or continuation of time) into their works, there would still be much breadth and depth to explore. In the paper, the author uses examples from Bonamin's Portraits Fantômes series and analyzes the works' style, methods of expression, and historical significance to show its uniqueness as a portrait.

並列關鍵字

portrait ； Hugo Bonamin ； Portraits Fantômes ； appropriate ； continuation of time

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肖像畫的另一種可能－論雨果．波納敏的幽魂肖像系列

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