唐寅《小姑窺春圖》的想像、象徵和真實

本文試圖以拉崗（1901-1981）精神分析的主體理論，即想像一象徵一真實的三界拓樸學，解讀唐寅（1470-1523）《小姑窺春圖》。我們將看到的小姑作為欲望的主體切入，從她對門縫內場景的窺視，尋找自戀產生及誘惑的想像認同，進到象徵界呈現的絕爽和性別關係，再通過他者場域確認自身的主體性，發現真實界中小姑的欲望，其實也是他者的欲望，但由於真實界的這一不可能性，主體的欲望滿足只是不可能性的邏輯。所以，如同拉崗所講，自我在本質上就是一個他者，真實的自我是不存在的，那麼小姑其實就是主體的一個幻象，只是一個虛空，一個不在。當小姑窺視的同時，自己成了他者欲望的客體，並來自大他者的隱密凝視和投射，也就成了大他者的欲望。畫家是另外一個言說的大他者，透過觀看滿足陽性絕爽滿足外，也在父權文化體制下，藉由女性的陰性絕爽，還原人性的欲望本質。

關鍵字

《小姑窺春圖》；想像；象徵；真實；大他者

並列摘要

This paper based on Jacques Lacan's (1901-1981) concept of the three orders topology of the psychoanalytic theories.(the Imaginary, the Symbolic and the Real) Decoding Tang Yin (1470-1523) painting Xiao Gu Kui Chun Tu, Xiao Gu taken as the subject of desire. For example, she peeing from door hole, looking for narcissism and lure with imaginary identifications. By entrying into the Symbolic presents jouissance and sexual relationship, then other field to confirm the subject identity. We can discover the Real of Xiao Gu, the desire of Other, the Real is impossible, so subject desire as impossible logic can never be satisfied. However as Lacan said ＂Ego is Other, the Real does not exist.＂ Xiao Gu as illusion, lack and absence. When Xiao Gu peeking meantime turn over other subject of desire, came from the Other secret gaze and projection, than as desire of the Other. Painter is another the Other speaking subject, excepting look through phallic jouissance, under patriarchy by feminine jouissance to restore human nature.