本研究以思想史與藝術社會史的進路,採取柏格森(Henri Bergson)綿延哲學的角度,分別去詮釋現代繪畫二大流派:野獸主義(Fauvism, 1905)與未來主義(Futurism, 1909)之代表性藝術家-馬諦斯(Henri Matisse)與薄邱尼(Umberto Boccioni)等人於「柏格森風尚」期間的畫論與創作。希望由此得以初步呈現現代繪畫與柏格森哲學在同一文化與意義體系中互動與發展的情形;而現代繪畫所共有的「現代性」重要特質之一,可以較貼切地被詮釋為:以塞尚晚年為先導的、一個富有變化的柏格森式「綿延風格」之各種具體藝術表現,以有別於目前對現代繪畫一般較著重形式或風格分析的論述。
Henri Bergson's philosophy shares great importance in the late 19(superscript th) and early 20(superscript th) centuries in French. This is the point of departure I will take in this article to interpret the main proponents of two artistic movements in the new century: Fauvism (1905) and Futurism (1909). With this I will show the multiple styles of modem art with Bergsonian visions. My argument is the analogy between Bergson's philosophy and the developments of modem art in the period 1900-14. I will analyze both their notions in terms of ”appearance and reality” metaphysics-wise and also the Bergson vogue in cultural sociology. This thesis will also compare their use of abstract philosophical symbols and concrete artistic symbols respectively. Consequently, a principal characteristic of their paintings could better be interpreted as the multiple formal expressions and innovative developments of ”Durée style”.