面對國家宏圖：馬內的杜樂希花園與童年遊戲

愛德華．馬內（Edouard Manet，1832-1883）在1861年間常描繪兒童遊戲，構成一種生活與創作的儀式。他的兒童遊戲題材大致可以分為公共空間的社交活動與居家的獨處遊戲兩類，而第一類以杜樂希花園的場景為主，呈現1860年前後的巴黎兒童如何參與現代生活，包含表演、藝術、群眾等多重連結。童年議題實為1860年代初期巴黎政治與藝文的焦點，相應地，馬內的遊戲題材呈現資產階級文化的多層次動態。本文以馬內描繪的杜樂希兒童遊戲為主軸，參照當代藝術評論與相關文獻，以及十九世紀童年史的材料，解釋他如何描繪現代生活中的兒童遊戲與現代童年的場域，以及藝術展演的空間。

關鍵字

馬內；巴黎；第二帝國；繪畫；童年

並列摘要

In 1861, Edouard Manet (1832-1883) depicted children at play, constituting a ritual of creativity and life. His subjects of childhood play can be divided into social events in public spaces and individual play at home. The first set of subjects were primarily located at the Tuileries Garden. They present a picture of how children in 1860 Paris participated in modern life, including performances, art, and different connections. Discussions about childhood became a major topic for political and artistic circles in the 1860s. Accordingly, Manet’s subjects of childhood play show the multi-layered dynamics of bourgeois culture. This essay discusses Manet’s depictions of children playing in the Tuileries with references to contemporary art critiques and relevant literature, along with historical material for nineteenth-century children. Furthermore, it seeks to explain how Manet portrayed children playing in modern life and modern childhood venues, as well as the spaces for displaying art.