法蘭西斯．培根（Francis Bacon，1909 – 1992）釘刑三聯作研究

Research of Francis Bacon’s (1909 – 1992) Triptychs for Crucifixion

詹仕清(Shih-Chin Chan)

指導教授 ： 黃建宏

共同指導教授 ： 賴瑞鎣(Shui-Yung Lai)

國立臺北藝術大學/美術學院學術論文/美術學系碩士班美術史組/碩士(2016年)

摘要

法蘭西斯．培根（Francis Bacon，1909 – 1992）以繪畫中的變形人體與險惡、疏離氛圍稱著，他以20世紀的藝術語彙改作一歷史悠久且與基督宗教密切相關的主題：釘刑。四組以此為題的三聯作，反映了藝術家創作生涯的不同階段：尚在摸索中的《基於釘刑形體的三張習作》（1944）、繪畫方式確立的《為釘刑所作的三張習作》（1962）與《釘刑》（1965）、以及具有回顧性質的《第二版1944年三聯作》（1988）。本文藉由圖像解讀、藝術家訪談與歷史爬梳、社會學等分析，試圖釐清培根釘刑畫作中文化圖像與藝術家個人創作意圖之間的糾纏關係。
追溯基督教釘刑的圖像表現與意涵，這個在古羅馬象徵恥辱的刑罰，在基督教信仰中結合了獻祭文化，被轉化為上帝獻出獨子為人類贖罪。基督所受的釘刑不只是單純的迫害，而是為人類自我犧牲的高尚行為，他所受的壓迫與凌遲的沉重，凸顯了他戰勝死亡的超然神性。釘刑成為人與神之間重要的聯繫，十字架也被視作基督教的代表符號。啟蒙運動後基督教對西方社會與思想的箝制力降低，釘刑仍是常見的創作主題，藝術家們反思釘刑的寓意，從人性與基督教道德理性的分歧，到對於教會的失落，甚至透過人類學、心理學等工具對基督教加以解構，發掘其中原始、殘忍、非理性的面向。
培根對釘刑的興趣具體反映在他所收集的釘刑圖像上，但畫作中卻沒有常見的基督教耶穌受難的形象。考察其影像來源，包含了二戰時期的納粹宣傳影像、醫療攝影記錄、野生動物攝影、電影劇照以及友人的攝影，往往與受難關係薄弱。培根有意識地置換基督教的圖像內容，結合釘刑與肉舖的意象，將基督的身體轉化為世俗的、作為商品的「肉」，透露著強烈的死亡氣息。在17世紀的荷蘭靜物畫中剖開掛起的牛體也被作為釘刑的寓意，然而培根所要呈現的不是一段道德勸誡的寓言故事，對基督宗教的批判也十分曖昧。藝術家排除敘事的嘗試，對死亡的強調，以及對人體的執著，反映出其同志身份、二戰經驗、存在主義思想所形構出的創作觀，以及培根強烈的自我觀照傾向，而他「紀錄真實」的創作動機也將個人身體經驗與記憶視為繪畫的唯一主題。

關鍵字

法蘭西斯．培根 ； 釘刑 ； 三聯作 ； 基督教 ； 肉 ； 人體

並列摘要

Francis Bacon (1909 – 1992) is famous for deformed human bodies and unfriendly, alienated atmosphere in his paintings. He remaked a historic subject which is frequently related to religion by newly art vocabulary of twenty century: crucifixion. There’re four triptychs in artist’s ?uvre, of different phase: Three Studies for Figures at the Base of a Crucifixion (1944) showing Bacon’s exploration of form; his artistic method improved and established at Three Studies for a Crucifixion (1962) and Crucifixion (1965); and a retrospective work Second Version of Triptych 1944 (1988). This thesis would tring to clarify the cultural images by Iconological analysis, find out the intents of artist thought documents of history, interviews, and sociological analysis, and how these get tangle together.
Looking back the expression and meaning of art about Crucifixion, which has been a punishment to humiliated criminal in ancient Rome, was linked with culture of sacrifice then turned into the story of God offer His own son up for human salvation in Christian religion. The Crucifixion of Jesus isn’t only a simple persecution, but also a noble behavior of self-sacrifice for all human being. The more heavily the pressure and torture he suffered, the more superior divinity of his victory over death. The crucifixion became an important connection between mankind and God, and crucifix is regarded as the symbol of Christianity. The control to western society and thought of Christianity decline after the Enlightenment, the crucifixion was a common subject still. Artist reconsidered the crucifixion, from the separation between humanity and Christian morality and rationality, to the disappointment to church. On crucifixion, they disconstructed Christian and uncovered the primitive, cruel, irrational aspect though anthropology and psychology.
The images of the Crucifixion Bacon collecting reflect his interest about this subject specifically, but the images of his work far different from usually form of the crucifixion of Jesus. After investigate, the image sources include Nazi propaganda, medical photography, wildlife photography, film stills or photos of artist’s friends, but there are rare connection with religionary crucifixion. Bacon displacemented Chistian contents of the crucifixion by slaughterhouse, turned Jesus’s body to secular goods: meat, which reminds mortality. In seventeenth century still-life painting in Netherlands, and a slaughtered ox hanged up is a metaphor for the crucifixion of Christ. However, Bacon wasn’t trying to represent an allegory about moral admonishment, nor the critique about Christian. The attempt of artist to avoid narrative, the emphasis on death, and the obsession to human body. It’s obvious that stroung self-consciousness excist on Bacon’s art, and the conception established based on his homosexual identity, experience of Wourld War II, and Existentialism. He confirmed that ‘recording the fact’ is the duty of artist, to Bacon, the personal body experience and memory is the only subject of painting.

並列關鍵字

Francis Bacon ； crucifixion ； triptych ； Christian ； World War II ； human body

參考文獻

Deleuze, Gilles. Francis Bacon: The Logic of Sensation. Translated by Daniel W. Smith,　Minneapolis: University of Minnesota Press, c2004.

Gale, Matthew & Stephens, Chris edited. Francis Bacon. New York: Skira Rizzoli, 2009.

Peppiatt, Michael. Francis Bacon: Anatomy of an Enigma (New York: Farrar, Straus and Giroux, 1997).

Russull, John Francis Bacon (London: Thames & Hudson, 1979).

Looking Back at Francis Bacon (London: Thames & Hudson, 2000).