形上藝術作為超現實主義的前驅者，在藝術歷史中總是與超現實主義糾葛不清。 德基里科也因此被歸入超現實主義者。本論文的目的在於釐清形上藝術的「前超現實主 義」特質，以及德基里科以反理性的藝術手段追求精神超越性的目的。 論文主要分為三個章節。第一章與第二章以描述形上藝術的形式特色為主，第三 章則著重於德基里科的創作觀與對形上實在的看法。第一章討論形上藝術於1909 至 1913 年之間所呈現的特色，以古典城市空間為主。此時德國浪漫主義對德基里科的影響 相當深遠，但它的影響並不在於形式表面的相似性，而是深植在德基里科的創作概念中 的精神，是一種概念結構，表現在德基里科對景觀式空間的想像以及象徵與寓意手法的 使用上。第二章討論1913 年至1919 年之間的作品特色，以空間錯置與意義錯置為主。 這種錯置手段的發展正好與二十世紀初在巴黎活動的兩位前衛藝術運動的推動者— — 畢卡索與阿波里內息息相關。阿波里內作為超現實主義的前驅者，不只奠立了超現實主 義的精神基調，也在文學創作上立下了文字實驗的典範。德基里科則是將阿波里內的超 現實主義精神由文字藝術轉化為視覺藝術的關鍵性畫家，可以說，形上藝術結合了德國 浪漫主義、立體主義以及阿波里內的影響，開啟了超現實主義在視覺藝術領域的可能 性。如果說前兩章只是對藝術表象的描述，那麼第三章則是深入藝術核心的企圖，關注 德國哲人叔本華與尼采對於德基里科的創作觀以及「形上藝術」概念的影響。形上藝術 的概念結構中隱含著兩個重要的元素：以追求深刻真理作為藝術創作目的的認知主義， 以及以瘋狂作為創作力本質的反理性態度。對德基里科來說，藝術天才是一種清明的洞 察力，能夠認識最深刻的真理，與瘋狂混亂關係密切。清明與混亂，認識與瘋狂，這兩 種看似矛盾的特質內在於一切藝術現象之中。瘋狂並不是無知。瘋狂有超越理性的認識 力。對德基里科來說，藝術創作與審美經驗不是來自於法則與規範，而是來自於非理性 與潛意識的藝術天才；最高的知識不是關於法則與規範的抽象知識，而是超越理性規則 的洞察。 認識到瘋狂、清明洞察力與創作之間存在著密切關係，德基里科創造了形上藝術 的獨特形式。可以說，形式創造是來自於畫家對於深刻的形上實在的追求。超現實主義 追求的是個人潛意識的神秘現象，而形上畫派探索的是世界的神秘本源，兩者雖然在形 式上有呼應之處，卻在創作目的上有相當大的差異。這是德基里科早期形上藝術之所以 有別於超現實主義的重要指標，他對形上實在的追求也成了本文探索的重點。 Giorgio de Chirico had been embroiled in the surrealist celebrity in the history of art, and thus is identified as a surrealist. In this thesis, I attempt to present de Chirico as a pioneer of the surrealist movement, and have a go at revealing the “pre-surrealist” characteristics of metaphysical art. While the surrealists worshiped the theory of psychoanalysis and groped for the mystery of the unconsciousness of the self, de Chirico held Schopenhauer and Nietzsche in deep respect and set out on a journey for the knowledge from the divine. The pursuit for the metaphysical reality of the world and the concern for the psychology of the self would be the substantial discrimination between de Chirico and the surrealists. The interest of this thesis is with the relationship between de Chirico’s art and his appeal for the profound truth of the metaphysical reality. This thesis is divided into three chapters. In the first and second chapter, the problem of style is concerned, and in the last chapter, the relation between art and metaphysical reality is the focus of my attention. I try to bring to light in the first chapter the influence of German Romanticism and 19th century landscape painting lying under the conceptual structure of de Chirico, manifesting in his imagination of landscape space and the use of symbols and allegories. In the second chapter, I attempt to reveal the influence of cubism and Apollinaire in the “displacement of space and meaning” characteristic of the works of art of de Chirico during 1913-19. The innovation of displacement in the field of visual art is an approach to break the rules of the reason and paves the way for the revolution of surrealism hereafter. In the third chapter de Chirico’s claim of revealing the profound truth in art under the influence of German philosophers, especially Schopenhauer and Nietzsche, is concerned. In the conceptual structure of de Chirico lies a seeming paradox: the cognitivism that assigns the artists the task to uncover the profound truth lying behind the veil of ordinary things and the anti-rationalist claim that the absence of rationality is a necessary condition of divine revelation and that the origin and condition of artistic creativity is nothing but madness. For de Chirico, the clairvoyance and insanity form an organic whole of the artistic creativity. Insomuch as this conceptual structure is the basis of the artistic innovations of de Chirico, the analysis of his concept of the metaphysical reality and its relation to forms would be the groundwork of the understanding of the metaphysical art.
