| 摘要: | 二十世紀初奧地利畫家Egon Schiele（1890-1918）聞名於其迥異且獨特的畫風，在他轉瞬的畫家生涯裡致力且不停歇地創作肖像畫。Schiele以肖像畫和自畫像吸收與消化不同藝術風格、時代思潮、醫學新知和新科技，以此為基石織就藝術理念，並藉由拓展出雙重自畫像及雙人肖像畫，以構圖巧思、雙重身概念以及強調觀看感受的宗教感實踐和傳達他對於觀看的想法，讓觀者藉由觀看辨別「瞧見」與「看透」的區別，在觀看過程中同時體現創作者和召喚觀者的內在視像以觸及觀看的多種可能性。
本論文第一章，以四檔二十世紀初展覽中的肖像畫梳理十九世紀前半葉到二十世紀初維也納肖像畫發展的歷史、社會及文化背景，討論身處其中的贊助者、被畫者和藝術家面臨大環境的變動，選擇以肖像畫表達主體的軌跡，如此現象沿襲至二十世紀初Schiele這一代新藝術家繼續透過肖像畫形塑現代主體。第二章首先聚焦Schiele在1910年以前的個人生命經驗和藝術養成歷程，Schiele與家人的關係、求學過程接觸的新事物、結識啟發其藝術的貴人、以及以素描和水彩嘗試多種表現手法。其次，論述Schiele選擇描繪維也納知名人士、贊助者、孕婦與嬰兒以及青少年的肖像畫，累積不同的面孔和身體圖像，探索和拉扯於被畫者的內在情緒和外在認知之間，進而逐漸形塑自己的藝術風格。第三章首先探討Schiele透過大量實驗自畫像，同時作為自畫像的創作者和被畫者的雙重角色，大膽突破出屬於自己的語彙並發展雙重自畫像。接著，聚焦探討Schiele雙重自畫像《自我預知者》系列，透過Schiele對於此系列「瞧見」與「看透」兩種觀看模式的說明，分析《自我預知者》系列從草圖和構思階段逐步建構並表達「看透」的重要性，是一種超越外在並能夠辨認內在視像的途經。第四章將焦點鎖定「雙重身」的概念，爬梳雙重身概念從神話時代發展至世紀之交維也納的演變，勾勒雙重身的概貌，接著比較與分析Schiele雙重自畫像在精神分析理論下的詮釋，以及雙重身在繪畫不同於文學的表現形式下拓展的新意義。第五章聚焦在Schiele在1912年創作的雙人肖像畫《隱士》和《痛苦》，討論和分析Schiele如何運用不同基督教元素鏈結雙人肖像畫中人物的關係，進而影響觀者的觀看感受，藉由觀看多重宗教元素感覺其神聖性和內在性以體現Schiele所謂的「宗教感」。
;The early twentieth-century Austrian painter Egon Schiele (1890-1918) is famous for his very different and unique style of painting. During his short career as a painter, he devoted himself to creating portraits incessantly. Schiele portrayed different classes, ethnic groups, and self-portraits by absorbing and digesting different artistic styles, contemporary trends, new medical knowledge, and new technologies. He used this as a cornerstone to weave his artistic concepts. He developed double self-portraits and double portraits with skillful compositions, the concept of doppelgänger, and religious sensation emphasizing his thoughts on viewing, allowing viewers to distinguish the difference between “daraufsehen” (look at) and “hineinsehen” (look into) through viewing. In so doing, his works reflect the inner vision of the creator and invite the viewer to generate many possibilities for viewing.
The first chapter focuses on the portraits in the four exhibitions at the beginning of the twentieth century, sorting out the historical, social and cultural background of the development of Vienna’s portrait paintings from the first half of the nineteenth century to the beginning of the twentieth century. It discusses how the patrons, painters, and artists who faced the social changes and chose to express the subjectivities through portraits. This phenomenon had continued until the early twentieth century when the new generation of artists, including Schiele, shaped the modern subject through portraits. The second chapter firstly focuses on Schiele′s personal life experience and artistic development before 1910, exploring topics such as Schiele′s relationship with his family, his discovery of new things at school, his acquaintance with those who inspired his art, and his preference for drawing and watercolor as experimental mediums for various expressions. Secondly, Schiele chose to accumulate different face and body images by depicting portraits of famous Viennese personalities, patrons, pregnant women, babies, and teenagers, exploring the tensions between the inner emotions and outer recognition of sitters, gradually forming his own artistic style. The third chapter first discusses Schiele’s many experiments in the genre of self-portraiture, playing the dual roles of both the creator and the subject of the self-portraits. He boldly breaks through his visual vocabulary and develops the double self-portraits. Then the chapter focuses on the Schiele’s Self-Seer series, in the light of Schiele′s explanation of the two viewing modes of this series, “look at” and “look into.” I analyze the gradual completion of the Self-Seer series from the sketches and demonstrate the importance of “look into” which is a way to transcend the outside and be able to recognize the inner vision. In the fourth chapter, I focus on the concept of “doppelgänger” which has evolved from the age of mythology to turn of the twentieth-century Vienna, outlining the context of doppelgänger. Then I compare and analyze the interpretation of Schiele′s double self-portraits under the psychoanalytic theory and the new meaning of doppelgänger in painting different from literature. This concept echoes Schiele′s embodiment of inner vision and his thoughts on portraits. The fifth chapter focuses on Schiele’s double portraits Hermit and Agony made in 1912, discussing and analyzing how he used the different elements of the Christian iconography, thereby affecting the viewer′s viewing experience, by looking into multiple religious elements feel their sacredness and internality in order to reflect what Schiele calls the “sensation of religion.” |
