除魅與施魅：Goya 1797-99 年間的 巫術主題創作;Disenchantment and Enchantment: Goya’s Works of Witchcraft (1797-99)

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題名:	除魅與施魅：Goya 1797-99 年間的巫術主題創作;Disenchantment and Enchantment: Goya’s Works of Witchcraft (1797-99)
作者:	梁云繻;Liang,Yun-ju
貢獻者:	藝術學研究所
關鍵詞:	哥雅;啟蒙主義;巫術;怪誕;浪漫主義;諷刺圖像;迷信;除魅;disenchantment;Francisco de Goya;Romanticism;satirical images;superstition;the Enlightenment;the grotesque;witchcraft
日期:	2013-01-09
上傳時間:	2013-03-25 16:23:43 (UTC+8)
出版者:	國立中央大學
摘要:	巫術在歷史上被主流文化所排拒，卻一直是許多藝術作品再現的主題，也大量出現於Goya的創作中。本文聚焦Goya 最早的一批巫術再現，分別是1797到98年間創作的五件小幅油畫，和1797到99年的《狂想曲》版畫集中的數件作品。1790年代是Goya創作風格開始轉向且有更多自主表現的階段，而巫術雖已被除魅化，但在此時期的西班牙社會仍具有高度爭議性。Goya藉巫術圖像的黑色幽默能量，畫出社會對巫術的矛盾態度，封存了當時的時代氛圍，反映出社會及美學論述、傳統和流行文化、乃至心理現象。本文討論Goya 在18世紀末三年的巫術作品，如何傳達在理性除魅，和非理性施魅之間擺盪的複雜意象，又如何體現文化與藝術，從啟蒙到浪漫的轉渡過程。若Goya真如其他啟蒙份子一樣對巫術嗤之以鼻，其大量巫術再現又有什麼目的？Goya和巫術之間，有什麼可能的曖昧關係？在除魅與施魅的兩極間，他如何表露或暗示自己的立場？ Goya雖是西班牙啟蒙革新派的一員，卻也觀察到受到壓制的巫術文化，在新時代所顯現的樣態，其作品明示對迷信蒙昧的輕蔑，也褶藏對啟蒙理想的質疑。第一章從Goya的藝術養成經歷和成長環境，來認識巫術為何會成為Goya中年後的重要創作題材，並整理其個人經歷、文化根源，和傳統巫術文化及當代巫術文藝風潮之間的關聯性，以了解Goya的宗教觀與對巫術文化的態度。第二章討論Goya五件具濃厚諷刺喜劇感的巫術小油畫，所反映出啟蒙思想在西班牙社會所除不去之魅。五件繪畫分別回應了當代的文學戲劇品味、現代早期以來的巫術文本，以及藝術史上的巫婆再現圖像，更可見Goya對迷信行為與態度的深刻觀察。第三章探討Goya的《狂想曲》，何以透過妓女卅巫婆的人物類型再現，達成道德論述與社會諷刺的意義，使巫者成為一種象徵性的圖像語彙。同時，《狂想曲》中巫術版畫的怪誕表現，也突圍了既有的道德與審美價值，對觀者施予一種詼諧而幽微的美學體驗。Goya 1797到99年間的巫術主題創作，具現了啟蒙思想和啟蒙社會的多重面貌，更表露他往前探勘浪漫藝術的前衛表現。 Although witchcraft has been excluded from the mainstream culture throughout history, it has constantly been represented by works of art, and it also has appeared frequently in Goya’s works. My thesis focuses on some of Goya’s earliest representations of witchcraft including five cabinet paintings dated from 1797 to 98, and several works from Los Caprichos, a set of aquatint prints that were created from 1797 to 1799. The 1790s was the period when Goya’s style began to shift to a new direction and demonstrate more independence. Though the belief of witchcraft had already been disenchanted during the age of Enlightenment, it was still highly controversial in the Spanish society at that time. Goya demonstrated the contradictory attitudes toward witchcraft of the society, and reflected social and aesthetic discourses, traditional and popular culture, even the mentality of that age with the black humor of witchcraft images. My thesis discusses the complicated imagery between the rational disenchantment and the irrational enchantment of Goya’s witchcraft works during the last three years in the 18th century. How did the works embody the transition of cultures and art from the Enlightenment to Romanticism? If Goya really disbelieved and despised witchcraft, what is the purpose of his numerous witchcraft representations？What kind of ambiguous relation might be between Goya and the witchcraft？ Between the poles of Enlightenment and Romanticism, how did he reveal or imply his own view？ Goya was one of the enlightened reformers of Spain; however, he also observed the state of the oppressed witchcraft culture in the new age, and his works convey the criticism of superstition and his skepticism of Enlightenment ideals. In the first chapter, I trace Goya’s artistic formation and his background, from which we realize the factors why witchcraft became an important theme after his mid-career. Besides, I discuss the connections between his personal experiences, his cultural origins, the traditional witchcraft culture, and witchcraft trend of contemporary art and literature, in order to find out Goya’s view of religion and his attitude towards the witchcraft culture. In chapter two, I discuss five witchcraft cabinet paintings in a style of satirical play that reflected the impossibility of disenchantment in the elightened Spanish society. The five paintings corresponded to the contemporary literature and theatre trends, and the early modern witchcraft texts, and also the representations of witchcraft in art history, which also displayed Goya’s deep observations on superstitious behaviors and attitude. The third chapter focuses on Goya’s Los Caprichos, analyzing how it conveyed moral statement and social satire by representing the characters of prostitutes卅witches, and how the witch became a symbolic visual language. Meanwhile, the grotesque rendering of the prints in Los Caprichos broke the boundaries of existing moral and aesthetic values, providing the audience a facetious and subtle aesthetic experience. The witchcraft works of Goya from 1797 to 99 embodied the various dimensions of the Enlightenment thoughts and the enlightened society, and furthermore revealed his avant-garde approach to Romanticism.
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