莫內「聖拉札車站」畫中的火車聲：通感與身臨其境的審美體驗

The Train Sound in Monet’s Painting “Gare Saint-Lazare ” : Aesthetic Appreciation Experiences of Synesthesia and Immersion

法國印象派畫家莫內於1877年創作了七幅《聖拉札車站》（Gare Saint-Lazare）的畫作。火車頭加滿了煤炭噴出濃濃的蒸氣，在陽光下顯得輝煌迷朦，好像置身其中，聽到轟轟的火車聲。欣賞莫內的印象畫，如以梅洛龐蒂的身體之「在世存有」以及「知覺場」的體驗，用身體去感知、用身體去發現、用身體去創造，使身體在藝術創作中的合法地位得以確立，以開顯出創作者「身體在場」、「身臨其境」的審美體驗。再運用「通感」調動聽覺感覺體驗來表現畫面形象的「象外之音」，使之更逼真、更饒有生氣。運用通感的方式，化靜為動，化無聲為有聲，表現出畫面景物所沒有的動態和聲響，把欣賞者引入一個具有聲響、動態的自然情境之中。由視覺到聽覺、化無生為有聲的通感把各個感覺溝通起來，激發想像、聯想，產生移情，對藝術形象的自由發展起著重要作用，使人從有限的形象中獲得無限豐富的審美體驗。

The French impressionist painter Monet created the painting “Gare Saint-Lazare” in 1877. The locomotive filled with coals sprays out thick steam, which seems glamorous and misty in the sunshine and enables viewers to immerse themselves in the painting and hear the thundering train sound. Appreciating the impressionist paintings of Monet is similar to the experiences of “being-in-the-world” and “perceptual field” of Merleau- Ponty’s body-related concepts. One may use his/her body to perceive, discover, and create, which confirms the legitimate status of use of body in artistic creation, as well as reveals creators’ aesthetic appreciation experiences of “being-in-the-field” and “immersion.” Creators further use “synesthesia” to maneuver auditory sensation experience to embody the “sound out of the painting,” which makes paintings more realistic and vibrant. The use of synesthesia to convert the static to the dynamic and to convert the soundless to the soundly can reflect the dynamic and sounds that are absent from scenes in paintings and guide viewers to a soundly and dynamic natural context. Synesthesia, which guides viewers from vision to hearing and converts the soundless to the soundly, communicates with various senses, triggers imagination and association, produces empathy, plays an important role in the free development of artistic image, and enables people to obtain unlimited and abundant aesthetic appreciation experiences from limited image.