傳柯對馬內繪畫的三個問題與意涵研究

Michel Foucault’s Three Critical Questions on the Paintings ofÉdouard Manet and Their Significance

法國哲學家傅柯（Michel Foucault, 1926-1984）於1967年至1971年間曾以馬內（Édouard Manet, 1832-1883）的繪畫為主題，在米蘭、東京、佛羅倫斯及突尼斯等地發表過演講。而傅柯生前也曾想出版著作來探討馬內的繪畫，其原先構想的書名應為《黑色與彩色》（Le Noir et la couleur），然而該書並未於傅柯生前完成出版。儘管如此，由於日後發現了傅柯在1971年時於突尼斯的演講錄音，法國學者瑪麗馮恩，賽松（Maryvonne Saison）依據錄音內容，在2001年時與多位學者一同展開研討會，並於2004年將與會學者的評論及傅柯的演講內容一同出版，使傅柯對馬內繪畫的觀點得以為世人所知。傅柯在講座中對馬內的油畫提出了三個問題：其一為「畫布的空間」，是關於畫布作為矩形物件及油彩物質性的探討；其二為「光照的來源」，探討了畫中有別於古典藝術的光源與美學；其三為「觀者的位置」，這揭示了畫中具有的多點透視特質。傅柯認為馬內的作品是一種「物件－繪畫」（le tableau-objet），即作為物件的繪畫，其揭示了繪畫的物質性所具有的現代性意義，此亦為日後現代繪畫發展的重要方向之一。本論文不僅探討傅柯對馬內繪畫提出的問題與觀點，更以形式分析、美學、社會學與現象學觀點加以探究與論述；以此探討馬內繪畫與古典繪畫的差異，以及其之於現代繪畫的啟發與關聯。

Between 1967 and 1971, the French philosopher Michel Foucault (1926–1984) delivered lectures on the paintings ofÉdouard Manet (1832–1883) in Milan, Tokyo, Florence, and Tunis. He also planned a book on Manet, provisionally titled Le Noir et la couleur (Black and Color), but it remained unpublished during his lifetime. After a lecture recording from 1971 was discovered, Maryvonne Saison organized a symposium in 2001. She also edited a book published in 2004 that included both a transcription of Foucault’s lecture and scholarly commentaries, making Foucault’s views on Manet more widely accessible. In his lecture in Tunis, Foucault raised three questions concerning Manet’s oil paintings: the space of the canvas, which he regarded as a rectangular object, emphasizing its materiality; lighting, which he analyzed as a non-classical mode of illumination; and the place of the viewer, in which he explored multiple and shifting viewpoints. He proposed that Manet’s works constitute what he termed le tableau-objet, namely painting as an object, highlighting its materiality and modern significance. This study examines Foucault’s lecture as a text and further analyzes Manet’s works through formal analysis, aesthetics, sociology, and phenomenology. It highlights the differences between Manet’s works and classical painting, while exploring their significance for modern painting.