存在之真——塞尚晚年“圣·维克多山”的形式分析与现象学研究(上)

The Truth of Existing:A Formal Analysis and Phenomenology Study on Cezanne's Mont Sainte-Victoire Series (Ⅰ)

塞尚晚年"圣·维克多山"系列绘画一反其成熟时期绘画所追求的坚固坚实的自然形式,而呈现出混沌和抽象的倾向。对此,后世学者陷入无止境的争论之中。回顾塞尚艺术的发展史,这是一部对巴洛克技法和印象派的双重背离历程,也是一部破主客二分、不断追求自然之真的历程——艺术乃与自然平行之和谐。而只有在存在论现象学的高度,并将塞尚的生命、绘画史结合入晚年的风景画中,方能瞥见其晚期艺术对真性的重大突破。本文将梅洛—庞蒂存在论现象学引入塞尚晚年《圣·维克多山》的分析,在形式分析与现象学研究的双重视角中,研究此系列对深度的营造和通往真性的道路。

Cezanne’s Mont Sainte-Victoire series which were created in his later years,were different from his natural form that sought firmness and solidness,demonstrating the tendencies of abstraction and chaos.Accordingly,later scholars have come into endless debate on this.Cezanne’s artistic evolution is the journey of double deviation from Baroque technique and Impressionism,and also a process that broke the subject-object dichotomy and continuously pursued the truth of nature-art is the harmony that parallels with nature.Only at the height of Phenomenology where Cezanne’s life,history of painting were included in his landscape painting of later years,the breakthrough of authenticity in his creation of later years can be seen.This article introduces Merleau-Ponty’s Ontological Phenomenology to the analysis of Mont Sainte-Victoire,and from the double perspectives of modal analysis and research on Phenomenology,the study of construction of depth and access to authenticity of this series is made.