自我意识的运动——弗朗西斯·培根“身体”概念研究

The Movement of Self-consciousness-A Study of Francis Bacon’s Concept of the Body

弗朗西斯·培根(Francis Bacon)将自己对绘画的追求概括为“临床学”[1]绘画,并将其称为最完全意义上的现实主义。吉尔·德勒兹(Gilles Louis RénéDeleuze)称培根言及的现代主义绘画,所通达的是介于抽象与具象之间的“第三条道路”。但无论是培根,还是德勒兹,都忽视了对除意识之外的对象的再认识,最终难免落入空虚的向自身回归的运动当中。事实上,培根从身体所衍生的形象,以及画面中暴露的血肉,作为掌握无法被经验的对象,要求获得的并非现实性,而是自我意识的确证。因此,培根所选择的绘画道路,实为通过取消事物的自在性,以自我为存在本质,在否定性关系中循环往复的概念化活动。

Francis Bacon summed up his pursuit of painting as“clinical”painting,which he called realism in its fullest sense.Gilles Louis Rene Deleuze described modernist painting as a“third way”between the abstract and the figurative.However,both Bacon and Deleuze neglected the re-understanding of objects other than consciousness,and eventually inevitably fell into the empty movement back to itself.In fact,Bacon’s image derived from the body,and the flesh exposed in the picture,as the object of mastery that cannot be experienced,demands not reality,but the confirmation of self-consciousness.Therefore,Bacon chose the path of painting,in fact,by canceling the self of things,with the self as the essence of existence,in the negative relationship of the cycle of conceptualization activities.