| 摘要: | 翻開西洋藝術史，幾乎是一部美的歷史，其中以「女性身體」作為繪畫主體的畫作為數甚多，是一種以男性藝術家為觀照主體；以男性觀者為窺視取向的角度來作畫，充份展現純潔、崇高、美妙或是神話妖精等一些固定模式典型及形態，合於人類社會的普世價值系統，本研究將藉由西洋藝術史上描繪女性身體的題材，探討女人圖象的典範，來導入「另類女人」的研究。並追蹤西洋藝術史中「完美女人」之下的「另類女人」的芳蹤。 隨著時代的演進，西洋藝術史走入了現代的體系，當1907年畢卡索創造出「亞維農姑娘」時扭曲的造型、立體主義碎面的形象時，已然對西洋藝術史的「完美女人」形象，預告了將面臨被顛覆的命運，然而經過了43年之後，「完美女人」的形象才由杜布菲與德庫寧真正的完成解構，1950年代杜布菲、德庫寧相繼創作出有別於這些形象之外的「另類女人」的形象，這些女人因迥異於以往的女性形象，不合於普遍的美的系統，出現一種「另類」的、醜怪的、汙然的形式與意義，因此對於較不會處理「另類」藝術史普遍系統而言，是一種不悅甚至是驚異的情境。普遍系統對這些另類的系統如何審視與看待？社會體系又是如何看待女性的身體？創作這些「另類女人」的主、客觀背景為何？與時代特質有何關聯？與藝術家的生平、個性與經歷有其關係嗎？藝術家「凝視」的角度又為何？它又帶出了什麼樣的藝術哲學？ 本文主要目的在於「另類女人」的探討，因此篇幅著重於杜布菲與德庫寧的女人系列研究。第一篇為緒論探究本文的研究動機與目的，以及研究的範圍與方法，並出文獻的探討及相關資料；第二章為另類女人釋義，除了解釋何為另類女人之外，將以西洋繪畫史中的女性典型來對比「另類女人」之另類與獨特性，並溯源至「另類女人」的先聲──畢卡索的「亞維農姑娘」，以及在此之後、杜布菲的女人出現之前的「另類女人」的表現；第三章介紹杜布菲的生平、藝術與「女人」系列的形成與背景，並分析女人軀體的圖像；第四章為德庫寧生平與藝術以及「女人」系列的形成與背景；第五章找尋其它的「另類女人」，並試圖藉由另類女人和當代藝術的反美學作連結，以作為本文的總結。
The western art history is almost a history of beauty. Many paintings have female bodies as their subjects. They are painted from male artists' perspectives, and out of their peeking inclinations. They display some stereotypes and forms of purity, sublimity, and beauty, whether they are humans or mythical figures. And they conform to the popular value system of the western human society. This thesis intends to study the singular female figures through examining the images of female paragons from the western paintings that portray female bodies, and to trace singular female figures among perfect, standard ones. With the evolution of time, the western art history entered the modern era. When Picasso created the twisted, fragmentary cubist forms and images of ＂Les Demoiselles d' Avignon,＂ the standard perfect female images were beginning to be overthrown. But it wasn't till 43 years later that these images were deconstructed by Dubuffet and De Kooning. In the 1950s, Dubuffet and De Kooning started to create those singular female forms that distinguished themselves from the past female images. Those non-typical, grotesque female figures did not conform to the popular aesthetic standards, and were unpleasant and astonishing in the eye of the popular system that did not know how to deal with the non-typical. How did the popular system view this singular system? How did the social system view female bodies? What were the subjective and objective backgrounds of the creation of these singular female figures? What did they have to do with the characteristics of their age? Did they have anything to do with the life, personalities and experiences of the artists? What artistic philosophy did they bring forth? This thesis aims at studying ＂the singular female figures＂, with the woman series of Dubuffet and De Kooning as its focus. The first chapter is the introduction of the motives and purposes of this thesis and the range and method of its research. The second chapter provides the definitions of ＂singular female figures＂. Besides explaining what singular female figures are, it also compares the female paragons in the western art history with the unique features of the singular female figures, and traces ＂the harbingers＂ of the latter—Picasso's ＂Les Desmoiselles d'Avignon,＂ and the representations of the singular female figures between Picasso and Dubuffet. The third chapter introduces the life and art of Dubuffet and the development and background of his woman series, and analyzes the images of the female bodies in his works. The fourth chapter introduces the life and art of De Kooning and the development and background of his woman series. The fifth chapter intends to find out other singular female figures and connect the singular female figures with the anti-aesthetics of the modern art. |
