《花神的創(chuàng)意》

譯/愛藝

[圖 見 封 底]

勒內(nèi)·馬格利特的作品始終貫徹一個中心理念，那就是繪畫須有詩意，而那詩意須喚起神秘感。關鍵詞就是“神秘感”。他的全部畫作都是想盡力喚起這種神秘感——是喚起而非揭示。但究竟什么是神秘感？世間對此定義繁多。毫無疑問，所有定義都與某種隱藏之物或秘密之物的理念有關。其中一些還帶有宗教或神秘主義的內(nèi)涵。換句話說，根據(jù)各個教會或宗教教條的說法，要想洞察帶來神秘感的那些“神秘之物”，必須先接受某種啟蒙，否則人類永遠無法了解它們，只能原樣接受?；浇淌ザY所體現(xiàn)出的神秘感就是這種情況。這屬于神秘主義的范疇，相對馬格利特個人來說，超現(xiàn)實主義大體上更加青睞神秘主義。

2畫面上，一名男子頭戴圓頂禮帽，背對觀畫者站立，外套背面覆蓋著意大利畫家桑德羅·波提切利的名畫《春》中花神芙羅拉的形象。馬格利特常常在作品中采用一種技巧，這幅畫便是例證之一：在某物體前放置一個較小物體遮擋部分視線，由此，觀畫者便無法看到所遮較大物體的全貌。對于這幅畫作，馬格利特表示：“人是一種可見的有形幻影，像一朵云、一棵樹、一座房子，像我們看到的所有東西。我并不否認人的重要性，但也不認為在世間所有可見的事物中，人高他物一等?！?□

The central idea running through the work of Rene Magritte was that painting must be poetry, and that poetry must evoke mystery. The key word is “mystery”. His whole oeuvre1oeuvre（作家、藝術家等的）全部作品。was committed to an attempt to evoke this mystery—to evoke it, not to reveal it.But just what is mystery? There is no lack of definitions. All of them, incontestably, have something to do with the idea of something hidden, something secret. Some of them are also marked by religious or mystical connotations. In other words, according to the churches or to religious dogmas2dogma 教義；信條。, it is necessary either to receive some sort of initiation in order to penetrate these “mysteries”,or else they are forever inaccessible to human understanding and have to be accepted as they are. This is the case with the mysteries practised by the Christian religion as embodied in its sacraments.It is the domain of esoterism3esoterism = esotericism 神秘主義。, more beloved of Surrealism in general than to Magritte in particular.

2A man with a bowler hat stands with his back to the viewer, a figure of Flora fromPrimaveraby Sandro Botticelli44 桑德羅·波提切利（1445—1510），意大利著名畫家，歐洲文藝復興早期佛羅倫薩畫派代表人物，意大利肖像畫的先驅者，代表作包括《春》《維納斯的誕生》《三博士來朝》。primavera 是意大利語，意為spring（春）。木板蛋彩畫《春》創(chuàng)作于1481 年至1482 年間，是波提切利受當時美第奇家族之首洛倫佐·德·美第奇所托而作，取材于文藝復興詩人安杰洛·波利齊亞諾關于春日愛戀的一首詩，表現(xiàn)的是春天的美好故事，帶有濃厚的理想和神秘色彩。Flora 芙羅拉，羅馬神話中的花神，代表春天與鮮花，是青春的象征。placed over his coat. This work exemplifies a device that Magritte commonly utilized: partially hiding an object by placing a smaller object in front of it and,therefore, denying the viewer complete access to the larger image. Of this work Magritte states, “Man is a visible apparition like a cloud, like a tree, like a house,like everything we see. I don’t deny his importance and neither do I accord him any pre-eminence in a hierarchy of the things that the world offers visually.” ■