安東尼‧達比耶斯（Antoni Tàpies , 1923-）及其超越物質精神二元論

Abstract

繼畢卡索(Pablo Picasso)、米羅(Joan Miró)、達利(Salvador Dalí)之後，位於西班牙東北角充滿神祕色彩的卡達隆尼亞(Catalonia)區又出現了一位舉世矚目的藝術家──安東尼．達比耶斯(Antoni Tàpies, 1923-)。當五○年代中期，他那如「牆」般的「繪畫－物件」(painting-object)甫一出現，立即在歐洲藝壇掀起了極大的波瀾。此後，他的藝術幾乎與「物質繪畫」(Matter Painting)劃上等號，或被視為「無形象藝術」(L’art informel; Informal art)的代表畫家。誠然，達比耶斯對於當代藝術史最大的貢獻，便是在材質肌理的表現上開創了前所未有的新面目，然而大多數研究者往往一味關注於其可見的表現形式，而忽略了「材質」在其作品中所凸顯的意義。事實上，他以類似雕塑造形的增減材質手法所創出的肌理幻象，不僅顯示材質不再淪為線條、色彩的附庸，而是具有獨立表現性的主角，更說明了創作者與作品材質之間的微妙互動，亦是使材質展現生機的重要因素，而此互動尤其涉及創作者所投注於材質的一種精神性。因而本論文所關注的重點，除了以達比耶斯作品中的材質表現凸顯其藝術風格外，亦將深入探討其形式風格背後的真正意涵。 二次大戰後，當整個科學、哲學界都熱衷於探討「物質」的問題時，達比耶斯也開始思考「材質」在其藝術作品中的角色定位，而在藝術形式上有了新的突破。他以堆積、刮擦、充滿人性的符號印記等，讓原本無法自主運動的材質煥發生氣，便是企圖創造一種新的「真實」(reality)，因此「材質」乃是他詮釋「真實」的手段。換言之，在其無形象的肌理幻象背後，其實正隱含著一種「世界觀」(Weltans-chuung; world view)。也正由於這種世界觀，使其作品中的材質不僅恰如其分地凸顯出它的角色，亦適切地傳達出藝術家的創作理念。更確切地說，在其兼具材質的「物質性」與「精神性」的藝術風格中，正體現了他得自現代科學與中國的「自然有機體論」(Natural Organism)或「自然的有機概念」(Organic Concept of Nature)的啟示，而主張捨二元分化的觀點來看待自然宇宙的一種創作思維。正因為他將宇宙萬物視為一個有機的整體，因此在深知物質與精神屬於同一機制，正如易經中所顯示的陰陽互補而同一的原理之下，他亦慣常以辯證手法來表現一種超乎對立的世界。 達比耶斯的強烈使命感，總是使他的作品傳達出一種企圖改造世界的力量。尤其憂心西方傳統文化所面臨的危機，更令他急於提醒世人以一種辯證思維正確而全面地看待「真實」。這也正是為什麼他總是藉著一種寫實手法的極化，暗示我們眼中所見的「真實」並非真正「真實」的原因。而其辯證美學觀便是同時在超越物質精神二元對立的思想下展開的，這其中含有極大的超越與反省的意義。因此，本論文便基於「世界觀」乃是建立作品風格的重要關鍵的觀點切入，企圖將藝術家的心靈與其藝術形式統一起來，並以「超越物質精神二元論」來概括其創作思維、藝術風格、辯證手法及對人生與藝術完美境界的永無止盡的追尋。而在其兼容西方文化的外傾精神與東方文化的內省精神主導下，其作品更被賦予了「人與自然的合一」、「東西方文化的融合」及「人類集體無意識(Collective unconcious)的呈現」之時代意義。

Following the footsteps of Pablo picasso, Joan Miró; and Salvador Dalí;, Antoni Tàpies is another Spanish artist from the mysterious Catalonia who is being spotlighted on stage. In the mid 50's, the European art circle was shocked by Tàpies' wall-like "painting-object." He was regarded as a leading artist of "Informal Art" and his works almost became a synonym of "Matter Painting" since then. His achievement is twofold: initiating a new style of material and making use of texture that the world has never had. Unfor-tunately, many researchers are paying too much attention to his visible style rather than digging out the concealed significance of it. In fact, the illusion of texture he created by method of "increase'" and "subtraction" freed the material from depending on line and color and made it an independent and expressive role. By inspiring a unique spirituality, the subtle interplay between the creator and material caused by this method is considered to be a crucial factor to vitalize the material. Based on the above, my thesis will emphasize not only Tàpies' style but also the significance behind it. After World War II. both the scientific and philosophical fields are enthusiastic in probing into the core of matter. Tàpies, at the same time, started to ponder on the same issue. As a result, the proper orientation of 'matter' enabled him to evolve a personal style with success. Technically, he uses "piling-up" and "scratch" to make his painting full of humanized prints and signs. By means of this process, the dependent "matter"was vitalized and a new reality was born. In other words, there is a hidden world view behind the informal illusion of texture. It goes without saying that this world view which carries the idea of the artist is making the material the very source of an accurate expression. To be more precise, the style that he created possesses spirituality and materiality of "matter" as inspired by modern science and the "organic concept of nature" which was originated from ancient Chinese philosophy. He strongly believes that the Universe is an organic whole with matter and spirit of the same system.Like the complementary principle of Yin-Yang in I Ching, he rejected Dualism and used Dialectic to bring out senses that go beyond the dualistic world. Tàpies' convicted mission makes his work convey a strong desire to improve the world. Considering the impending crisis of Western tradition, he tries his best to remind us to treat "reality" accurately and undividedly with dialectic thinking . This is the reason why he always suggests that the visible reality is not true reality by employing a drastic realism different process in his work. In short, his dialectical aesthetics is developed under the thought of transcending the duality of matter and spirit in which transcendence and introspection is fully involved. Having been governed by the concord of his Western extroversion and Asian introspection, his work presents a timely connotation containing: "harmony of human being and Mother Nature," "blended culture of the East and West" and "presentation of human collective unconscious". The argument of my thesis is thus based on the belief that "world view" is a principal factor of creating the style of works, and intended to unify the mind and style of the artist. Along this line, the subject of "going beyond the dualism of matter and spirit" has generalized an idea of creation, a style of work, a dialectic and artist's unlimited search for the ideal of life and art.