《花神的创意》

译/爱艺

[图 见 封 底]

勒内·马格利特的作品始终贯彻一个中心理念，那就是绘画须有诗意，而那诗意须唤起神秘感。关键词就是“神秘感”。他的全部画作都是想尽力唤起这种神秘感——是唤起而非揭示。但究竟什么是神秘感？世间对此定义繁多。毫无疑问，所有定义都与某种隐藏之物或秘密之物的理念有关。其中一些还带有宗教或神秘主义的内涵。换句话说，根据各个教会或宗教教条的说法，要想洞察带来神秘感的那些“神秘之物”，必须先接受某种启蒙，否则人类永远无法了解它们，只能原样接受。基督教圣礼所体现出的神秘感就是这种情况。这属于神秘主义的范畴，相对马格利特个人来说，超现实主义大体上更加青睐神秘主义。

2画面上，一名男子头戴圆顶礼帽，背对观画者站立，外套背面覆盖着意大利画家桑德罗·波提切利的名画《春》中花神芙罗拉的形象。马格利特常常在作品中采用一种技巧，这幅画便是例证之一：在某物体前放置一个较小物体遮挡部分视线，由此，观画者便无法看到所遮较大物体的全貌。对于这幅画作，马格利特表示：“人是一种可见的有形幻影，像一朵云、一棵树、一座房子，像我们看到的所有东西。我并不否认人的重要性，但也不认为在世间所有可见的事物中，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、艺术家等的）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 教义；信条。, 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 神秘主义。, 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 桑德罗·波提切利（1445—1510），意大利著名画家，欧洲文艺复兴早期佛罗伦萨画派代表人物，意大利肖像画的先驱者，代表作包括《春》《维纳斯的诞生》《三博士来朝》。primavera 是意大利语，意为spring（春）。木板蛋彩画《春》创作于1481 年至1482 年间，是波提切利受当时美第奇家族之首洛伦佐·德·美第奇所托而作，取材于文艺复兴诗人安杰洛·波利齐亚诺关于春日爱恋的一首诗，表现的是春天的美好故事，带有浓厚的理想和神秘色彩。Flora 芙罗拉，罗马神话中的花神，代表春天与鲜花，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.” ■