塞尚解索：1906-1920：塞尚与柏格森续集

本书延续《塞尚与柏格森》立论，以柏格森哲学的角度，解索继塞尚而起的现代绘画三大流派：野兽主义、立体主义、未来主义之代表性成员，还有相关旁支：韵律主义、奥菲主义，以及重要艺术家杜象等六个主题。

首页特别刊录塞尚含有三种圆体(「圆柱体、球体、圆锥体」)的核心作品：《杰佛华画像》与《佛拉画像》，意在衔接笔者的首要发现: 塞尚在这二幅画里分别以柏格森著作里的三个图示(「蚬形」、「水平与垂直线」、「圆锥体」) 巧妙构图，并且先后精心标示柏格森姓名缩写「H.B.」，特别指引其画作与柏格森哲学之密切关联性，二个图证明白可稽，弥足珍贵。

因而，依循塞尚的创作思维，并延续原有的「表像与实在」暨「直觉与理智」分析脉络，进而解索其后继者彼此较劲、多元且富于变化、甚至竞争对立的各式柏格森风格乃更加引人入胜，这个解释框架不仅揭示了柏格森哲学的关键特征，也为理解塞尚晚期作品和二十世纪早期现代绘画中的「柏格森主义」开辟了一条重要途径，有别于一般对此主题较为零星、片断的讨论。

本书不同于其它论述还在于: 跨哲学、绘画与艺术社会学领域之对比与视域融合，因此，所见不同但独到，至今仍属此主题少见的专著之一，值得分享并祈指教。作者以严谨研究与图像实证，重构被遗忘的「柏格森思潮」与现代艺术的交会，让我们重新看见艺术与哲学激荡出的创造火花，这不仅是艺术史的创见，更是一场跨越百年的精采探险。

Abstract

This sequel to Cézanne and Bergson extends the Bergsonian interpretation to the major developments of modern painting after Cézanne, encompassing the key figures of Fauvism, Cubism, Futurism, Rhythmism, Orphism, and Marcel Duchamp.

Reconnecting with my earlier findings, the opening pages focus on two of Cézanne's major works-Portrait of Gustave Geffroy and Portrait of Ambroise Vollard-both of which contain his signature spheres (cylinder, sphere, and cone). Moreover, Cézanne structured these paintings in accordance with Bergson's well-known schemata ("the shell," "the horizontal and vertical lines," and "the cone"), while discreetly embedding the initials "H.B." twice as tributes to the philosopher. The author gratefully uncovered these two pieces of evidence, respectively in 2002 and 2024-discoveries that are by no means mere illusions.

Building on this foundation and adopting the same approach, the present volume continues to examine how younger artists engaged in dialogue with Bergsonian philosophy, epistemologically through "intuition and reason" and metaphysically through "appearance and reality." It also traces the intertextual resonances between philosophical symbols and artistic metaphors.

This interpretive framework not only reveals the key features of Bergsonian philosophy but also opens a significant path toward understanding Bergsonism in both Cézanne's late works and early twentieth-century modern painting. This differs from the usual sporadic and fragmented discussions on this topic.

While it is widely recognized that younger artists turned to Cézanne in search of new stylistic directions, it is equally important to acknowledge that they also drew upon Bergsonian thought to articulate and validate their innovations. From this perspective, one of the defining features of modern painting emerges as the plural and inventive formal expressions of a distinctly Bergsonian style. This is not only an original contribution to art history but also a fascinating adventure that spans a century.