Joseph Beuys/Palazzo Regale（王宮）(Neapel 1985) 作者:曾曬淑(國立臺灣師範大學美術學系)

摘要：

德國前衛藝術家Joseph Beuys(1921-1986)生前最後一件裝置作品「王宮」（Palazzo Regale）為其作品中唯一與特定場地的建築及空間密切結合的作品。Beuys因應義大利那不勒斯（Neapel）Capodimonte美術館（前波 旁王朝（Boourbone）的夏宮Palazzo Reale di Capodimonte）大理石地面的幾何圖形及強烈的色彩，創作出以水平及垂直線條為主，充滿莊嚴及神秘氣氛的Palazzo Regale。
此件作品由兩個鑲塗上金色的黃銅玻璃櫥窗及七個刷上溶於達麻樹脂漆的金箔的黃銅板組成。櫥窗之內陳放Beuys歷年來不同行動藝術中所使用過的道具及其私 人物品。所有這些道具及物品均依照Beuys所慣用的物品如油脂、氈、毛皮、楔形等符號表達出來。位於中間的櫥窗象徵著棺槨，其內的死者具有國王般的尊容 與自主權。位於測邊的櫥窗澤相當於陪葬品，是人生之旅不可或缺之物。
Beuys的Palazzo Regale因結合其個人的與自然神話(Naturmythos)的象徵，而超乎一般固有象徵的範圍，故唯有進入其個人的思考體系之內，方能掌握其作品之 真諦。本文分析Beuys此件作品中特殊的空間體驗、死亡的主題與各裝置物品的象徵意義後之結論為：此乃一件自傳體回顧式的裝置作品，以死者擁有君王之 尊，強調人類的自主權，在寧靜而恢弘的氛圍裡（Ambiente），臨死的Beuys至終不忘以傳播藝術理念為己任。

關鍵詞：Joseph Beuys、Palazzo Regale、王宮、裝置藝術、擴展的藝術概念、塑造的理論

《詳全文》

Joseph Beuys/Palazzo Regale (Neapel 1985) Author: Shai-Shu Tzeng(Department of Fine Arts, National Taiwan Normal University)

Abstract：

Palazzo Regale, the last installation work by the German avant-garde artist, Joseph Beuys (1921-1986), is his only masterpiece that associates itself with a particular archi-tecture and space. Inspired by the marble geometric patterns and contrasting colors of Capodimonte Museum in Naples, Italy (formerly Palazzo Reale di Capodimonte of the Bourbons), Joseph Beuys created Palazzo Regale, which is characterized with horizontal and vertical lines and is infused with an awesome, mysterious aura.
This installation work is composed of two glass showcases framed with brass and seven brass plaques coated with golden foils and Dammarfirnis resin. Displayed in the cases are his personal belongings together with all the items Beuys had used in action artistic works all through his life. With respect to his plastic theory (Plastische Theorie), these objects and items are arranged to resemble human bodies and to depict human physiological structures as well as functions. That is to say, Beuys employed his commonly used items such as lard, carpets, fur, cuneiform, among others, to portray the development from will, emotion, to thinking in mankind. The showcase in the mid-dle represents a coffin, and the dead within commands kingly reverence and sovereignty (Souveranitat). The showcase nearby, on the other hand, is equivalent to the offerings to the dead, which can be regarded as the necessities for life.
Beuys' Palazzo Regale stands out as a combined symbol based upon the artist him-self as well as natural mythology, thus surpassing the limited range of common symbol-ism. Therefore, the only way to appreciate the artistic talent in his works is to delve into his theoretical structure. This thesis then aims to investigate the special space ex-perience, the subject of death and the symbolic meanings of the installation of items in Palazzo Regale. And the conclusion is drawn as such: Palazzo Regale can be regarded as an autobiographical and retrospective installation work. It reveals sovereignty of mankind through dignity and awe found in the deceased. Within the serene and grand ambiance (Ambiente) of this installation work, we discover Beuys' strong will, even in his deathbed, to pass on his artistic notions to the generations to come.

Keywords：Joseph Beuys, Palazzo Regale, Installation, Erweiterter Kunstbegriff, Plastische Theorie