西方文化中音樂與繪畫的類比由來已久，此二種不同之藝術型態常以相通的精神或技法互為呼應。本文前半部分以瑞士畫家克利（Paul Klee, 1879-1940）為例，探索其畫作與十八世紀絕對音樂之類比表現，筆者主要以巴赫（J. S. Bach, 1685-1750）之複音音樂創作原則與畫作關係作為探討之議題。雖然克利有意識地以音樂為師創作視覺作品，但是他另一方面以大自然為師的創作態度，近年來開始為學者們所注意，而把克利的繪畫風格、創作方法與奧地利作曲家魏本（Anton Webern, 1883-1945）之十二音列音樂（twelve-tone music）作為類比對象而加以探討。本文後半部分即針對這二位藝術家的自然觀，與作品風格表現之分析結果，探討其類比的面向。巴赫、魏本與克利三人的共同藝術關注是複格精神（fugue spirit）的實踐，而此種精神所帶來之藝術語言的純粹性，實際上是一種烏托邦世界的呈現；他們對清明秩序、理性結構的要求，都是摒棄世俗主義、感官審美、而企盼永恆的宇宙真理之象徵。

In western culture, we rarely see the analogy between music and painting examined in depth. However, there is no doubt that music and painting constantly act in coordination with each other in their spirit and techniques. Based on this presupposition, the first half of this article explores the analogy between the paintings by Paul Klee and the absolute music composed in the 18th century, among which J. S. Bach’s polyphonic music is the topic discussed. In addition to regarding the music as the source of stimulation for his painting, Klee also had nature in his mind as the inspiration for his art. Recently a few scholars had pointed out that both the style and creative methods employed by Klee were quite analogous to those of Anton Webern’s twelve-tone music. Thus the second half of this article discusses the relationship between these two artists’ works and has some critiques on these scholars’ view. Bach (1685-1750), Webern (1883-1945) and Klee (1879-1940) were all concerned with the practice and realization of the fugue spirit. This led to the purification of their artistic language and furthermore to the presentation of utopian world. Generally speaking, they respected the qualities of order and structure, abandoned the vulgarness and sensual beauty, and always tried, although in different ways, to reach the universal truths.

克利；巴赫；魏本；類比性；複音繪畫

Paul Klee；J. S. Bach；Anton Webern；analogy；polyphonic painting