法國畫家愛德華．馬內（Edouard Manet，1832—1883）的兒童形象涵蓋各種年齡與社會階層，經常出現遊戲的場景，大多以簡單的動態或玩具點出遊戲的進行或停歇，而他的兒童獨處遊戲常與花園和家政連結。兒童遊戲是啟蒙思想的主軸，延續到浪漫主義思潮，特別強調人與自然的關係。十九世紀中期的巴黎作家頗重視兒童遊戲的創造性以及社會意涵，波特萊爾與馬內的童年觀念如何互動更是現代藝術的重大課題。本文以馬內的兒童獨處遊戲為主軸，參照當代兒童教養的文化脈絡，以及印象主義的相關題材，指出這些作品凸顯兒童身心發展，以及資產階級居家空間的轉變。

French artist Édouard Manet’s (1832-1993) child images featured figures of different ages and social classes. His works also displayed venues for playing. Many of those works implemented simple movement or toys to indicate play in progress or at rest. Children playing alone were often associated with gardens and domesticity. Within Enlightenment thinking, child play was a central focal point and continued to be so later for Romanticism, which emphasized the relationship between people and nature. Parisian writers in the mid-nineteenth century stressed the creativity derived from playing as well as its social meanings. The ways in which Charles Baudelaire and Manet’s understanding of childhood influenced each other is a significant topic within modern art studies. This essay takes Manet’s solitary child play as its main line of inquiry. It also makes reference to the cultural context of childrearing at the time along with relevant Impressionist works. These works highlighted the bodily and emotional development within children and changes seen in bourgeois domestic spaces.

十九世紀; 繪畫; 童年; 玩具; 馬內

nineteenth century; painting; childhood; toys; Manet