他們 (諾貝爾物理學獎得主沃夫岡·包立（Wolfgang Pauli）與心理學大師卡爾·榮格（Carl Jung）)認為，宇宙中除了傳統因果律（Cause and Effect）之外，還存在另一種「非因果性的聯繫原則」（Acausal Connecting Principle），即共時性（Synchronicity）：當一個人的內在心理狀態（如夢境、直覺、強烈情感）與外在客觀事件在沒有因果關係的情況下「巧合」同時發生，且這兩者之間具有主觀上的重要意義時，這就是共時性。例 in a rare synchronicity of timing, 。Georg Baselitz (1938- 2026 格奧爾格·巴塞利茨，具象繪畫復興的先驅；國際新表現主義運動)歐洲社會的古老結構該如何重建？朋友和家人扮演怎樣的角色？短暫的愛情能否賦予我們自我認同感？或者，白日夢才是更好的指引？日常事物能否教我們一些東西？如果可以，又該如何透過繪畫來表達？1965年至1966年間，巴塞利茨創作了一系列他稱之為「英雄」（Helden）系列的畫作，其中《月亮上的男人－弗朗茨·普福爾》便是早期代表作。 303 「我既粗獷又天真，還帶有哥德式的氣質，」他在1995年接受《藝術論壇》採訪時說道。 「我出生在一個秩序崩塌、風景凋零、人民凋零、社會凋零的世界。我不想重建秩序：我已經見識過太多所謂的秩序。我被迫質疑一切，被迫變得‘天真’，被迫重新開始。”

“Pauli Synchronicity”（包立的共時性觀點），是指諾貝爾物理學獎得主沃夫岡·包立（Wolfgang Pauli）與心理學大師卡爾·榮格（Carl Jung）共同發展出的「心物合一」理論。 [1]

他們認為，宇宙中除了傳統因果律（Cause and Effect）之外，還存在另一種「非因果性的聯繫原則」（Acausal Connecting Principle），即共時性（Synchronicity）：當一個人的內在心理狀態（如夢境、直覺、強烈情感）與外在客觀事件在沒有因果關係的情況下「巧合」同時發生，且這兩者之間具有主觀上的重要意義時，這就是共時性。 [1, 2, 3, 4]

以下為您拆解包立如何將物理學視角融入這項理論，並與榮格共同提出此概念：

1. 物理與心靈的跨界火花

1930 年代，包立因母親自殺及婚姻破裂而深陷心理危機，因而尋求榮格進行心理諮商。在長達 20 多年的書信往來中，兩位天才發現了量子力學與深層心理學的驚人平行性，並在 1952 年聯名出版了著名的《自然的解釋與心理》。 [1, 2, 3, 4]

2. 量子力學對共時性的啟發

包立將量子力學的非經典思維引入了心理學，他對共時性的重要貢獻包含：

量子糾纏與非因果性： 在量子世界中，兩個糾纏的粒子無論相距多遠，都能瞬間同步改變狀態，這無法用傳統的時空因果律解釋。包立認為，這種非因果的連結同樣存在於「心靈」與「物質」之間。 [1, 2, 3]
統計因果性（Statistical Causality）： 量子力學的核心是機率與統計，單一量子事件是隨機且不可預測的。包立指出，傳統的決定論（因果律）在微觀世界已經失效，因此我們不應將生活中的「有意義巧合」單純斥為隨機噪音，它們可能來自更深層的宇宙法則。 [1, 2, 3]
觀察者效應： 在量子力學中，測量（觀察者）會決定波函數的塌陷。包立認為，主觀的心靈（觀察者）與客觀的物質世界是無法分割的。 [1, 2, 3]

3. 一元世界（Unus Mundus）

在「包立－榮格猜想」中，他們提出一個古老的哲學概念——Unus Mundus（一元世界 / 統一世界）。他們相信，在物質宇宙與人類心靈的極深處，存在一個共同的背景。物質與心靈只是同一個實體的兩面，就像同一枚硬幣的正面與反面，當這個底層背景產生波動時，內在的心理體驗與外在的物理事件就會同步顯現，形成「共時性」。 [1, 2, 3]

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💡 延伸奇聞：神祕的「包立效應」（Pauli Effect）

有趣的是，包立本人就是「共時性」的活見證。在物理學界流傳著著名的「包立效應」：只要包立一走進實驗室，精密的實驗儀器就會莫名其妙地故障、爆炸或破裂。 [1, 2, 3]

當時許多頂尖物理學家（包括非神祕主義者）都對此深信不疑，甚至禁止包立進入實驗室。
包立本人並不認為這只是單純的運氣差，他用榮格的觀點解讀，認為這是他強大的內在心理能量（心靈）與外在電子設備（物質）產生了非因果性的同步共振（即共時性的一種體現）。 [1, 2, 3, 4]

如果您對這個主題感興趣，我們可以進一步探討：

榮格最著名的「聖甲蟲」共時性案例
包立與榮格共同繪製的「時空-因果-共時性」四位一體圖
當代科學（如超弦理論或量子資訊）如何看待這項假說 [1, 2, 3]

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In contrast the De Kooning paintings – part self-portraits part homage – are large and attentively worked and, in a rare synchronicity of timing, form just one of three exhibitions in London over the next few months that feature different aspects of Baselitz's career.

不準確的翻譯：相較之下，德·庫寧（De Kooning）系列畫作——既帶有自畫像色彩，又兼具致敬意味——尺幅宏大，製作極其用心；巧合的是，在未來幾個月內，倫敦將舉辦三場展覽，分別呈現巴塞利茲（Baselitz）藝術生涯的不同側面，而這批畫作正是其中之一。

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「我既粗獷又天真，還帶有哥德式的氣質，」他在1995年接受《藝術論壇》採訪時說道。 「我出生在一個秩序崩塌、風景凋零、人民凋零、社會凋零的世界。我不想重建秩序：我已經見識過太多所謂的秩序。我被迫質疑一切，被迫變得‘天真’，被迫重新開始。”
“I am brutal, naïve and Gothic,” he told Artforum in 1995. “I was born into a destroyed order, a destroyed landscape, a destroyed people, a destroyed society. And I didn’t want to reestablish an order: I’d seen enough so-called order. I was forced to question everything, to be ‘naïve,’ to start again.”


Georg Baselitz (1938- 2026)
Georg Baselitz 80歲 (2018)；donated seven works to the museum in Munich
https://hcpeople.blogspot.com/....../2025-1026-massive......

然而第一次世界大戰的敗績、威瑪共和國的崩潰，以及「第三帝國」的謀殺罪行，已經使得此類具有一致連貫性的論述變成不可能。德國學者們徒勞無功地想把一塊拼圖的不同部分組合在一起，但沒有人能夠以令人信服的方式，把十八、十九世紀德國在思想上和文化上的偉大成就與納粹的道德淪喪連接起來，拼湊出一個可讓人理解的圖像。就深層意義而言，這種歷史已經滿目瘡痍到了無法修復的地步，以致必須不斷地重新審視──此種構想已被格奧爾格．巴塞利茨（Georg Baselitz）那一面破爛不堪、混亂倒置的國旗，強而有力地加以視覺化。


亮麗、多彩、快樂的顏色（Happy Color），像是Georg Baselitz有著紅、橘、黃色調的倒立人像，更時常伴隨他的差旅生活穿梭於不同空間，增添朝氣與活力。












在德國，新歐洲畫家或直接或間接地關注戰後歐洲的問題。歐洲社會的古老結構該如何重建？朋友和家人扮演怎樣的角色？短暫的愛情能否賦予我們自我認同感？或者，白日夢才是更好的指引？日常事物能否教我們一些東西？如果可以，又該如何透過繪畫來表達？


格奧爾格·巴塞利茨（Georg Baselitz）正是思考這些問題的藝術家之一。他原名格奧爾格·克恩（Georg Kern），1938年出生於薩克森州一個名為德意志巴塞利茨（Deutschbaselitz）的小村莊。薩克森被蘇聯佔領後，他留在東德，直到成年後才搬到柏林。他立志從事藝術創作，為了留作紀念，他取了出生地名字的一半，並進入了這座昔日德國首都的藝術院校學習。


美國國家美術館


格奧爾格·巴塞利茨被譽為具象繪畫復興的先驅，也是所謂國際新表現主義運動的創始人之一。在1950年代末，巴塞利茨開始發展他獨特的具象繪畫風格，挑戰了20世紀抽象藝術的正統觀念。 1965年至1966年間，巴塞利茨創作了一系列他稱之為「英雄」（Helden）系列的畫作，其中《月亮上的男人－弗朗茨·普福爾》便是早期代表作。

Georg Baselitz (1938- )沒現身在The Oxford Companion to Twentieth Century Art.

IN GERMANY, THE NEW EUROPEAN Painters have addressed themselves directly or indirectly to the problems of postwar Europe. How can the ancient structures of European society be put back into repair? What is the role of friends and family? Can short-lived amours give us a sense of our own identity? Or is the daydream a better guide? Can everyday things have something to teach us? If so, how can that something be set out in painting?

Someone who has tussled with these questions is Georg Baselitz, who was born Georg Kern in 1938 in a village called Deutschbaselitz in Saxony. After Saxony was overrun by the Russians, he stuck it out in the East until he was old enough to move to Berlin. Bent on making art, he took half the name of his birthplace, by way of a keepsake, and enrolled in the art schools of the former German capital.

National Gallery of Art


Georg Baselitz has come to be regarded as a pioneer in the renewal of figurative painting and as a founder of the so-called international neo-expressionist movement. In the late 1950s Baselitz began to develop his own style of figurative painting, challenging the orthodoxy of abstraction in the twentieth century. Baselitz produced a group of paintings from 1965 to 1966, which he called his Helden or Hero paintings, of which “Man in the Moon—Franz Pforr” is an early example.





Georg Baselitz - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Georg_Baselitz







Georg Baselitz (born 23 January 1938) is a German painter. He studied in East Germany, before moving to what was then West Germany. Baselitz's style is ...




In October 1963, the work, as well as the picture Der nackte Mann, shown in the West Berlin gallery Werner & Katz, was seized by the public prosecutor's office because ofimmorality. The criminal proceedings ended in 1965 with the return of the pictures.[citation needed]





Die große Nacht im Eimer

Artist Georg Baselitz
Year 1963
Type oil on canvas
Dimensions 250 cm × 180 cm (98 in × 71 in)
Location Museum Ludwig, Cologne






MoMA | The Collection | Georg Baselitz (German, born 1938)

www.moma.org/collection/artist.php?artist_id=366







German painter, draughtsman, printmaker and sculptor. After attending grammar school in Kamenz, near Dresden, he began studying painting at the ...


http://www.britishmuseum.org/whats_on/exhibitions/germany_divided.aspx




Germany divided
Baselitz and his generation

From the Duerckheim Collection
6 February – 31 August 2014
Free

Room 90 /Open late Fridays




Featuring over 90 extraordinary drawings and prints, this exhibition explores how six key post-war artists redefined art in Germany on both sides of the Iron Curtain.
All the artists in this exhibition came originally from eastern Germany and migrated to the West, the majority before the borders were sealed in 1961. Some had trained in East Germany, but it was in the West that their careers were established. As a generation, they came out of the experience of growing up in the aftermath of a Germany defeated in the Second World War, and its subsequent partition in 1949.
Much of their work is informed by the sense of collective guilt experienced by the German people over its recent past, the country’s physical and psychological destruction, and the division of the country by two opposing ideologies – the democracies of the free West and the Communist system of the Soviet bloc.
These remarkable works on paper, on public display for the first time, are on loan from the private collection of Count Christian Duerckheim. Half of them are by Georg Baselitz, with the remainder by Markus Lüpertz, Blinky Palermo, A R Penck, Sigmar Polke and Gerhard Richter. 34 of the works in the exhibition, including 17 by Baselitz, have been generously donated to the British Museum by Count Duerckheim.
The gift includes a group of 11 drawings by Baselitz from 1960 to the late 1970s, together with prints from the same period. They cover the principal phases of his career from the Pandemonium drawings of the early 1960s, the development of his ironic ‘Heroes’ in the mid-1960s, and the subsequent fracturing of his motifs to the eventual inversion of the motif from the late 1960s.
Other works on display include Richter’s Pin-up andInstallation drawings, the characteristic Ice Age-meets-cybernetics stick-figures of Penck, as well as sculptural drawings by Lüpertz and Palermo, and a drawing and sketchbook by Polke satirising the ‘economic miracle’ of post-war reconstruction in West Germany.
The donation completely transforms the Museum’s holdings of German post-war graphic art and enables the Museum to trace the history of drawings and printmaking in Germany from the time of Dürer to the present.



Ein neuer Type('A New Type'), 1965, Georg Baselitz (b.1938), grey and yellow ochre watercolour, charcoal, graphite and white pastel on paper. Presented to the British Museum by Count Christian Duerckheim, Reproduced by permission of the artist. © Georg Baselitz PreviousNext

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Catalogue 

Germany Divided: Baselitz and his generation
This title was published in January 2014 and includes 130 beautiful colour illustrations. Available in hardback with jacket.

Georg Baselitz: 'Am I supposed to be friendly?'

From his sculpture of a Hitler salute to his comments on women artists, Georg Baselitz has always been a provocative figure. After 50 years exploring the state of Germany, he tells Nicholas Wroe why he turned to America for his new showEmail

• 
• • Nicholas Wroe
  • The Guardian, Friday 14 February 2014 14.00 GMT
  • Jump to comments (13)

George Baselitz in his studio. Photograph: Martin Muller/Gagosian Gallery

In 1958 Georg Baselitz, then a 20-year-old art student recently arrived in West Berlin from East Germany, attended a touring exhibition of contemporary American painting staged at his university. "Until then I had lived first under the Nazis, and then in the GDR," he explains. "Modern art just did not occur so I knew almost nothing. Not about German expressionism, dadaism, surrealism or even cubism. And suddenly here was abstract expressionism. Paintings by Pollock, De Kooning, Guston, Still and many others, in the very buildings where I took classes every day. It was overwhelming. And not just for me. Even the professors had not seen this sort of work before."

Baselitz recalls that the artist he most admired from the exhibition was Jackson Pollock, but the one he understood best was Willem de Kooning, "because he was European". It was a distinction that would characterise his wider response to the show, and point towards the idiosyncratic road his career would take.

"The exhibition was a great shock not just because of the art," he says, "but also because while we knew that the British, the French and the Russians had something like culture, we didn't expect it from the Americans. For us the Americans were just show-offs who had absolutely nothing to offer intellectually. But now they had not only won the war, they also had the culture. This show was meant as an educational event for us misguided Germans, after which art, and artistic society, was meant to find the correct way. And most of my fellow students really did take something from the American exhibition and became integrated into the entire thing."

But for Baselitz the show marked the beginning of a different path. "I had to make a decision what to do with this new information. I knew that we had lost the war, and that we were lost. And I now also realised that I was not welcome in this culture because I was not a modern person. What I wanted to do was something that totally contradicted internationalism: I wanted to examine what it was to be a German now. My teachers were the first to tell me that I was wrong. They said it was anachronistic. We had lost the war, but now we were free and liberated and there were wonderful times ahead in a wonderful world. But I disagreed. I had another view."

In truth Baselitz had always been going his own way. He had been forced out of East Germany after being accused by the authorities of "political immaturity" at his first art school. Five years after arriving in the west, his debut gallery show attracted the attention of the police and he was fined for displaying an obscene picture that apparently depicted a masturbating dwarf. In the years since, both Baselitz's art (a 1980 Venice biennale sculpture was accused of representing a Hitler salute) and his comments (last year he was quoted in an interview claiming that women artists "simply don't pass the test"), have caused controversy. But now, over half a century after that Berlin exhibition, and his refusal to join in with the artistic orthodoxy, Baselitz has returned to Willem de Kooning in an exhibition entitled Farewell Bill, which opens in the Gagosian Gallery in London this week.

The new paintings are a marked departure from recent works. Described as Remixes, these involved a riffing – apparently at great speed – on some of his most renowned previous paintings, and were greeted by a decidedly muted critical reaction. In contrast the De Kooning paintings – part self-portraits part homage – are large and attentively worked and, in a rare synchronicity of timing, form just one of three exhibitions in London over the next few months that feature different aspects of Baselitz's career. In March the Royal Academy will stage Renaissance Impressions: Chiaroscuro Woodcuts from Baselitz's own collection, an important influence on both his style and subject matter. And Germany Divided: Baselitz and His Generation has just opened at the British Museum, featuring works on paper from 1960 to the late 70s from the collection of Count Christian Duerckheim, who has recently donated to the museum a significant quantity of work by Baselitz, as well as by other German artists such as Markus Lüpertz, Sigmar Polke andGerhard Richter.

Licht wil raum mecht hern. Copyright Georg Baselitz. Courtesy of the Gagosian Gallery Photograph: georg baselitz

All three shows cast light on Baselitz as simultaneously an international artist and an intensely German artist, reflecting the way his place on the global scene is always linked to his own past. "The German title of the De Kooning show is 'Willem raucht nicht mehr'", says Baselitz, speaking in his vast lakeside studio, designed by superstar architects Herzog & de Meuron, just outside Munich. "It literally translates as 'Willem no longer smokes', which also means in German 'is no longer alive'." The individual painting titles are anagrammatic variations on this phrase. "Sometimes they sound like children's language, or sometimes they sound like old German," he says, but as the catalogue essay notes, you might need to understand the Saxony dialect of his birthplace to get all the references. This is a very typical touch from an artist who says: "while I have always moved around a lot, I've always taken materials from that place with me. That's been important." One of the most important of those materials he has carried around is his own name.

Baselitz was born Hans-Georg Kern in 1938 in the Saxony town of Deutschbaselitz. As an art student in West Berlin he adopted the name of his home town, where his father was a primary school teacher and Nazi party member, and from where Baselitz can remember seeing Dresden burning in the distance after the firebombing of 1945. A few weeks after that event his family were sheltering in the basement of a building just outside the town when it was hit by artillery. During a pause in the shelling – "which we thought was a ceasefire, but was in fact just a breakfast break" – his mother loaded a handcart and set out with her children to escape the Russians advancing from the east. Smoke was still coming out of Dresden's destroyed buildings as they passed through the city, just one family among thousands of people trekking on foot across the country. "We wanted to get to Bavaria because we were told that the Americans were there. But we only made it to a village just to the south of Dresden when the Russians arrived."

By the time he was a teenager it was clear that Baselitz was not fitting into the GDR system and, after being expelled from art school, he effectively became an economic refugee. "When I stopped being a student I stopped getting vouchers that would allow me to buy groceries. I was told if I worked in industry for a year I could return to art school as I would by then have the right mindset. But I knew that would destroy me and so I chose to go to the west."

He describes himself as very "impatient" when he arrived in West Berlin. "I wanted to see results immediately and didn't start out reasonably, I started out radically." He wrote manifestos, one of which culminated with the line "All writing is crap." He found inspiration in the Prinzhorn Collection of art made by the inmates of a mental institution – some of which had figured in the Nazis' Degenerate Art exhibitions – and he embraced the psychologically extreme work of Antonin Artaud. Although he says it wasn't his intention to upset people, when his painting The Big Night Down the Drain was seized by the police in 1963 he also realised "it was fun to do something that people would be upset about. But I also wanted to do something extraordinary and serious and I felt very privileged to have the artist's power to contradict. You feel like you are the founder of a new religion, even if your congregation is only your wife and kids."

Baselitz had married Elke Kretzschmar in 1962 and they have two sons. He says that throughout most of the 60s "the chances for an artist, let alone an artist like me, to impose yourself and to make a living from your art was nil". But during this period his art made remarkable progress. Rejecting the orthodoxy of what was called tachism – the European version of abstract expressionism – he not only introduced figures into his work, but began to use specific German archetypes, motifs and folklore. But Baselitz's shepherds, woodsmen, hunters and so on were not conventionally heroic – although the paintings would later be called the Helden (heroes) series. Rather they were bedraggled, broken and shambolic figures rendered in messily desolate landscapes.

A New Type. Copyright Georg Baselitz. Courtesy of the British Museum

"In hindsight I think those pictures are complete pieces of art. But at the time it felt very chaotic and mixed up. I thought 'this can't be all' and I had to come up with new ideas." He set out on a series of strategies to disrupt both the work, and his making of the work. He painted with the canvas on the floor. (The floor of his studio closely resembles Jackson Pollock's on Long Island, with the difference that Baselitz doesn't insist that you wear protective shoes.) Then he started to "fracture" paintings into sections, with obvious echoes of a divided Germany, before he adopted the technique for which he is best known today, painting his motifs upside down – which directs both his, and the viewers, attention to the abstract aspects of the figurative work. He began to use his hands instead of brushes and when he moved to sculpting in wood he opted for the crude attack of the chainsaw over the precision chisel.

It was the row over his wooden sculpture at the 1980 Venice biennale that first brought him to an international audience. "I was in the German pavilion with Anselm Kiefer, another provocative artist, and it never occurred to me that my sculpture was doing a Hitler salute. But when a German TV channel reported on it they played the "Horst Wessel Song" [the Nazi anthem] to accompany their story. It was outrageous. But within a week I was getting approaches from all over the world to collaborate."

He says just being a German artist in the wider world could be contentious. "You sometimes felt that people were standing over you. Some of the prejudices that existed towards Germans were justified, but there were many prejudices. My work was also not really American-oriented, as Richter's is for example, and is instead very German and sometimes a bit obscene. Add that to being a kind of loud artist and then you will have encounters. Many of my advisers, especially my wife, say that I am too bold. But what am I supposed to do? Am I supposed to make statements that are politic? Am I supposed to be friendly? That's just not who I am."

No surprise then that he hasn't changed his mind about women artists. "Following the uproar I did think about this and it is a fact. I used to be a professor and 80% of my students were women. So there is a possibility for women and girls to study art, but they are less successful than the men. You can count and the numbers will prove me right." And he also casts a jaundiced eye over contemporary Germany, claiming it is rife with "injustice, vanity and dominance by the politicians" and hasn't yet properly dealt with its own history in terms of the Third Reich and the GDR. After reunification in 1990 he was not surprised to learn that the Stasi held a file on him, but was shocked that it was not for his correspondence with artists in the east when he was an adult, but his activities when at school. He is equally disillusioned with the stream of public intellectuals, such as Günter Grass, who took decades to acknowledge their membership of the SS. "These people dominated our culture. They were role models. They were mentioned in school textbooks. It is very depressing. It shows that no one is really free."

Willem raucht nicht mehr. Copyright Georg Baselitz. Courtesy of the Gagosian Gallery Photograph: Georg Baselitz

But for all his provocations about women artists, two of them played important roles in his return to De Kooning. "I saw Tracey Emin's drawing at the biennale. I like her very much, and as I looked at her drawings I thought here was De Kooning. I had also seen De Kooning in a Richard Prince exhibition at the Guggenheim. Cecily Brown, another artist I like, also gets inspiration from De Kooning. This was all very interesting. When I look at the new art scene I find there is a lot of direct occupation – that is, not a copy, but it seems as if the art of the past has become the foundation of the present. And so I said I'm going to paint like De Kooning."

Baselitz turned 76 last month and still works every day in the studio: "I used to be able to paint all day and all night, but these days it is only for three hours in the morning. Working the wood is especially hard work, but two trunks have just been delivered from the Black Forest, so there is more to do." His current work in progress is a series of six, four-metre high, nude self-portraits. "Every now and again I do a self-portrait, and always in quite a strange manner. There are many models for the nude self-portrait: Lucian Freud, Schiele, Stanley Spencer, whose painting I don't like, but I did see a pencil nude portrait that was interesting. In a way it is a move away from De Kooning, I knew I had to do something enormous and silly."

• Farewell Bill is at the Gagosian Gallery, London WC1, until 29 March.Germany Divided: Baselitz and His Generation is at the British Museum, London WC1, until 31 August. Renaissance Impressions: Chiaroscuro Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna is at the Royal Academy, London W1, from 15 March.