本文旨在揭開吉勒・德勒茲《法蘭西斯・培根：感覺的邏輯》一書，對「類比繪畫」內部論述的操作方式。第一部分分析「類比繪畫」對德勒茲論繪畫的重要性，以及本論文的研究重點；第二部分探討德勒茲所述「類比」與「類比語言」的差別性和「類比」形成一種獨特語言表達的特性，以及所牽涉的繪畫問題；第三部分分析德勒茲如何從古典繪畫進行對「類比繪畫」的分辨，探討「具象」在繪畫表達中涉及的問題；第四部分分析「類比繪畫」的特性，以及所涉及的繪畫解放；第五部分分析德勒茲所述「類比繪畫」與「圖表」的關係，以及其中所涉及的材質細微變化問題。根據上述研究發現，本文試圖分析德勒茲對「類比繪畫」的論述是如何進行，以理解德勒茲藉「類比繪畫」所展現出之培根繪畫的獨特性。

This article reveals the discussion on the interior of the analogical painting which described in Francis Bacon: The Logic of Sensation by Gilles Deleuze.The first part analyzes the importance of analogical painting in Deleuze’s discussion on painting, and shows the key project of this study. The second part explores the difference between analogy and analogical language, as well as how analogy became a unique language of expression and the related issues in painting. The third part analyzes how Deleuze distinguished analogical painting from classical painting, and discusses how the problem of “figuration” involved in painting expression. The fourth part analyzes the characteristics of analogical painting and the liberation which is involved in. The fifth part analyzes the relationship between the analogical painting and the diagram, and explores the problem of material modulation involved. According to the exploration above, this article attempt to analyze how Deleuze operated the discussion on analogical painting; and try to understand the uniqueness of Bacon’s paintings that Deleuze have presented in the discussion of analogical painting.