羅丹：永遠(yuǎn)的思想者

A life-sized figure of a nude male sits on a rock with his chin resting in one hand, as if lost deep in thought. The Thinker, the work of French sculptor Auguste Rodin (1840–1917), has been impressing people for generations. This legendary artist gained worldwide fame with his numerous sculptures with a distinct style.

他赤身裸體坐在一塊石頭上，單手拖住下巴，仿佛陷入了深深的沉思——這座真人大小的雕塑正是出自法國(guó)雕塑家?jiàn)W古斯特•羅丹(1840–1917)之手的《思想者》。它給一代又一代人留下了深刻印象。這位傳奇的藝術(shù)大師因其許多別具一格的雕塑作品而聞名于世。

The National Museum of China is hosting a retrospective show of Rodin’s creations until March 22, 2015. The show is his largest ever in China and displays 139 classic works created by the progenitor of modern sculpture. The sculptures are provided by the Rodin Museum in Paris.

(2014年11月28日)至2015年3月22日，羅丹雕塑回顧展在中國(guó)國(guó)家博物館舉行。此次展出的139件展品都是出自現(xiàn)代雕塑鼻祖羅丹之手，這也是迄今為止在中國(guó)最大規(guī)模的羅丹藝術(shù)展。所有展品均來(lái)自巴黎羅丹博物館。

Departing from the idealism of the Greeks and the decorative beauty of the Baroque and neo-Baroque movements of the 1600s in Europe, Rodin introduced innovative practices that paved the way for modern sculpture. Instead of focusing on traditional themes like mythology and allegory, he modeled the human body with realism and celebrated individual character and physicality. This was the key to his success and few other artists can rival him.

既有別于古希臘的“理想主義”，也與歐洲17世紀(jì)巴洛克與新巴洛克時(shí)期的華麗風(fēng)格不同，羅丹的創(chuàng)新地奠定了現(xiàn)代雕塑的基石。神話、寓言等傳統(tǒng)主題不再是他作品的焦點(diǎn)，相反，他以現(xiàn)實(shí)中的人為模型，贊頌人的身體和精神。羅丹因此獲得成功，成為無(wú)人能敵的藝術(shù)家。

His genius was to express inner truths of the human psyche. His sculpture emphasized the individual and the concreteness of flesh, and suggested emotion through detailed, textured surfaces and the interplay of light and shadow. Every part of the body speaks for the whole in his work. Imagine in the sculpture The Thinker, the grip of the toes, the rigidness of his back, and the differentiation of his hands all indicate the male passion and power.

羅丹的偉大之處在于表達(dá)出了人類的深層精神內(nèi)涵。他的雕塑強(qiáng)調(diào)個(gè)體性與肉體的具體性;通過(guò)細(xì)膩而充滿質(zhì)感的表面、以及光與影的運(yùn)用表達(dá)情感。他作品中的每個(gè)部分仿佛都在說(shuō)話?！端枷胝摺肪褪谴碇唬壕o縮的腳趾、堅(jiān)硬的后背、與眾不同的兩手無(wú)不展現(xiàn)出男性的激情與力量。

Unlike many artists, Rodin didn’t establish his distinct artistic style or a credible list of works until he was in his 40s. Rejected by the prestigious art school Ecole des Beaux-Arts three times, Rodin worked as a decorative bricklayer for nearly two decades, from the late 1850s to late 1870s.

與很多藝術(shù)家不同，羅丹一直到不惑之年才形成自己獨(dú)特的藝術(shù)風(fēng)格、并擁有了一系列成功的作品。連續(xù)三次被巴黎美術(shù)學(xué)院拒之門(mén)外后，羅丹當(dāng)了近二十年的砌磚工(從十九世紀(jì)五十年代至十九世紀(jì)七十年代)。

But later a fateful trip to Italy in 1875 stirred Rodin’s inner-artist. He drew inspiration from Italian sculptor Michelangelo and other sculptors of the Renaissance. His first great piece The Age of Bronze was created at that time. Later, he spent much time exploring alternative techniques such as assembling existing fragments. This dedication resulted in creative pieces such as The Gates of Hell, which included several hundred figures.

直到1875年，到訪意大利的“命運(yùn)之行”激發(fā)了羅丹內(nèi)心的藝術(shù)渴望。意大利雕塑家米開(kāi)朗基羅和其他文藝復(fù)興時(shí)期的雕塑家給了他靈感。他的第一個(gè)偉大作品《青銅時(shí)代》就是創(chuàng)作于這個(gè)時(shí)期。隨后，他花費(fèi)了大量時(shí)間鉆研各種各樣的新技法，比如將已有的碎片進(jìn)行組合。這些努力成就了他的許多創(chuàng)新之作——比如擁有一百多個(gè)形象的《地獄之門(mén)》。

He believed that art should be true to nature, a philosophy that shaped his attitudes toward models and materials.

羅丹堅(jiān)信藝術(shù)應(yīng)是忠實(shí)于自然，這種理念影響了他對(duì)模特與材料的態(tài)度。