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吻 The Kiss
靈感來自於羅丹對卡蜜兒的激情，《吻》是羅丹最著名且重要的作品之一。起初它因《地獄門》而生，日後成為羅丹反覆創作的題材，共有六種不同尺寸。1886年，羅丹創作吻的大理石作品，隨後他又做了高190公分的巨形紀念碑式雕塑。 《吻》的靈感源自但丁《神曲》中愛情悲劇的男女主角：保羅和法蘭西斯卡（Paolo and Francesca）。於1887年首展時，不但不得好評，還被攻擊為色情之作，更被嘲笑為「飽受批評之吻」，其中一個原因應該是：《吻》是當時最大膽的作品。展出後才發現觀眾反應熱烈，大受歡迎，於是，法國政府要求羅丹將之製成大理石雕像，於1889年法國萬國博覽會上再次展出。 羅丹的《吻》深刻表達男女情愛間令人悸動心蕩的激情。男女相擁的緊密姿勢，嚴密而無間隙的成為不可分割的一體，心心相印中，似乎除了急促的呼吸之外，一切的時空運轉都已靜止下來，而且與外面世界相隔絕。羅丹為此大膽之作辯護說：「裸體同淫猥或放蕩無關，它表現的是真實。」這擁抱滿含激情而又無比純潔。《吻》和《永恆的春天》都是羅丹以形體動作來表現崇高的愛情和肉體的慾望、歡悅的衝動與無法抑制的痛苦。羅丹喜歡用人體來表現思想與感官之美，由此進入對個性的探索，好像全部美的祕密都在人的裸體上。藉由人體的語言，羅丹想傳達他的生命、熱情、直接、不顧一切，他坦率的雕塑出激情、痛苦、愛慾，也雕塑了平凡的塵世和超越的悲劇，最後直指向人性潛意識的悸動。 羅丹為《吻》做了一個註腳說：「人會認為這是以吻和愛撫塑造出來的！」。這件雕塑把雙人座像的下半部納入大理石中，避免了腳的繁瑣而加強了座像的整體感。以極為古典的寫實手法雕刻而成，他們細膩、優雅的肌體和姿態，引起了極為生動的光影效果。 居斯塔夫．吉弗魯瓦(Gustave Geffroy)曾說：「男人的手彎如弓，女人的手高抬，他們的唇緊密的連繫著兩著如誓約的親吻。透過一種非凡的藝術魔法，我們看見的並非只是戀人的臉孔，視覺貫穿脖子的頸背至腳跟，這個男人後背的每一細節都顯得相當純粹－骨頭、肌肉、神經，男人的小腿似乎緩慢纏繞依靠愛人的小腿，而那女人的腳，幾乎沒有著地，表現一股向上的優雅及熱情。」 The inspiration came from Rodin's passion for Camille. The Kiss is now famous throughout the world. Although originally conceived as an element of The Gates of Hell, it became a frequent theme in Rodin's work, and has six different sizes. In 1886, Rodin created this marble sculpture, and after that he had also made a monument size of 190 cm high. “The Kiss” was inspired by Dante’s 'Divine Comedy'. It was first exhibited in 1887, but was criticized being pornographic. One of the reason is: The Kiss was at that time the boldest work. It became famous and welcome after the exhibition, therefore, in1888, the French government ordered the first large-scale marble version of The Kiss from Rodin for the 1889 Exhibition Universelle. Rodin’s 《The Kiss》 depicts the heart throbbing passion between men and women. The two figures are made so closely that they have become one undivided entity. Other than the sound of breathing, it seemed time has stooped. In defense of this work, Rodin said that nudity shows nothing but the truth. And this hug is very passionate, yet untainted. In both “The Kiss” and “The Eternal Spring”, Rodin employed figurative movements to represent love, lust, reaction to impulse and unbearable pain. Rodin enjoys employing human figures to express the beauty of philosophy and senses and further discovery of personal characters. In his work, passion, pain and love, and as well as ordinary life and tragedies all reflect onto the of subconscious, For “The Kiss”, Rodin noted that people will believe this was sculpted with kisses and love. The sculpture takes the lower part into the marble, avoiding the fussiness and improving the integration of the artwork. Carved in a classic skill, the dynamic optical effect comes from their delicate and elegant body and gesture. Gustave Geffroy said: “The man’s head is bowed, the woman’s is raised, and their mouths meet in a kiss which seals the intimate union between two being. Through an extraordinary kind of artistic magic, this union is visible not only in the contemplative expression on the lovers’ faces, but through the identical frisson which passes through both bodies from the nape of the neck to the heels, in every fiber of the man’s back, which is hollowed, then straightened, them immobilized, in which everything – bones, muscles, nerves, flesh – lovers, in the man’s leg which seems to twist slowly to brush against his lover’s let, and in the woman’s feet, which barely touch the ground, straining upward in a soaring flight of ardor and grace.”
RODIN IN TAICHUNG 羅丹雕塑展 地獄門VS.愛
2007.9.22-12.22 臺中市役所
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