|
鳶尾─神的信使 IRIS, MESSENGER OF THE GODS
《鳶尾─神的信使》是希臘神話裡的女神－彩虹的化身，擔任宙斯與希拉的信差。然而，羅丹賦予此段神話另一個人的意義。羅丹原本設想將這件作品與作家的頭像結合，將原始的性和作家的智慧放在一起相提並論，隱喻人類無限的創造力。 被削的軀幹表達蒼勁的運動；鳶尾做為一個獨立的雕像可以筆直矗立在地上，彷彿是一名芭蕾舞演員在做伸展練習。趾尖點地，依然保持平衡，銅像透著自然，傳動的張力。殘缺的左臂與單腳支撐平衡，相對於右邊完整體態線條的韻律感。長達五十年，十九世紀觀察者認為羅丹作品殘缺不全的形體，表現缺憾且蒼桑的美感，褻瀆神賦予人類神聖的性。 "Iris, Messenger of the Gods" represents the deity from Greek mythology--personified by a rainbow--who served as messenger from Zeus and Hera to the mortals. Typically, however, Rodin imbued this piece with a personal symbolism. With the woman's crotch provocatively positioned above the writer's head, the juxtaposition of raw sexuality and intellectual activity serve as a metaphor for creativity. Pared down to dynamically charged legs and a single arm, the truncated torso conveys vigorous movement using only essential elements of the body, similar to "Walking Man" (1899-1900). Nineteenth-century viewers considered Rodin's dismembered human forms mutilated and incomplete, although the artist never intended to add feet, arms, or heads. Joseph Hirshhorn was one of a few daring collectors in the 1950s who acquired and exhibited a cast of this work, which was considered obscene for over 50 years.
RODIN IN TAICHUNG 羅丹雕塑展 地獄門VS.愛
2007.9.22-12.22 臺中市役所
|
