|
亞當 Adam
1881年，法國藝術董事會委任羅丹創作二件雕塑，並考慮將他們分別置於《地獄門》的兩側。這兩件雕塑即為《亞當》和《夏娃》。 為了創作《亞當》，羅丹僱用一個大力士做為他的模特兒，這位模特兒能用牙齒舉起100公斤之物，有「鋼頜男」之稱。此件《亞當》為羅丹的第一個版本，亞當的食指直指著地面來接收上帝給予他的生命。他彎曲的膝蓋和面向的角度，羅丹取自於佛羅倫斯百花大教堂的《聖殤像》和米開朗基羅的《奴隸》。 羅丹以他《上帝的兒子》為榮， 他決定在《地獄門》上方，以不同角度安置同樣的三件作品。最初被稱為《被征服者》，最後命名為《巨影》。 從1886年開始創作未完成的《地獄門》石膏作品，體現了但丁《神曲》裡的格言：「摒棄所有希望的，就進來這裡」。當時他以「簡化」為創作方向，羅丹除去了《亞當》胳膊，盡量簡化作品裡的元素。《地獄門》中的《影子》便是以《亞當》為原型變體的作品。三個影子的右手沿著臀部輪廓垂下，而左手成了陪襯。起初羅丹想把《亞當》做成漩渦狀，放置《地獄門》上，但最後還是選擇更為開闊的姿勢擺放了《影子》。 後來，為了回應他人對於無胳膊《亞當》的抗議，1904年羅丹請一位學生為它創作了一對胳膊，企圖完整《亞當》在人們心目中完美的形象。 In 1881, the French Directorate of Fine Arts commissioned Rodin to produce two sculptures, with a view to placing them at each side of the Gates of Hell. These were to become the sculptures Adam and Eve. In order to produce “Adam”, Rodin used a strongman as his model, capable of lifting 100kg weights with his teeth: “the man with the iron jaw”. In the first version, Adam is pointing his index finger straight at the ground in order to receive the life given to him by the Lord. His bent knee and the angle of his head are reminiscent of the Pieta at the Duomo of Florence and Michelangelo’s “The Slave”. Rodin was so proud of his “Son of God” that he ended up placing three identical ones, at different angles, on the upper section of the Gates of Hell. These were initially christened the “The Vanquished”, later to be called “The Shades”. The unfinished plaster cast of the Gates of Hell from 1886 includes a sentence taken from Dante’s Divine Comedy: “Abandon all hope, ye who enter here”. It was at this time that in keeping with his policy of “simplification”, Rodin removed the arms from his work, pushing the limits of simplification as far as possible. In response to the unceasing protests of his admirers and scandalized by “Adam’s” missing arms, Rodin had one of his pupils reproduce the pair of arms in 1904. It should be noted that the bronze shown here is the early and most important 1886 version.
RODIN IN TAICHUNG 羅丹雕塑展 地獄門VS.愛
2007.9.22-12.22 臺中市役所
|
