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有一张照片在罗丹的画册中经常出现,内容是1906年的4月21日巴黎“法国的光荣”建筑前雕塑《思想者》揭幕的一个场面:幕布拉下的一瞬间,人们或脱帽致意,或欢呼奔走,或热切交谈,或激动愕然。毕竟,作为家喻户晓的名作,《思想者》仿佛是一个探索的象征,一种幻想的化身,一次生命力的诞生,它牵引着人们的思绪,鼓舞着人们的情感,撼动着人们的心灵。而这不仅仅是因为它有着一个发人深省的名字,更在于作品以其深刻的社会内涵激起了人们心灵上的情感共振。
One of the pictures often appearing in Rodin’s catalog is a scene of the opening of the pre-architectural sculpture Thinker on April 21, 1906, in Paris, France’s “Glorious French.” In the moment the curtain falls, people pay homage to their cap, Or cheer, or eager to talk, or agitated stunned. After all, as a well-known masterpiece, “thinker” seems to be a symbol of exploration, an illusion of incarnation, the birth of a vital force, which draws people’s thoughts, inspires people’s emotions and shakes people’s hearts. This is not only because it has a thought-provoking name, but also because of its profound social connotation of the work has aroused people’s spiritual resonance.