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从毕德哥拉斯将世界用“数”加以划分那一刻,西方雕塑便自然而然地或是不知不觉地,在逻辑的圭渠中俯首称臣,米开朗基罗用大理石演算着神圣的交响,罗丹则用那柔软的泥巴和坚实的青铜,含蓄地用文学概述的方法,打磨那些团块。 理性的枷锁,从罗马的工匠那里一直戴到亨利·摩尔,站在行列中的那些高高低低的雕塑家们,数杰克梅第明白,他试图用那破麻布一般的肌理扯下雕塑的盖头,当他看到隧道尽头那一线若有若无的光亮时,杰克梅第苦笑。
From the moment when Bild de Augustas divided the world into “figures,” Western sculptures naturally or unconsciously bow their heads in logic, Michelangelo calculus sacred symphony with marble, Rodin used those soft muds and solid bronze, implicitly and literally, to polish those clumps. Rational shackles, from the Roman artisans to Henry Moore, stood in the ranks of those scult sculptors, Jack Mati understand that he tried to tear the sculptures hijab with the linen-like texture Jack Mayte wryly laughs when he sees the darkness at the end of the tunnel.