罗丹纪念性雕塑研究

Discussion of Rodin's Monumental Sculpture

以罗丹的纪念性雕塑代表作《加莱义民》、《雨果》、《巴尔扎克》为例,探讨其纪念性雕塑难为当时公众接受的原因———反纪念碑性,从内容和形式两方面论述了纪念性雕塑反纪念碑性的表现,并进一步论述了罗丹反纪念碑的原因。认为罗丹纪念性雕塑的反纪念碑性,主要在于他把纪念性雕塑当作表达个人思想感情的工具,艺术表现占居首位,一反传统的纪念碑外在的要求占居首位的创作模式;他的反纪念碑,根源于纪念性雕塑自身的发展,是一种历史的必然。进而认为它与传统雕塑特别是纪念性雕塑有着根本性的冲突,西方现代雕塑对传统的解构实是受到罗丹的启发。

By taking Rodin＇ s representative works The Burghers of Calais , Hugo and Balzac as examples, the paper discusses the publics＇ unacceptance of Rodin＇ s ＂Monumental Sculpture＂ because of his anti - monument. The paper talks about the expression of his anti - monument from both the content and the form. Rodin used the ＂Monumental Sculpture＂ as a tool to express his emotion, he took the art expression as the priority which was different from the traditional creation style. His antimonument was based on the development of ＂Monumental Sculpture＂, and it was the result of the history. His anti - monument conflicted with the traditional sculpture, especially the ＂Monumental Sculpture＂, so in fact the deconstruction of western modern sculpture was enlightened by Rodin.