在古典与现代边缘:超现实主义历史维度中的达利《海神》

On the Edge of Classical and Modern:Analysing Dali's Winged Triton from the Historical Dimension of Surrealism

《海神》是达利后期雕塑中的重要作品,它以古希腊海神特里同为原型,虽然古典时期关于特里同的文字记载十分有限,其形象也脱离文本后经历多次变化,但总体上倾向于塑造一种具有男性气概和情欲意味的形体符号。达利用自己的语言包裹了古典海神,整体造型源于其更早创作的双鱼尾的胜利天使造型,而天使是达利崇高情欲的象征;另一方面海神歪曲的脖颈、后背的孔洞、模糊的性别、交叉的双尾与达利所谓的基督死亡意象联系起来。达利将弗洛伊德的性欲理论与自己的非理性偏执批评融合,把上与下、进与退、生与死、男与女等界限用一系列矛盾的超现实主义造型语言凸显出来,想象与现实融为一个充满矛盾的“梦境”整体。这是《海神》的魅力,亦是达利超现实主义雕塑的代表性特征。

Winged Triton is a significant artwork within Dali’s later sculptures,taking inspiration from Triton,the ancient Greek god of the sea.Throughout the classical period,Triton’s image has undergone various changes,often symbolising masculinity and eroticism.Dali reimagined Triton’s image in the surrealism style.The model’s roots can be traced back to an earlier double-tailed Victory Angel,emblematic of Dali’s elevated eroticism.However,the tilted head,the perforations at the back,the gender ambiguity,and the overlapping double tails are all linked to Dali’s representation of Christ.A set of conflicting modelling languages emphasises the boundaries between upward and downward,progress and retreat,life and death,and men and women.Freud’s theory and Dali’s paranoiac-critical method are combined.Dali’s ability to blend tradition and reality into a contradictory“dream”is precisely what makes the Triton charming,and also a defining characteristic of Dali’s surrealist sculpture.