⊙ By Christophe Busché翻譯：BillyBudd

Rodin Opened the Doors to the 20th Century羅二十丹世：紀(jì)的引路人

⊙ By Christophe Busché翻譯：BillyBudd

今年是法國(guó)雕塑家?jiàn)W古斯特·羅丹（Auguste Rodin，1840-1917）逝世一百周年，多個(gè)歐美國(guó)家紛紛舉辦各種活動(dòng)，紀(jì)念這位20世紀(jì)新雕塑藝術(shù)的創(chuàng)造者。羅丹一生的創(chuàng)作屢屢被人攻擊和嘲諷，我們非常熟悉的《思想者》在問(wèn)世之初就備受爭(zhēng)議，而最受非議的要屬《巴爾扎克》。《巴爾扎克》突破學(xué)院派的束縛，摒棄傳統(tǒng)雕塑的條條框框，表現(xiàn)了作家的精神世界。盡管《巴爾扎克》最初不被作品的委托人接受，受到藝術(shù)界的冷嘲熱諷，但最終經(jīng)受住了時(shí)間的考驗(yàn)，成為西方雕塑劃時(shí)代的作品。

The more he aged, the more Rodin ignored the rules of official1)statuary, and it was with a2)scandal that he once again3)demonstrated his freedom. The journalists of the time called it “The Balzac Scandal.”

In 1891, émile Zola, then president of the Society of Men of Letters,4)commissioned a5)monumental statue of Honore de Balzac from Rodin. He was given 18 months for the task but he was to take seven years to complete it. In order to understand the character of the novelist, Rodin6)immersed himself in his world. He went to7)Touraine and surveyed the landscapes that inspired Balzac’s books. Over the seven years, Rodin8)portrayed Balzac in an9)infinite number of10)variations. And after all these years of research, Rodin finally produced his own vision of the writer.

It was a vision that no one could’ve imagined.

Véronique Mattiussi(Rodin Museum):(via translator)He totally rejected the11)conventions of public statuary. He rejected the way of identifying him as a man of letters using a pen or the slightest12)resemblance to him.

Colin Lemoine(Head of Sculpture BourdelleMuseum):(via translator)He simply wanted to13)grasp an idea of Balzac but also of Balzac’s literature. Of the great man, almost.The idea was to go beyond the simple statue of the writer, to move towards something more fitting with14)genius.

“MyBalzacin his pose and in his gaze makes one imagine the environment around him where he walks, where he lives, where he thinks. He’s not separated from what’s around him. He’s like a real, living being.”

Rodin had no doubts about hisBalzac.All that now remained was to present it to the15)exasperated people who had been waiting seven years.

Thomas Schlesser(Art Historian):(via translator)When it was presented to the Society of the Men of Letters, the society said, “No, it’s impossible. We can’t accept it.It does not correspond to our wishes.”

Colin:(via translator)The16)jury considered there to be something17)irreverent about it.It was badly made, badly sculptured. It was a failure.

What would be the reaction of the public who were impatient to see this work that everyone was talking about without ever

作文素材常積累

奧古斯特·羅丹——A true artist expresses what he thinks without fear of prejudice. 當(dāng)羅丹的《巴爾扎克》第一次在公眾面前亮相時(shí)，他們只看到了偉人“穿著邋遢”的淺顯外表，卻不能脫離表面探及其更深處的涵義。盡管遭遇了百般恥笑，但一個(gè)真正的藝術(shù)家不會(huì)曲意逢迎外界的指手畫腳，他敢于表達(dá)、也勇于堅(jiān)持內(nèi)心所思、所想，因?yàn)檎胬韽膩?lái)不掌握在盲目的多數(shù)人手中，時(shí)間將證明一切的對(duì)錯(cuò)。having seen?

At the18)Salon of 1898, the greatest sculptors of the time were exhibiting, but the only statue that19)grabbed the public’s attention was theBalzac.

Véronique:(via translator)Nobody understood. He was20)insulted by everyone. They said it was a21)monolith, it was22)misshapen, a penguin. It was attacked in every way possible.

The Society of Men of Letters refused to pay Rodin.Certain that future generations would realize he was right,he said...

“This work that has been laughed at and23)scorned because people could destroy it. It’s the24)summing up of my whole life. It’s the very center point of my25)aestheticism. From the day I26)conceived it, I’ve been a new man.”

Barbara Musetti(Doctor of History of Art):(via translator)In this misshapen form on which sits the powerful skull,the symbol of creative genius, one can perhaps see a resemblance to the image that Rodin would like to leave behind, a legacy for27)posterity made from his own work.

Rodin had never been so28)daring. The history of sculpture can be divided into Pre-Balzac and Post-Balzac periods.Colin:(via translator)It’s considered by some people as a sort of29)tipping point in sculpture, towards a free,30)expressionist and expressive form of sculpture. It really is an31)unprecedented piece of sculpture.

Barbara:(via translator)He was the artist who32)laid the foundations for the development of modern sculpture.He was the artist who acted as a link, if you like, between the two centuries.

With hisBalzac, Rodin literally opened the doors to the 20th century.

ButBalzacshocked33)curating circles so much that it was only in 1939 that his statue was finally34)erected in Paris.

CY百科

◆ Society of Men of Letters of France 法國(guó)文人協(xié)會(huì)：由巴爾扎克、雨果（Victor Hugo）、大仲馬（Alexandre Dumas）、喬治·桑（George Sand）等法國(guó)著名作家創(chuàng)立于1838年，旨在保護(hù)作家們的各種合法權(quán)益。協(xié)會(huì)成立初期，申請(qǐng)入會(huì)的作家必須滿足通過(guò)出版社出版作品的條件，自行印刷出版的不算。

◆ émile Zola 埃米爾·左拉：

法國(guó)自然主義文學(xué)流派創(chuàng)始人與領(lǐng)袖（1840-1902）。左拉受到巴爾扎克《人間喜劇》的啟迪，早在1868年便醞釀寫一部多卷本巨著。1871年至1893年間，他創(chuàng)作的20部小說(shuō)相繼問(wèn)世，這就是著名的鴻篇巨制《盧貢-馬卡爾家族》，其中包括《娜娜》《小酒店》《萌芽》等作品。

◆ Honoré de Balzac 奧諾雷·

德·巴爾扎克：法國(guó)19世紀(jì)偉大的批判現(xiàn)實(shí)主義作家（1799-1850），被稱為“現(xiàn)代法國(guó)小說(shuō)之父”。他立志要成為文學(xué)事業(yè)上的拿破侖，一生創(chuàng)作甚豐，寫出了91部小說(shuō)，塑造了2472個(gè)栩栩如生的人物形象，合稱《人間喜劇》。《人間喜劇》被譽(yù)為“法國(guó)社會(huì)的百科全書”。

參考譯文

羅丹年歲愈大，便愈是無(wú)視傳統(tǒng)雕塑的條條框框。他通過(guò)一場(chǎng)“丑聞”，再一次向世人展示了他的自由思想，當(dāng)時(shí)的記者稱這一事件為“巴爾扎克丑聞”。

1891年，時(shí)任法國(guó)文人協(xié)會(huì)主席埃米爾·左拉委托羅丹為巴爾扎克制作一座紀(jì)念塑像。左拉給了他18個(gè)月的時(shí)間，羅丹卻耗費(fèi)了七年才完成塑像。為了把握這位小說(shuō)家的性格特征，羅丹一頭扎進(jìn)了他的世界。他親自前往都蘭，對(duì)這片激發(fā)巴爾扎克創(chuàng)作靈感的土地進(jìn)行考察。在那七年里，羅丹曾創(chuàng)作了無(wú)數(shù)個(gè)版本各異的巴爾扎克。經(jīng)過(guò)歷時(shí)七年的探索，羅丹終于構(gòu)想出了自己心目中的作家形象。

這是沒(méi)有人能想象到的形象。

韋羅妮克·馬蒂烏齊（羅丹博物館）：（通過(guò)翻譯）他全盤否定了公共雕塑的老一套做法，拒絕以持筆的作家形象或任何與本人外貌相似的形象去定義巴爾扎克。

科蘭·勒穆瓦納（布德爾博物館雕刻部門主管）：（通過(guò)翻譯）他的想法很簡(jiǎn)單，他既希望深刻理解巴爾扎克其人，也想把握其作品的精髓——這位偉人的思想精華。他想要超越單純的作家雕像，表達(dá)一些更接近精神層面的東西。

“我的《巴爾扎克》塑像通過(guò)他的姿態(tài)、他的凝視，讓人能夠聯(lián)想到他走過(guò)的地方，他生活與思考的環(huán)境。他并非與世隔絕，他就像一個(gè)真實(shí)的、活生生的存在?！?/p>

羅丹從未對(duì)《巴爾扎克》有過(guò)絲毫懷疑。萬(wàn)事俱備，接下來(lái)就是向等待了七年之久，早已不耐煩的公眾展示這件作品。

托馬·施勒塞爾（藝術(shù)史學(xué)家）：（通過(guò)翻譯）當(dāng)它出現(xiàn)在文人協(xié)會(huì)眾成員面前時(shí)，他們說(shuō)：“不，這太荒唐了。我們無(wú)法接受它，它與我們的期望并不相符。”

科蘭：（通過(guò)翻譯）協(xié)會(huì)的人認(rèn)為羅丹的這尊塑像夾帶著對(duì)偉人的不敬，認(rèn)為其粗制濫造至極，根本就是件不及格的作品。

對(duì)這尊還沒(méi)現(xiàn)世就已引發(fā)議論的雕像，翹首以盼的公眾的反應(yīng)又如何呢？

在1898年的巴黎沙龍上，展出的作品出自多位當(dāng)時(shí)最優(yōu)秀的雕塑家之手，但唯一引起公眾關(guān)注的雕塑只有《巴爾扎克》。韋羅妮克：（通過(guò)翻譯）沒(méi)有人能夠理解這件作品。他受到了所有人的嘲諷。他們說(shuō)那就是一塊未加工的石料，是件奇形怪狀的作品，像只企鵝?？傊馐芰税侔愎?。

文人協(xié)會(huì)拒絕向羅丹付錢。而羅丹則確信后人將會(huì)明白自己是對(duì)的，他曾說(shuō)……

“因?yàn)槿藗兛梢噪S意詆毀我的《巴爾扎克》，它飽經(jīng)嘲諷與蔑視，但它是我一生的總結(jié)，它是我審美觀的集中體現(xiàn)。從我構(gòu)思它的那天起，我就已獲得了新生。”

芭芭拉·穆塞蒂（藝術(shù)史博士）：（通過(guò)翻譯）這座形狀怪異的雕塑頂著一顆了不起的頭顱，那是創(chuàng)造才華的象征。人們或許可以從中看到其與羅丹希望留給后人的形象的相似之處，看到他通過(guò)自己的作品留給后人的遺產(chǎn)。

羅丹的創(chuàng)作從未如此大膽。至此，雕塑的歷史至此可劃分為“前巴爾扎克”時(shí)期和“后巴爾扎克時(shí)期”。

科蘭：（通過(guò)翻譯）一些人將此視作雕塑史上的一個(gè)轉(zhuǎn)折點(diǎn)，在此之后，雕塑開始朝著自由、傾向表現(xiàn)主義及富于表現(xiàn)力的方向發(fā)展。《巴爾扎克》無(wú)愧為史無(wú)前例的雕塑作品。

芭芭拉：（通過(guò)翻譯）他是一位為現(xiàn)代雕塑的發(fā)展奠定了基礎(chǔ)的藝術(shù)家?？梢赃@么說(shuō)，他就是在兩個(gè)世紀(jì)之間承前啟后的藝術(shù)家。

毫不夸張地說(shuō)，憑借著《巴爾扎克》這件作品，羅丹開啟了20世紀(jì)的大門。

但《巴爾扎克》給當(dāng)時(shí)的藝術(shù)界造成的震驚太大了，直到1939年，《巴爾扎克》才終于得以矗立巴黎。

1) statuary [?st?tju??r?] n. 雕像，雕塑，雕塑群

2) scandal [?sk?nd（?）l] n. 丑聞，流言蜚語(yǔ)

3) demonstrate [?dem?nstre?t] v. 展示，證明

4) commission [k??m??（?）n] v. 委托制作

5) monumental [m?nj??ment（?）l] adj. 紀(jì)念性的

6) immerse oneself in 埋頭于，專注于，沉浸于

7) Touraine 都蘭，法國(guó)西北部地區(qū)，是著名的葡萄酒產(chǎn)地。區(qū)內(nèi)的歷史古城圖爾（Tours）正是巴爾扎克的出生地。

8) portray [p???tre?] v. 描繪，刻畫

9) in fi nite [??nf?n?t] adj. 無(wú)限的，無(wú)數(shù)的

10) variation [ve?r??e??（?）n] n. 變化，變體

11) convention [k?n?ven?（?）n] n. 慣例，習(xí)俗

12) resemblance [r??zembl?ns] n. 相似，相似之處

13) grasp [ɡrɑ?sp] v. 抓住，領(lǐng)會(huì)

14) genius [?d?i?n??s] n. （時(shí)代、語(yǔ)言的）精神；才華，天賦

15) exasperated [?ɡ?zɑ?sp?re?t?d] adj. 激怒的，惱火的

16) jury [?d???r?] n. 藝術(shù)作品評(píng)選委員會(huì)，尤指參加巴黎沙龍畫展作品的評(píng)選委員會(huì)

17) irreverent [??rev?r?nt] adj. 不敬的，無(wú)禮的

18) Salon 指法國(guó)國(guó)家美術(shù)協(xié)會(huì)沙龍，《巴爾扎克》就是在這場(chǎng)1898年的沙龍上首次在公眾前亮相。

19) grab [ɡr?b] v. 抓住

20) insult [?n?s?lt] v. 侮辱，凌辱

21) monolith [?m?n?l?θ] n. 整塊石料，龐然大物

22) misshapen [m?s??e?p?n] adj. 畸形的，怪異的

23) scorn [sk??n] v. 輕蔑，嘲笑

24) sum up 總結(jié)

25) aestheticism [?i?s?θet?s?z?m] n. 唯美主義，審美感

26) conceive [k?n?si?v] v. 構(gòu)思，構(gòu)想

27) posterity [p??ster?t?] n. 子孫，后代

28) daring [?de?r??] adj. 大膽的，勇敢的

29) tipping point 轉(zhuǎn)折點(diǎn)

30) expressionist [?k?spre??n?st] adj. 表現(xiàn)主義的；名詞為expressionism，表現(xiàn)主義，現(xiàn)代重要藝術(shù)流派之一。

31) unprecedented [?n?pres?dent?d] adj. 空前的，史無(wú)前例的

32) lay the foundation for 為……奠定基礎(chǔ)

33) curate [?kj??r?t] v. 管理，組織（藝術(shù)展）

34) erect [??rekt] v. 豎起，豎立