Chapter 3　Baroque Sculpture: An Exaggeration
第三章　巴洛克时期雕塑：姿态夸张

1．The overall characteristics of Baroque sculpture　巴洛克时期雕塑概述

The Baroque period (1600—1750) marked some of the most tumultuous events in history. Martin Luther's religious reform cast suspicion on the bishops and gave birth to a new branch of Christianity: the Protestant. Protestants mainly existed in the middle class in England, Scandinavia, the Netherlands, and North Germany. Catholicism was held mainly by two groups: the Hapsburgs (1278—1918) in Spain and the Bourbon Dynasty (1589—1830) in France. Their conflicts were no less fierce than their battle again Protestant. The Hapsburgs was defeated after years of antagonism. France emerged as the leading power in Europe. Germany fell apart and the Great Britain became a mighty country in the world. The emphasis on human beings gave rise to individualism. It added to the romantic elements of the Baroque style, which carried obvious individual touches, exaggerated posture, and a sense of movement.

巴洛克时期极富动感的雕塑

巴洛克时期是宗教极为盛行的时期。马丁·路德的宗教改革，使人们对教皇产生了怀疑，又逐渐形成了一个新的教派，即新教。新教的阵营包括英格兰、斯堪的纳维亚、荷兰、德国北部的一些城市以及所有上升的中等阶级的营垒。在天主教一边，是两个很有势力的王朝，哈布斯堡王朝（1278～1918）和波旁王朝（1589～1830），这两个王朝之间的争斗和他们与新教对手的斗争同样激烈。经过数十年的斗争，西班牙—哈布斯堡的霸权被打破了，法国在欧洲以领导国家的姿态出现，德国崩溃了，而英国则成了世界强国。欧洲就要进入现代的工业化社会了。新教的文化植根于《圣经》，由于把个人放在突出的地位，形成了个人主义的风气，这加强了巴洛克艺术中的浪漫主义倾向。巴洛克时期的雕塑有着明显的个人风格，其造型夸张，追求动感。

2．Representatives of Baroque Sculpture　巴洛克雕塑代表人物

In Baroque sculpture, groups of figures assumed new importance, and there was a dynamic movement and energy of human forms—they spiraled around an empty central vortex, or reached outwards into the surrounding space. For the first time, Baroque sculpture often had multiple ideal viewing angles.

巴洛克时期，群雕又受到新的重视，展现人体运动和能量的作品不少，作品中人物常围绕着一个中心轴转动，或者向四周铺展开来。巴洛克雕塑常常可以多视角欣赏，这在历史上是不多见的。

Bernini: the Michelangelo in the Baroque period　贝尔尼尼：巴洛克时期的米开朗基罗

The architecture, sculpture and fountains designed by Bernini (1598—1680) give highly-charged characteristics of Baroque style. Bernini was undoubtedly the most important sculptor of the Baroque period. He approached Michelangelo in his omnicompetence Bernini sculpted, worked as an architect, painted, wrote plays, and staged spectacles. In the late 20th century Bernini was most valued for his sculpture, both for his virtuosity in carving marble and his ability to create figures that combine the physical and the spiritual. He was also a fine sculptor of bust portraits in high demand among the powerful.

A good example of Bernini's work that helps us understand the Baroque is his Ecstasy of St. Theresa (1645–52), created for the Cornaro Chapel in Rome. Bernini designed the entire chapel, a subsidiary space along the side of the church, for the Cornaro family.

He had, in essence, a brick box shaped something like a proscenium stage space with which to work. The Ecstasy of St. Theresa is highly idealized in detail and in an imaginary setting. St. Theresa of Avila, one of the most popular saints of the Catholic Reformation who was made a saint for her devotion though she had epilepsy, wrote narratives of her mystical experiences aimed at the nuns of her Carmelite Order. These writings had become popular reading among lay people interested in pursuing spirituality. She once described the love of God as piercing her heart like a burning arrow. Bernini literalizes this image by placing St. Theresa on a cloud in a reclining pose; what can only be described as a Cupid figure holds a golden arrow (the arrow is made of metal) and smiles down at her. The angelic figure is not preparing to plunge the arrow into her heart—rather, he has withdrawn it. St. Theresa's face reflects not the anticipation of ecstasy, but her current fulfillment, which can only be described as orgasmic.

The figures in Baroque are unrestrained in their posture. In Bernini's Pluto and Proserpina, the two figures are in striking contrast, one being powerful while the other startled. Pluto's fingers seem to be sinking into the tender flesh of the nymph. Her drop of desperate tear, her arms struggling helplessly in the air, and the thumb of her left foot pointing up due to the terror, form a strong visual impact.

As opposed to Renaissance art, which usually showed the moment before an event took place, Baroque artists chose the most dramatic point, the moment when the action was occurring: Michelangelo, working in the High Renaissance, shows his David composed and still before he battles Goliath; Bernini's baroque David is caught in the act of hurling the stone at the giant. Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance.

贝尔尼尼设计的建筑、雕塑和喷泉都集中体现了巴洛克时期风格，他无疑是这一时期最伟大的雕塑家。他在才能的广度上可与米开朗基罗媲美：雕塑、建筑、绘画和戏剧样样精通。20世纪晚期，贝尔尼尼的雕塑作品被广泛研究，他的作品不仅形态优美，而且将人物的身体和精神结合起来，他雕刻的名人半身像在上流人物中非常受欢迎。

他的最重要的作品之一是《神志昏迷的圣德列萨》，这件雕塑现在保存在罗马胜利之后圣母教堂的科尔纳罗礼拜堂。礼拜堂是贝尔尼尼设计的，位于整个大教堂的边上，教堂属于科尔纳罗家族。

贝尔尼尼要在一个凹进去的盒形石头里安放一件雕塑，而《神志昏迷的圣德列萨》正好占据了这个空间。圣德列萨是16世纪时西班牙的一个修女，少年时因患了癫痫就潜心修炼事奉上帝。她发病时脑际幻觉丛生，据她的日记透露，她能看到种种奇迹。17世纪中期的天主教徒们几乎无人不晓圣女德列萨的幻象描述。有一次，她描述感到上帝的爱就像烫红的利箭一样刺穿她的心。贝尔尼尼把德列萨的感觉具体化，把她放在一片浮云上，丘比特拿着爱的弓箭在她身旁飞翔，手中握着金属制的箭微笑地俯视她，似乎并不打算把爱情之箭射入她的心房。德列萨的表情，并没有受到上帝启发时的那种隐忍，而是一种得到满足的表情，非常像是性高潮。

巴洛克的雕塑风格在表现人物上有自由奔放、造型繁复、姿态夸张、富于变化的特点。在贝尔尼尼《冥王和普罗塞耳皮娜》中，两组人物在富于动态的强烈对比下，使特有的层次美感孕育其中，人物的强壮有力和柔弱惊恐的反差更加凸显出两种力量的对抗。在动态的冲撞中，冥王由于用力而致使手指几乎要掐入少女柔嫩的大腿，使其肌肤深深凹陷；少女由于绝望而落下的一滴晶莹泪珠，她在空中无助而挥舞的手，因惊惧而翘起的左脚拇指都强烈地反映了主题和突出了视觉刺激效果。

《冥王和普罗塞耳皮娜》及其细节，冥王由于用力而致使手指几乎要掐入少女柔嫩的大腿，突出了视觉刺激效果

文艺复兴时期的作品常常表现的是一个事件发生前的那一刻，但是巴洛克风格表现的是事件正发生的戏剧性瞬间。米开朗基罗的《大卫》刻画的是他在杀死歌利亚前的准备动作，而贝尔尼尼的《大卫》则表现了少年扔石块的一瞬间。因此，巴洛克追求的是动感热情的效果，而非文艺复兴时期沉静理性的理念。

Carpeaux: catching the world off guard with individuality　卡尔波：不惊人誓不休

Jean-Baptiste Carpeaux (1827–1875) was an outstanding Baroque sculptor in France. He brought to public commissions a lively individuality. His masterpiece, The Dance, commissioned for the new Paris Opera, was reviled as an "ignoble saturnalia" when unveiled in 1869.

In 1863, Charles Garnier, the architect of the new Paris Opera, commissioned four sculpted groups by four artists who had won the Grand Prix de Rome to decorate the facade of the building. Carpeaux was to cover the theme of dance. Over a three-year period, he produced a variety of sketches and models before conceiving this turning farandole of women encircling the spirit of dance. The sculptor's main concern was to convey the feeling of movement, and this he achieved through a dual momentum of circular and vertical motion. The leaping spirit dominates the group, urging on the circle of bacchantes, in unbalanced postures.

The public was shocked by the realism of the female nudes, which they judged unseemly; indeed, a bottle of ink was thrown against the sculpture and its removal was requested. However, in 1870, followed by the death of Carpeaux, put an end to the controversy .

Carpeaux's Ugolino and His sons is even more visually striking. Ugolino was the head of a political party in Pizza, Italy, in the 13th century. He conspired with Pisan Archbishop Ruggieri to banish the ruler Nino from the country. However the duplicitous Ruggieri imprisoned Ugolino, with his two sons and two grandsons in a tower in Pisa. He and his sons were starved to death. Seeing him gnaw his hands with rage, the sons innocently begged that he eat them. One by one, the boys died. Dante leaves it to the reader's imagination what happened next: "Then hunger proved more powerful than grief." Ugolino ate the corpse of his descendents before he was starved to death, a triumph of bestiality over morality. In Carpeaux's sculpture, Ugolino's chin rests in his hand in melancholic thought, but he is gnawing on his fingers, surrounded by the dying boys whose suffering drives him to distraction. Carpeaux has illustrated the moment when the boys see Ugolino chew his hands in rage, the moment when they plead that he eat them-the moment when they put this fatal possibility in his mind. The tension of his facial muscles, the agony, the gloom in his eyes, the sinking cheeks, the strained and crouching body, the locking toes, altogether belie his regret, anxiety and desperation.

让-巴蒂斯·卡尔波（1827～1875年）是法国巴洛克风格的代表人物，他的作品个人风格非常强烈，他的杰作《舞蹈》是为新法国歌剧院雕刻的群像，但这件作品在1896年第一次亮相的时候却被嘲讽为是一件“卑贱的作品”。

1863年，新法国歌剧院的建筑师查尔斯·卡尔尼埃让赢得了罗马大奖赛的四位雕刻家为剧院正面雕刻四组群像，卡尔波是其中之一。在三年的时间里，他反复修改草图、创造了大量试验品，最后终于塑成这一尊表现几个围绕着舞蹈之神跳着法兰多舞曲的少女雕塑。他最想表现的是舞者的动态，于是用了横向转圈和垂直两个方向的动作来表现，中间跳跃的舞神是整个作品的中心，他带动周围的少女狂欢，姿态并不对称。

不料当时公众对于这部作品非常反感，他们认为女性的胴体刻画得太逼真了，有伤风化。据说，曾经有人向卡尔波泼墨水以示抗议，以至于人们考虑要不要把雕像撤走。但是1870年卡尔波就逝世了，雕像得以保存下来。

卡尔波的《乌谷利诺及其子孙》更是让人眼前一亮。乌谷利诺是13世纪意大利比萨的一个政党头子，曾与主教路格瑞和谋驱逐了比萨执政者尼诺。岂料事成之后，乌谷利诺本人又被他的和谋者路格瑞阴谋囚禁，他与二子二孙被关进一座塔里活活饿死。据史料记载，当时因为饿得即将绝命，乌谷利诺的儿子们求他吃掉自己。他的孩子和孙子先后死去，在但丁的作品里，最后的结局令人不寒而栗：“饥饿比悲痛要来得更加猛烈。”这个残暴的阴谋者乌谷利诺吃下了他的孩子的尸体。这一历史故事包含着一种道德与兽性的冲突。在卡尔波的雕塑中，乌谷利诺的手托着下巴在进行激烈的思想斗争，他的长子仰着头，向正在发愣并咬着自己左手的父亲哀求他吃掉自己。乌谷利诺被悔恨与绝望啃噬内心以致无可解脱，脸上的肌肉露出紧张、悲愤与痛苦的表情。通过晦暗的眼神、凹陷的颊肌、撕嘴啮手的动作、浑身紧张蜷缩的姿态和两足相叠而脚趾死抠的设计，卡尔波把人物的形象及心理表现得可谓镂心刻骨，使作品的悲剧气氛得到更为强烈的渲染。