短暂的欧洲行（二十三）卢浮宫的部分雕塑

 

      上午抱着要看卢浮宫三宝的决心，跑到了卢浮宫德农馆的一层，看到了维纳斯，这个不用介绍，太眼熟啦。到了珍品跟前，转着圈看，就是美！维纳斯又叫阿芙罗蒂特，是罗马神话中的爱神与美神，大约公元前四世纪时，古希腊著名雕刻家阿海山纳在神话的基础上加以想像和创造，这座大理石雕成的艺术瑰宝，不仅身体三围美妙绝伦，而且浴纱裙有半透明和飘逸动感。1820年，在米洛斯岛上，一个叫尤尔赫斯的农民在翻挖菜地时，发现了雕像，后来在法国人和米洛斯人的争夺中，塑像被摔断了双臂，可是体态之优美，神情之柔和，仍然是雕塑艺术里极品中的极品！100多年来，没知道断臂之前的形象，尽管人们做过很多复原的尝试。从雕像被发现的第一天起，就被公认为是迄今为止希腊女性雕像中最美的一尊。多少年来，人们对她倾注了不计其数的赞美和歌颂。爱神的身材端庄秀丽，肌肤丰腴，美丽的椭圆型面庞，希腊式挺直的鼻梁，平坦的前额和丰满的下巴，平静的面容，流露出希腊雕塑艺术鼎盛时期沿袭下来的理想化传统。她那微微扭转的姿势，使半裸的身体构成了一个十分和谐而优美的螺旋型上升体态，富有音乐的韵律感，充满了巨大的魅力。作品中女神的腿被富有表现力的衣褶所覆盖，仅露出脚趾，显得厚重稳定，更衬托出了上身的秀美。她的表情和身姿是那样的庄严崇高而端庄，象一座纪念碑；她又是那样优美，流露出最抒情的女性柔美和妩媚。人们似乎可以感到，女神的心情非常平静，没有半点的娇艳和羞怯，只有纯洁与典雅。她的嘴角上略带笑容，却含而不露，给人以矜持而富有智慧的感觉。尤其令人惊奇的是她的双臂，虽然已经残断，但那雕刻得栩栩如生的身躯，仍然给人以浑然完美之感。正是这残缺的断臂似乎更能诱发出人们的美好想象，增强了人们的欣赏趣味。雕像没有追求纤小细腻，而是采用了简洁的艺术处理手法，体现了人体的青春、美和内心所蕴含的美德。整尊雕像无论从任何角度欣赏，都能发现某种统一而独特的美。这种美不再是希腊大部分女性雕像中所表现的“感官美”，而是一种古典主义的理想美，充满了无限的诗意，在她面前，几乎一切人体艺术作品都显得黯然失色。

德农馆的一层全是古希腊的，十六十七世纪意大利的雕塑，或受难的殉道，或狩猎的女神，或牧鹅的孩子，或成群嬉戏的少女，或开肠破肚的屠户，个个都是栩栩如生。就是那些断头断臂的也尽显残缺之美。这些珍品的大名，始终不得而知。回来问过艺术家，说：她最关心的不是具体作品的名字，而是他们的美啊！

      德农馆上二楼的大梯上高耸着那个宝：胜利女神！1863年在爱琴海北部的萨莫色雷斯岛，公元前200年左右的女神被发现了。最早只是碎块，后经多年修复才得以重新站立起来，但仍然缺头少臂。这是小亚细亚的统治者德梅特里奥斯一世为纪念他在海战中打败托勒密王国的舰队而创作的，最早矗立在萨莫色雷斯岛海边的悬崖上。胜利女神犹如从天而降，站在战船的船头引导着舰队乘风破浪冲向前方。站在她的脚下不论从哪个角度，你都能看到和感受到胜利女神展翅欲飞的雄姿。她上身略向前倾，那健壮丰腴、姿态优美的身躯，高高飞扬的雄健而硕大的羽翼，都充分体现出了胜利者的雄姿和欢乎凯旋的激情。海风似乎正从她的正面吹过来，薄薄的衣衫隐隐显露出女神那丰满而富有弹性的身躯，衣裙的质感和衣褶纹路的雕刻令人叹为观止。向后飘扬的衣角和展开的双翅构成了极其流畅的线条，身上的衣服随着海风招展，像张满风的船帆，腿和双翼的波浪线则构成一个钝角三角形，加强了前进的态势。雷人啊！

      下午再进卢浮宫，转了半天，到四点多钟才转到黎塞留馆，它下面的有马利中庭和皮热中庭，里面分别陈列着法国五到十九世纪的雕塑作品。那里有路易十四时代的著名雕塑，古斯图的作品骏马。当年法国的骏马都养在马利城堡，好马都来自马利，古斯图雕出来的当然也就叫马利骏马。在协和广场看到的那个是这里的复制品。这里的雕塑还有青铜和其他材质的。有的亮亮的让人看不太清啊。不过时间已晚，还没仔细看就得赶去老佛爷集合啦。

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本篇照片128张，都在这哪：

http://photo.163.com/photo/baishi1151/?u=baishi1151#m=0&p=1&n=10