Lesson?31???The?sculptor?speaks?雕塑家的語言?
????Appreciation?of?sculpture?depends?upon?the?ability?to?respond?to?form?in?there?dimension.?That?is?perhaps?why?sculpture?has?been?described?as?the?most?difficult?of?all?arts;?certainly?it?is?more?difficult?than?the?arts?which?involve?appreciation?of?flat?forms,?shape?in?only?two?dimensions.?Many?more?people?are?'form-blind'?than?colour-blind.?The?child?learning?to?see,?first?distinguishes?only?two-dimensional?shape;?it?cannot?judge?distances,?depths.?Later,?for?its?personal?safety?and?practical?needs,?it?has?to?develop?(partly?by?means?of?touch)?the?ability?to?judge?roughly?three-dimensonal?distances.?But?having?satisfied?the?requirements?of?practical?necessity,?most?people?go?no?further.?Though?they?may?attain?considerable?accuracy?in?the?perception?of?flat?from,?they?do?no?make?the?further.?Though?they?may?attain?considerable?accuracy?in?the?perception?of?flat?form,?they?do?not?make?the?further?intellectual?and?emotional?effort?needed?to?comprehend?form?in?its?full?spatial?existence.?
????This?is?what?the?sculptor?must?do.?He?must?strive?continually?to?think?of,?and?use,?form?in?its?full?spatial?completeness.?He?gets?the?solid?shape,?as?it?were,?inside?his?head-he?thinks?of?it,?whatever?its?size,?as?if?he?were?holding?it?completely?enclosed?in?the?hollow?of?his?hand.?He?mentally?visualizes?a?complex?form?from?all?round?itself;?he?knows?while?he?looks?at?one?side?what?the?other?side?is?like,?he?identifies?himself?with?its?centre?of?gravity,?its?mass,?its?weight;?he?realizes?its?volume,?as?the?space?that?the?shape?displaces?in?the?air.?
????And?the?sensitive?observer?of?sculpture?must?also?learn?to?feel?shape?simply?as?shape,?not?as?description?or?reminiscence.?He?must,?for?example,?perceive?an?egg?as?a?simple?single?solid?shape,?quite?apart?from?its?significance?as?food,?or?from?the?literary?idea?that?it?will?become?a?bird.?And?so?with?solids?such?as?a?shell,?a?nut,?a?plum,?a?pear,?a?tadpole,?a?mushroom,?a?mountain?peak,?a?kidney,?a?carrot,?a?tree-trunk,?a?bird,?a?bud,?a?lark,?a?ladybird,?a?bulrush,?a?bone.?From?these?he?can?go?on?to?appreciate?more?complex?forms?of?combinations?of?several?forms.?
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tran:

　　對雕塑的鑒賞力取決于對立體的反應能力。雕塑被說成是所有藝術中最難的藝術，可能就是這個道理。欣賞雕塑品當然比欣賞平面的藝術品要難。“形盲”的人數比“色盲”的人數要多得多。正在學看東西的兒童起初只會分辨二維形態，不會判斷距離和深度。慢慢地，由于自身安全和實際需要，兒童必須發展（部分通過觸覺）粗略判斷三維空間距離的能力。但是。大部分人在滿足了實際需要后，就不再繼續發展這種能力了。雖然他們對平面形的感覺能達到相當準確的程度，但他們沒有在智力和感情上進一步努力去理解存在于空間的整個形態。?
????而雕塑家就必須做到這一點。他必須勤于想像并且利用形體在空間中的完整性。可以說，當他想像一個物體時，不管其大小如何，他腦子里得到的是一個立體的概念，就好像完全握在自己手心里一樣。他的大腦能從物體周圍的各個角度勾畫出其復雜的形象，他看物體的一邊時，便知道另一邊是個什么樣子。他把自身和物體重心、質量、重量融為一體。他能意識到物體的體積，那就是它的形狀有空氣中所占的空間。?

????因此，敏銳的雕塑觀賞者也必須學會把形體作為形體來感覺，不要靠描述和印象去想象。以鳥蛋為例。觀賞者必須感覺到它是一個單一的實體形態，而完全不靠它的食用意義或它會變成鳥這樣的文字概念來感覺。對于其他實體，如，貝殼、核桃、李子、梨子、蝌蚪、蘑菇、山峰、腎臟、胡蘿卜、樹干、鳥兒、花蕾、云雀、瓢蟲、蘆葦以及骨頭也應這樣來感覺。從這些形體出發，觀賞者可進一步觀察更為復雜的形體或若干形體的組合。

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轉載于:https://www.cnblogs.com/h3953774/p/7304958.html

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