不洁的石头和对体面的威胁:大理石的色调和纹理

IF 0.3 3区 艺术学 0 ART
M. Wagner
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引用次数: 0

摘要

根据古典传统,大理石雕塑应该由“纯”白色材料制成。即使在考古发现揭示了古代多色的证据之后,这仍然是一种审美理想。本文认为,在18世纪末和19世纪,对大理石人物进行着色和自然染色,不仅在美学上,而且在道德上都应受到谴责,因为它们违反了“人同”的理想。这个词是由社会学家诺伯特·埃利亚斯(Norbert Elias)创造的,它将一个主体概念化,这个主体通过“自我约束”来控制自己的身体和情绪。完美的控制体现在古代诸神的形象中,这些形象被认为是由无暇的白色大理石制成的。任何颜色,无论是天然的还是刻意制造的,似乎都污染了这个概念。我的调查主要集中在约翰·吉布森(John Gibson)令人反感的《有色的维纳斯》(Tinted Venus)的历史依据,以及18世纪后期在法国以类似理由被拒绝的纹理大理石雕像,如克里斯托弗·加布里埃尔·阿勒格伦(Christoph-Gabriel Allegrain)的《维纳斯》(Venus)和让-安托万·乌东(Jean-Antoine Houdon)的《Frileuse》。我研究了石头的彩色静脉和色调如何在女性形象中获得语义特性,其中腮红或静脉似乎揭示了情感和欲望,从而侵犯了理想。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Impure stone and the threat to decency: marble tints and veins
According to the classical tradition, marble sculptures were to be made of ‘pure’ white material. This remained an aesthetic ideal even after archaeological findings had revealed evidence of ancient polychromy. This article argues that tinting as well as natural staining on marble figures in the late eighteenth and nineteenth centuries were not only aesthetically but also morally reprehensible, because they violated the ideal of homo clausus. This term, coined by the sociologist Norbert Elias, conceptualizes a subject that imposes ‘self-restraint’ to control its physical body and its emotions. Perfect control was seen embodied in the ancient images of the gods, which were assumed to have been made of immaculate white marble. Any colouring, whether of natural origin or deliberately produced, seemed to contaminate this concept. My investigation is focused on the historical justifications for John Gibson’s scandalous Tinted Venus, and figures of veined marble rejected in France on similar grounds in the late eighteenth century, such as Christoph-Gabriel Allegrain’s Venus and Jean-Antoine Houdon’s Frileuse. I examine how the coloured veins and tints of the stone gained semantic qualities in female figures, where a blush or a vein seemed to reveal emotions and desires and thus infringe the ideal.
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CiteScore
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