“沉睡三千年，一醒驚天下”的三星堆遺址，是中華文明璀璨星河中明亮而神奇的一顆。

羅丹是“現代雕塑之父”，他的作品中飽含對生命😘、自然的歌頌、熱愛與憂思🔏⏲。

在天美平台舉辦的特展——“青銅之光：三星堆與羅丹的超時空對話”展出了許多三星堆🚋、金沙遺址出土文物和羅丹及其同時代雕塑家的作品💁🏿‍♀️，讓我們一起來詳細了解展品背後的故事吧！

《巴爾紮克頭像》

· 奧古斯都·羅丹（1840—1917）

· 青銅

· 高25.4厘米🧜🏿‍♀️✫，寬26厘米🫄🏼，深25厘米

· Auguste Rodin (1840-1917)

· Bronze

· H. 25.4cm; W. 26cm; Pr. 25cm

在1880年至1881年期間，羅丹逐漸走出了紀念碑式的雕塑思路，轉向更富表現主義的創作方式🪂🫷，這一變化在他的作品《巴爾紮克》中得以體現。1891年⚅，法國文學協會委托羅丹為法國文學巨匠巴爾紮克（1799—1850）創建一座紀念雕像👩🏽‍🏫。羅丹前往巴爾紮克的故鄉都蘭（Touraine）搜集資料，因為巴爾紮克曾在那裏創作了一些著名作品☂️，如《幽谷百合》等。羅丹花了連續六年的時間，對巴爾紮克的頭像🧥🧚‍♂️、身體、睡袍等進行了多次設計，最終於1897年完成了雕像🫗🐫，這成為他職業生涯的頂峰之一。然而，這個作品在當時因其前衛的風格引起轟動， 贊助商不接受羅丹創作的“巴爾紮克”。羅丹堅持不出售或鑄造這個作品，一直到1939年🧑🏽‍🎄🤸🏻，這座青銅紀念雕像才在巴黎拉斯拜爾大道上豎立了起來。

在羅丹天美平台中🦮🧑🏿‍🦰，收藏了數百件關於《巴爾紮克》的創作過程稿，表明羅丹對這個作品非常重視⏮。這些過程稿包括了一系列人體雕塑研究。針對頭部的設計，羅丹進行了多次嘗試，創作出微笑、無表情等不同表情的版本，以找到最合適的表達方式🐿。在頭部創作中🔚，羅丹致力於再現巴爾紮克那著名的長發和銳利的目光。歷史資料中對巴爾紮克的描述強調了他犀利的眼神和魁梧的體格，這也是羅丹嘗試捕捉的特點🌲。

除了頭部研究，羅丹還進行了深入的人體研究👱🏻。他始終以真實性為基礎，力求準確再現巴爾紮克的身材特征，既矮小又結實🐫，沒有過分美化🎏。這種真實性使得當時的人們不太接受這一雕塑🚶，因為他們認為雕像應該更為理想化。因此，羅丹重新創作了一個版本，選用了一個更為魁梧的模特🧭，讓他穿上寬大的外套，這個外套不具備明顯的時代特征，為作品賦予了更多的象征性，強調了普遍性。這種普遍性正是羅丹真正想要表達的內涵。這座雕像也成為羅丹創作的最後一座紀念碑，凝結了藝術家的獨特視角和創作力量。

Between 1880 and 1881, Rodin gradually moved away from traditional monumental sculptures and shifted his attention to works with a more expressionist style. This change was reflected in his Monument to Balzac. In 1891, the French Literary Society commissioned Rodin to create a memorial statue for the French literary master Honoré de Balzac (1799-1850). Rodin went to Touraine, Balzac’s hometown to gather background information, as some of Balzac’s famous works, including The Lily of the Valley, were created there. In six years, Rodin designed Balzac’s head, body, and robe many times, and finally completed the statue in 1897. Now the statue is considered as one of the peaks of Rodin’s professional career, but back then, it caused a sensation, rejected by Rodin’spatron due to its avant-garde style. Rodin stood his ground and  refused to sell or cast the statue. It was not until 1939 that this bronze memorial statue of Balzac was erected on Boulevard Raspail in Paris.

Rodin Museum preserves hundreds of Rodin’s drafts during his creation of this piece, indicating his dedication to it, including series of drafts of Rodin’s research on body sculpture. Rodin made numerous attempts just for the head part, creating versions with different facial expressions, such as smiling and poker face, to find the best way to convey Balzac’s character. In the sculpture of head, Rodin strived to depict Balzac’s  symbolic long hair and piercing gaze. He also tried to capture the characteristics of Balzac’s sharp eyes and powerful frame, as described in  historical materials.

Rodin also conducted in-depth research into the body structure. He prioritized authenticity and sought to portray Balzac’s physical features accurately, short yet sturdy, without extra beautification. However, with such authenticity-focused expression, this sculpture was not wellaccepted by people at that time, as they hoped to see more idealized sculptures. Hence, Rodin created another version. He invited a model with a strapping stature and asked him to wear a loose coat with no distinct characteristics of the times. By doing so, Rodin gave the artwork more symbolic meaning and emphasized its commonality, which was precisely what Rodin aimed to express. This sculpture became Rodin’s final monument, manifesting his unique perspective and creativity.

青銅立發人頭像

· 商代後期（公元前1300年—前1100年）

· 寬6.5厘米，高11厘米

· 2021年出土於四川廣漢三星堆遺址三號祭祀坑，K3QW：102

· 四川省文物考古研究院藏

· Late Shang Dynasty (1300B.C.-1100B.C.)

· W. 6.5cm; H. 11cm

· Unearthed from No.3 sacrificial pit at the Sanxingdui Site in Guanghan, Sichuan,  in 2021,K3QW:102

· Collection of Sichuan Provincial Cultural Relics and Archaeology Research Institute

“國”字臉🦅🟠，粗眉，三角斜眼，高鼻🙅🏼，大口🧑‍🍳，方頜，長方耳，耳垂處有小圓孔🤙🏿🏹，頭後有“U”形輪廓🙇🏻‍♂️， 故其發式為“笄發”🛌。頭戴高冠⛹🏽‍♂️☔️，冠梁較寬🪈，繞頭一圈，前額兩側向外伸出，呈“幾”字形🙎🏼，冠身較高且向後下方彎折，表面有多道溝壟🤵🏼‍♀️，與後世的“綸巾”較相似✯。下頜下接一長柱，似表現人頭像的頸部，末端呈尖錐狀，原應套接其他器物，頭後往下斜伸出一圓柱與頭像相連。該造型的人頭像雖然在三星堆遺址首次發現，但同類冠式的人神雕像在長江中遊史前時期及長江下遊商時期遺址中均有出土。這種類似的高冠🧑‍🦼‍➡️，一直沿用到了之後的歷史時期，古代文獻中稱之為“通天冠”。三星堆遺址出土的這尊青銅立發人頭像推測被賦予通神的崇高使命，生動再現了 古蜀人的精神世界🖖。

The figure has a Guo(國)-shaped face, thick eyebrows, slanted triangular eyes, a prominent nose, a large mouth, a square jaw, elongated ears with small holes at the earlobes, and a U-shaped contour at the back of the head, which suggests a coiled up hairstyle called Jifa (笄發). On top of the head is a Ji (幾)-shaped high crown, with a wide band that wraps around the head and protrudes from both sides of the forehead. The towering crown bends backward and downward and has multiple  grooves on its surface, similar to Guanjin (綸巾), a type of silk head dress that emerged later. Below the lower jaw is a long  pillar that resembles the neck of a human and tapers to a pointed cone at the tip. It was originally meant to be attached to other objects. A cylinder extends obliquely downward from the back of the head and connects to the head. Although this crowned figure is first of its kind among relics discovered at the Sanxingdui Site, the statues of deities and humans with similar crowns have been unearthed in prehistoric archaeological sites in the middle reaches of the Yangtze River and the Shang-Dynasty archaeological sites in the lower reaches of the Yangtze River. This type of high crown, known  as Tongtian Guan (通天冠) in ancient literature, continued to be used in later periods. Unearthed from the Sanxingdui Site, the bronze figure with towering hair is considered to be endowed with the lofty mission of communicating with deities, giving us a glimpse into the spiritual world of the ancient Shu people.

校內師生憑本人一卡通入館，無需預約🛟。

校外觀眾采取網上預約方式入館🤙🏿，掃描下方二維碼或關註“天美平台”微信公眾號，點擊“個人預約”。

/地址/

上海大學博物館

（南陳路333號）