Bernini: The Sculptor Who Introduced Baroque Art
1600年，罗马天主教会为了回应当时兴起的宗教改革，提出艺术应当直接地、充满感情地表达宗教主题，再加上前期矫饰主义奠定的基础，巴洛克艺术逐渐沉淀并形成了自己的鲜明特色。艺术家们运用夸张的运动性和清晰可辨的细节来营造戏剧、紧张的效果。
In 1600, in response to the religious reforms that had arisen at that time, the Roman Catholic Church proposed that art should express religious themes directly and emotionally. Coupled with the foundation laid by the previous Mannerism, Baroque art gradually precipitated and formed its own distinctive features. Artists use exaggerated sportiness and clearly discernable details to create dramatic and intense effects.
这座“大卫”出自吉安·洛伦佐·贝尼尼(Gian Lorenzo Bernini)(1598–1680)之手。描述的是少年大卫向巨人歌利亚投石 的瞬间。大卫调动全身的肌肉，准备掷出石头，他紧蹙的眉头和紧闭的嘴唇都增强了这一瞬间强烈的情感。
This “David” is by Gian Lorenzo Bernini (1598–1680). The statue describes the moment when the young David threw a stone at the giant Goliath. David mobilized all the muscles in his body and prepared to throw stones. His frowning brows and closed lips enhanced the strong emotion at this moment.
相较之下，米开朗基罗刻画的“大卫”是一位男神，自信而充满英气，而贝尼尼的“大卫”是一位战士，情感爆发，力量爆发，整幅作品充满了动感。两座雕塑的差异也体现了文艺复兴与巴洛克艺术的差异。前者追求比例、平衡，最终达到或平静、或庄严的静态画面，后者则融入了浓烈的情感、力量，最终刻画出具有戏剧性的瞬间。
In contrast, Michelangelo’s “David” is a handsome man, confident and full of heroism. Bernini’s “David” is a warrior, full of emotion, power, and dynamics. The difference between the two sculptures also reflects the difference between the Renaissance and Baroque art. The former pursues proportion and balance, and finally reaches a calm or solemn static condition, while the latter incorporates strong emotions and power, and finally portrays a dramatic moment.
吉安·洛伦佐·贝尼尼是意大利杰出的巴洛克艺术家，他出生于佛罗伦萨，后跟随父亲来到罗马。在幼年时，他就展现了极强的艺术天分，之后得到了教会的赏识，获得很高的声誉。在他82岁离世时，整个罗马为他举办了极为隆重的葬礼。贝尼尼是巴洛克艺术的代表人物，他在雕塑、建筑方面都实现了难以企及的高度。
Gian Lorenzo Bernini is an outstanding Italian Baroque artist. He was born in Florence and then came to Rome with his father. At an early age, he showed great artistic talent, and later he was appreciated by the church and gained a high reputation. When he died at the age of 82, the whole Rome held a very grand funeral for him. Bernini is a representative of Baroque art, and he has achieved unprecedented heights in sculpture and architecture.
阿波罗和达芙妮的故事源于古希腊罗马神话故事。太阳神阿波罗得罪了爱神丘比特，因而丘比特将一支能够点燃欲火的箭射向阿波罗，又将一支驱散爱情的箭射向河神之女达芙妮，让阿波罗爱而不得。达芙妮在阿波罗的追逐下无处可躲，最终变为一颗月桂树。这座雕像描绘的是阿波罗触碰到达芙妮，故达芙妮变为月桂树的瞬间。
The stories of Apollo and Daphne originated from ancient Greek and Roman mythology. The sun god Apollo offended Cupid, so Cupid shot an arrow that could ignite the fire towards Apollo, and shot an arrow that scattered love toward Daphne, the daughter of the river god drew Apollo in love. Daphne had nowhere to hide under Apollo’s chase and eventually turned into a laurel tree. This statue depicts the moment when Apollo touched to reach Fanny, so Daphne became a laurel.
这是贝尼尼的早期雕塑杰作。达芙妮开始幻化但还未完全转变为月桂树，她的头发变成了树枝，脚上也开始生根，却依然遮盖不住少女曼妙的身姿。阿波罗左手拦着达芙妮的身体，右手向下伸展，与达芙妮向上伸的右手形成一条直线，使得整座雕塑动了起来，充满艺术张力。两人的表情也刻画的恰到好处，达芙妮微张的嘴唇和惊恐的目光，让观者心生怜悯，而贝尼尼的眼中透露出深情和无耐，也让观者不由哀叹。
This is Bernini’s early masterpiece of sculpture. Daphne began to transform but was not completely transformed into a laurel tree. Her hair turned into branches, and her feet turned into roots, but she still could not cover the girl’s graceful posture. Apollo blocked Daphne’s body with his left hand, and his right hand extended downward, forming a straight line with Daphne’s right hand extended upward, making the whole sculpture move, full of artistic tension. The expressions of the two were also portrayed just right. Daphne’s slightly opened lips and frightened eyes gave the viewer pity, while Bernini’s eyes revealed deep affection and impatience.
这座雕塑名为《圣女大德兰的神魂超拔》，是贝尼尼的封神之作，位于教堂的祭坛上方。雕塑中的女主角被后世称为圣女大德兰。圣女大德兰成为修女后，经历了很多身体和心灵上的病痛，但也从中获得了精神上的指引以及灵魂上的升华。她建立了多座隐院，并主导了加尔默罗修会的改革，最终因其卓越贡献被教宗保禄五世封为真福，被教宗保禄六世称为教会的第一位女圣师。这座雕塑所讲述的故事源于圣女大德兰的个人自传，在自传中她描述了自己与天使相遇的经历：“我看见靠近我的左边，有位具有人形的天使。…天使并不大，而是小小的，他面容火红，好似火焰，看起来好像是属于最高品级的一位天使，仿佛整个都在燃烧的火中，显得火光四溢。我看见在他的手中，有一只金质的镖箭，矛头好似有小小的火花。我觉得，这位天使好几次把镖箭插进我的心，插到我内心最深处。当他把箭拔出来的时候，我感到他把我内极深的部分也连同拔出；他使我整个地燃烧在天主的大爱中，这个痛苦之剧烈，使我发出呻吟。这剧烈的痛苦带给我至极的甜蜜，没有什么渴望能带走灵魂，灵魂也不满足于亚于天主的事物。”（《圣女大德兰自传》第29章）
The sculpture is called “Ecstasy of Saint Teresa,” and it is a masterpiece by Bernini, located above the altar of the church. The heroine in the sculpture is referred to as the Virgin Dadran by later generations. After becoming a nun, the Virgin Dadran experienced many physical and mental pains but also gained spiritual guidance and spiritual sublimation from it. She established several hermits and led the reformation of the Carmelite Order. Eventually, her outstanding contribution was sealed by Pope Paul V as a real blessing, and Pope Paul VI was called the first female saint of the church. The story told in this sculpture originated from the personal autobiography of Teresa. In her autobiography, she described her encounter with an angel:
“I saw in his hand a long spear of gold, and at the iron’s point there seemed to be a little fire. He appeared to me to be thrusting it at times into my heart, and to pierce my very entrails; when he drew it out, he seemed to draw them out also, and to leave me all on fire with a great love of God. The pain was so great, that it made me moan; and yet so surpassing was the sweetness of this excessive pain, that I could not wish to be rid of it. The soul is satisfied now with nothing less than God. The pain is not bodily, but spiritual; though the body has its share in it. It is a caressing of love so sweet which now takes place between the soul and God, that I pray God of His goodness to make him experience it who may think that I am lying.”
能够看到一位天使盘旋在圣女大德兰的身上，手指间的金色箭头对准了圣女的心脏，而圣女躺在云层之上，双目紧闭，嘴唇微张，四肢下垂。贝尼尼采用精巧的雕塑技巧来刻画每一个细节，准确地捕捉到了圣女大德兰此刻的狂喜，体现出了圣女大德兰所经历的高度个人化但又充满戏剧性的场景。此外，该雕塑位于祭坛上，而祭坛上方窗口所投射下的自然光，在雕像背景处的条状镀金装饰物以及白色大理石上形成光线反射，营造出一份来自“天国的光明”，增强了作品的强度，描绘了出了上帝的荣耀。
We can see an angel hovering over Teresa, the golden arrow between her fingers is aligned with her heart, lying on the cloud, eyes closed, lips slightly opened, and limbs are drooping. Bernini used delicate sculptural techniques to portray every detail, accurately capturing the ecstasy of Teresa at the moment, reflecting the highly personal but dramatic scene experienced by Teresa. Also, the sculpture is located on the altar, where natural light projected from the window above the altar forms a light reflection on the strip-shaped gilded ornament on the background of the statue and white marble. The sculpture thus created a “brightness from heaven” and enhancing the work intensity of the portrays glory of God.
