西洋美术史的雕像最初以希腊雕像为典范，神话人物、历史故事、奥林匹克选手、或者说是希腊悲剧人物，依据理想美创造出睿智的身体表现，这种身体感往往被称为古典美的呈现。然而，此次典藏常设展呈现亚洲大学的珍贵收藏，分别为窦加、罗丹以及阿曼等珍贵的雕塑品。
The sculptures in the western art history at first treated the Greek statues as the paradigm. In the mythology figures, historical stories, Olympic athletes, or the figures from the Greek tragedies, the presentation of wise bodies is created on the basis of ideal beauty. Such sense of body is oftentimes referred to as the presentation of the classical beauty. In comparison, this permanent collection exhibition displays the treasured collection of Asia University, encompassing the precious sculptures by Degas, Rodin, and Arman.

爱德华‧窦加
Edgar Degas
窦加生前以绘画闻名，唯一一次雕塑展览是于1881年第二次印象派美术展展出〈小舞者〉。〈小舞者〉创作于1878-81年之间，全称为〈十四岁的小舞者〉。这件作品创作于普法战争以后，法国国力从战败的颓败逐渐恢复过来，印象派也已经历多次展览。窦加热心于印象派联展，仅缺席一次，但是与同侪间关系不睦，也不喜欢舆论对印象派的揶揄与讽刺。不过，他的作品题材、构图却深受印象派的影响，永远是现实的社会紧密结合，举凡餐厅、街道以及他所喜欢的芭蕾舞教室，都是他取材的场域。
Degas was known for his painting before his death. The only sculpture ever exhibited was Litte Dancer displayed in the second impressionist art exhibition in 1881. Little Dancer was created in 1878-1881 with a full name Little Dancer, Aged Fourteen. The work was created after the Franco-Prussian War, as France gradually recovered from the defeat, and the impressionist had had multiple exhibitions. Degas was keen on the joint exhibitions of impressionists. He was only absent once. However, he did not get along with his peers, nor did he enjoy the ridicule and sarcasm against the impressionism. Nevertheless, the subject-matters and compositions of his works were deeply influenced by the impressionism, always intimately tied to the society in reality. Restaurants, streets, and the ballet classroom he was fond of, for example, were the places he drew his inspirations from.

窦加从1870年代开始，即不断创作雕塑作品。他从现实人物观察开始，创造出一系列亲眼观察的作品，只可惜这些以芭蕾舞练习为主的作品，生前并未展示，仅只于此蜡像制作。窦加去世后，继承人从他的工作室发现150座蜡像，有些严重受损，谘询铸造厂后，将其中74件作品以青铜翻模，弥足珍贵。原作初次展示于1881年，法国着名艺术评论家裘李·卡尔·于斯曼（Joris-Karl Huysmans,1848-1907）见到〈小舞者〉时，评论道：「这件雕塑令人恐怖的写实性，让观众产生明显的不适感；所有他的雕塑观念、冰冷而无生命的白色，还有数世纪以来复制的陈腔滥调的记忆，都会崩毁。事实上，首先窦加翻转雕塑传统，如同他长期以来对绘画所做的那样。一切再现西班牙大师的古老方法，……窦加以其天才的原创性，立即给予相当特别与现代性。」(Huysmans, L’Art moderne, 226-7.) 窦加的雕塑乃是从现实生活观察所得，具有高度日常性。〈小舞者〉摆出芭蕾舞第四项基本姿势，双手拉住位于背后，一腿向前，闭着眼睛，似乎站在调节呼吸，准备舞蹈。这个动作正位于身体最松弛的瞬间，持续的舞蹈将随即开始。这是一件划时代的雕塑，除了掌握连续动作的动人瞬间之外，窦加以实物的绸缎为模特儿穿上裙子，雕像背后以实物绸缎系在发辫上，打破传统大理石雕像的表现，以实物与雕塑混合采用，颠复传统雕塑的表现形式。除了这件作品之外，窦加将芭蕾舞蹈身体伸展与动作或者日常生活的身体动作，呈现出身体的日常特质。人的存在因为这种动作，从被神圣化的古典神话、伟人纪念碑的伟大的形式美感，转化成身体的日常美感，从神圣回归到人的现实。
Starting from the 1870s, Degas had been creating sculptures relentlessly. He began with observation of people in reality, producing a series of works of personal observation. Unfortunately, these works centering around on ballet practice were neve on display in his lifetime. They were merely produced as wax sculptures. After the death of Degas, his heir found 150 wax sculptures in his studio, with some of which severely damaged. After the consultation with a foundry, 74 of the works were cast into bronze sculptures, which are truly of rarity. The original works were debuted in 1881. Joris-Karl Huysmans (1848-1907), an eminent French art critic, commented at the sight of Little Dancer, “The terrible realism of this statuette makes the public distinctly uneasy: all its ideas about sculpture, about cold lifeless whiteness, about those memorable formulas copied again and again for centuries, are demolished. The fact is that on the first blow, M. Degas has knocked over the traditions of sculpture, just as he has for a long time been shaking up the conventions of painting.  In taking up the method of the old Spanish masters, M. Degas has made it entirely unique, modern, by the originality of his talent. ” (Huysmans, L’Art moderne, 226-7.) The sculptures of Degas drew inspirations from his observation in real life, which are rich in mundanity. Little Dancer presents the fourth position of ballet, with her arms and hands taut at her back, one leg forward, and eyes closed, as if she is standing to regulate her breath, poised to dance. This position is at the most relaxing moment of body, prior to the onset of continual dancing. This is an epoch-making sculpture. Aside from the command of the captivating moment in the continual movement, Degas utilized real satin as the tutu for the model, and a real satin as the ribbon on the braids at the back of the statuette. It broke free from the conventional marble statue presentation. Mixing real-life objects with sculpture, he flipped the means of the traditional sculpture presentation. In addition to this work, Degas employed the stretching and movements of ballet dance body, or the body movements in life, exhibiting the mundane quality of body. Thanks to this movement, the human existence is thus transformed from the majestic formal beauty of sanctified classical mythology and monuments of great figures into the mundane beauty of body, returning from sanctity to human reality.

奥古斯特．罗丹
Auguste Rodin
罗丹素来以雕塑闻名，两次申请进入巴黎美术学院就读被拒，灰心之馀从事宗教。教派中人认为他个性具备艺术天分，不适合宗教，于是他再次跟随老师学习雕塑。他前往意大利游学，环绕杜兰、热内亚、比萨、威尼斯、弗罗伦斯、罗马、那不勒斯，发现多那太罗（Donatello,1386-1466）、米开朗基罗（Michelangelo,1475-1564）创作的奥秘。欧洲的雕塑传统在巴洛克之后，趋向于形式主义美感，即使经历十八世纪晚期到十九初期的新古典主义影响，雕塑作品在本质延续着文艺复兴传统的同时，逐渐流于形式表现。
Rodin has been known for his sculpture. He applied twice for, and rejected by, the École des Beaux-Arts in Paris, before he directed his attention to religion out of frustration. The sectarians were convinced that he was characterized by his talent in art, not suitable for the religious path. Therefore, he went to teachers again to study sculpture. Rodin traveled to Italy for study. Sauntering around Duran, Genoa, Pisa, Venice, Florence, Rome, and Naples, he uncovered the mysteries in the artistic practices of Donatello (1386-1466)  and Michelangelo(1475-1564). The post-Baroque sculpture tradition in Europe inclined towards the formalist beauty. Despite the influence of neoclassicalism during the late 18th century to the early 19th century, the works of sculpture, while sustaining in essence the Renaissance legacy, evolved towards formalist presentation.


罗丹自雕塑的姿势以及刨光表面与几乎光滑表面的比例、非完成的技术与美学，发现文艺复兴大师的奥秘。他初次展露头角的作品为〈青铜时代〉( L'Âge d'airain,1877)，十分写实的肉体，扭动的身躯以及具备朝气的精神内涵，他已经舍弃游脚、立脚与手持物产生的和谐关系，这位青年双手上扬，舒动筋骨，因为栩栩如生，甚至被质疑为真人翻模，饱受争议，却也让他成名。另一件作品〈布道的洗礼者约翰〉( Saint Jean Baptiste,1878)更是使用矿工当模特儿，一只手举起彷彿布道，双脚却平稳踩在土地上，打破游脚与立脚的古典希腊以来的传统。前者消化多那太罗初期文艺复兴的肉体感，主题是一位无名的青年，并非历史人物也非神话题材。后者则完全摆脱文艺复兴以来古典主义传统，相较于传统雕塑表现出人物的瞬间，呈现出肉体的连续性时间。政府委讬他创作未来装饰艺术博物馆的〈地狱门〉，他取材于但丁《神曲》与诗人波特莱尔《恶之花》，高七米、重八吨，这件作品生前从未交付，也没有铸成青铜，一直创造到生命最后。去世后1928年由亚历山大．胡迪耶Alexis Rudier铸造厂，也就是日后罗丹美术馆铸造完成。1882年完成〈亚当〉、〈夏娃〉、〈沉思者〉。
From the postures of sculptures, the ratio between the planed surface and the almost smooth surface, as well as the non finito (not finished) technique and aesthetics, Rodin discovered the mysteries of the Renaissance maestros. The Age of Bronze (L'Âge d'airain, 1877), the work he made his debut with, faithfully presents the flesh, the twisted body, and the vibrant spiritual essence. He abandoned the harmonious relationship born from the free leg, engaged foot, and hand-held object. The lad raises his both arms for stretch. Owing to its lifelike appearance, the artist even met with the controversy over whether it is modeled from a real person, which made him famous as well. The other work, Saint Jean Baptiste (1878), further employs a miner as the model. A hand is raised as if he is in sermon. Yet, his feet are firmly set on the ground, breaking free from the tradition of free leg and engaged leg since the Classical Greece. The former digested Donatello’s sense of body in the early Renaissance, with the subject being an anonymous youth, instead of a historical figure, nor of a mythological subject-matter. The latter entirely got rid of the classicist tradition since the Renaissance, presenting the temporal continuum of body, as opposed to the instant of a figure in the traditional sculpture. The Gates of Hell (La Porte de l'Enfer), commissioned by the government for the future Decorative Arts Museum, was inspired by Dante’s The Divine Comedy (La divina commedia) and Baudelaire’s The Flowers of Evil (Les Fleurs du Mal). The sculpture of seven meters tall and 8 tons heavy was never delivered, or cast into bronze, in Rodin’s lifetime. He kept working on it until the last moment of his life. After his decease, it was handed over to the foundry of Alexis Rudier, the predecessor of Musée Rodin, for casting in 1928. Adam, Eve, and The Thinker (Le Penseur) completed in 1882.

罗丹作品采取光线、触觉感、身体细部掌握、人物动作、未完成等手法，展现出独特风格，人物往往因为艰难与新奇的动作，给人强烈的张力与内在能量。此次展出八件作品，呈现浑厚躯体、以及健壮的生命力，使得雕塑产生近代的精神。
Leveraging light, tactility as well as the command in the details of body, figure’s movement, and the “non finito” approach, Rodin’s oeuvre exhibits a unique style. The figures evince powerful tension and inner energy from their difficult and novel movements. Eight of his works are on display in this exhibition, presenting vigorous body and athletic vitality that bestow the modern spirit upon sculpture.

阿曼
Arman
法裔美国籍雕塑家阿曼（Arman,1928—2005），本名阿曼德·皮埃尔·费迪南(Armand Pierre Fernandez)，乃法国借的美国艺术家及画家、雕塑家兼视觉艺术家。1946年毕业于尼斯国立装饰艺术学院 ，并在尼斯警察学校学习柔道，在此认识伊夫克莱恩(Yves Klein)、巴斯卡(Claude Pascal)，往后三人搭乘便车，壮游欧洲。1949年进入罗浮学院研究考古学、亚洲艺术，1951年在西班牙马德里教授柔道，1952年在法国中南半岛战役中服勤。1954年他在展览会上观赏德国达达主义艺术家库尔特•史维特斯(Kurt Hermann Eduard Karl Julius Schwitters)，发展出透过印章(cachets)印戳来创作作品，1959-1962年之间，他开始创造堆积物(Accumulations)以及垃圾桶( Poubelles)。垃圾桶意味着将散落的垃圾收集起来，重新加以利用。1960年他在伊利斯克雷特画廊(Iris Clert)内堆满垃圾，称之为「实」(Le Plein），克莱恩则创作另一作品「虚」(Le Vide)，两人形成对比。法国着名艺术评论家皮埃尔・雷斯塔尼 (Pierre Restany)认为阿曼是新现实主义运动的开创者之一，创作领域甚广，涉及平面绘画、实物拼贴、积累、破坏以及组合等创作领域与手法。1961年阿曼首次在美国展示，他采用「切割」(coupes)、「拼贴」(Colères) 两种手法，将具有强烈身分的物件，譬如小提琴、萨克斯风等乐器，除此之外则青铜器的古典雕像，对这类旧物件进行破坏与组合。阿曼的作品往往取材于日常生活当中的物件，包括希腊神像、乐器、汽机车、家具、画具或者钟表等，经由拆解、切割与组合，创造出不同视觉形式的同时，也使得这些物件的潜在的意义呈现出来。他认为，世界并不存在无用之物，旧物件存在的人文讯息往往大于新物件。
The French American sculptor Arman (1928-2005), born Armand Pierre Fernandez, is a French American  artist, painter, sculptor, and visual artist. He graduated from the École Nationale des Arts Décoratifs in Nice in 1946. Arman also learned judo at a police school in Nice, where he met Yves Klein and Claude Pascal. The three subsequently went on a hitch-hiking tour around Europe. The artist enrolled as a student at the École du Louvre for the studies in archeology and Asian art in 1949, taught judo at Madrid, Spain in 1951, and served in the military for the French campaign in the Indochinese Penisula in 1952. He observed the German Dadaist Kurt Hermann Eduard Karl Julius Schwitters in 1954 and developed his practices with cachets. From 1959 to 1962, Arman began to create Accumulations and Poubelles (French: the trash bins). The trash bins meant to collect the strewn refuse for refuse. In 1960, he filled the gallery Iris Clert with trash, titled Le Plein (The Full). Klein produced another work, Le Vide (The Void). The two form a contrast to each other. The distinguished French art critic, Pierre Restany, hailed Arman as one of the forerunners for Nouveau Réalisme (New Realism) that worked on an array of practices, involving creative fields and methods like painting, collage, accumulation, destruction, and assemblage. In 1961, Arman made his debut in the United States. He employed two methods, i.e. Coupes and Colères, as well as used objects with a strong identity, such as musical instruments like violin and saxophone, aside from classical bronze statues, to destroy and assemble these old objects. Arman usually made use of objects in everyday life for his works, including Greek statues, musical instruments, cars/motorcycles, furniture, painting tools, or clocks/watches. Through dissembling, cutting, and assembling, the artist brought the potential meanings of these objects to light while creating visual forms in variety. He was convinced that there is no object that is useless, and that old objects often contain humanistic messages more than the new counterparts.

本展览展示阿曼两件作品〈大提琴与维纳斯的结合〉(1990) 与〈胜利女神的诗篇〉。两者皆以维纳斯雕像、有翼胜利女神雕像进行切割与组合，当传统雕像的普遍的身体美感借由破坏性的切割之后，古典美感转换成现代的视觉形式，大提琴所具有的功能与音乐意义转换成动态的形式，维纳斯的形式美与大提琴的音乐性相互融合，展现出动静合一的新的美学。
Two works of Arman, Venus au Violoncelle bois (1990) and Victoire en Chantant, are on display at this exhibition. Both were cut and assembled, with the statues of Venus and the winged goddess of victory, respectively. After the destructive cutting of the traditional statues’ universal beauty of body, the classical beauty is converted into the modern visual form. The function and musical meaning of cello is transformed into a dynamic form. The formal beauty of Venus and the musicality of cello are fused together to manifest the new aesthetics with activity and inactivity as one.

这次特展，将十九世纪晚期窦加作品，借由身体的日常性动作，初次解构了古典主义以来冰冷的大理石美感。罗丹作品则给予人体形式美之外的内在宏伟精神，将文艺复兴以来的人性价值再次展现；活跃于二十世纪的阿曼则透过切割与组合，解构传统视觉美感，创造出旧意识的破坏，产生崭新的视觉美感与意义。
At this special exhibition, the works of Degas in the late 19th century deconstruct the cold beauty of marble since the classicism for the first time through the mundane movements of bodies. The works of Rodan feature the inner spirit of majesty beyond the formal beauty of human body, re-presenting the humanistic value since the Renaissance; Arman, who was active for half of the 20th century, deconstructs the traditional visual beauty through cutting and assemblage, creates destruction of old ideology, and renders whole new visual beauty and meaning.