The Beau Dieu (literally “handsome God”) is the image of Christ that occupies the top half of the pillar dividing the central portal to Notre-Dame of Amiens.
謹以此短文送別陳寬仁先生 (約1930 - 2016)
7月小津(Ozu)在圓覺寺的墓碑商刻"无"字10日在北醫辦簡單的告別式就直接入殮火化,富德公墓樹葬。
Leonard Bernstein在1937年7月11日聽到George Gershwin 過世消息的反應與作為。
他當眾談George Gershwin的Second Prelude ......。
我學Bernstein，選擇陳寬仁老師翻譯的 《雕塑藝術》(台北：廣文，1967--我未能找出原書，不過，許多可能的誤譯，在此處直接改正) 的 Beau Dieu of Amience (第112頁，該章《中世紀的雕塑術》作者為Beatrice W. Soheim )。
基督是門，經由這門基督徒可以進入天堂。救世主高高地站著，腳底下踏著猛獅和毒龍 (《聖經》上說，"你可踐踏在猛獅和毒龍身上" (聖詠 91：13)。再下面，葡萄藤影射著聖餐中的紅酒。
| 9你既知道上主是你的避難所，你就該以至高者為你的碉堡； |
| 10災殃不會走近你的身邊，禍患也不臨近你的帳幔。 |
| 11因為他必為你委派自己的天使，在你行走的每條道路上保護你。 |
| 12他們把你托在自己的手掌，不使你的腳在石頭上碰傷。 |
| 13你可經過在獅子和毒蛇身上，你可踐踏在猛獅和毒龍身上。 |
| 14上主說：「因為他依戀我，我必拯救他，他承認我的名，我必保護他。 |
King James Version
Thou shalt tread upon the lion and adder: the young lion and the dragon shalt thou trample under feet.
Darby Bible Translation
Thou shalt tread upon the lion and the adder; the young lion and the dragon shalt thou trample under foot.
聖詠 91：13你可經過在獅子和毒蛇身上，你可踐踏在猛獅和毒龍身上。
Central Portal (The Portal of the Beau Dieu) | ||
| Images of Christ occurs in three places in the central portal of the West front: here as the resurrected Christ on the trumeau, as the judge in the middle lintel, and as the apocalyptic Christ at the top of the tympanum (the latter two not pictured). As the resurrected Christ, the so-called Beau Dieu, he has triumphed over evil, represented by the two beasts (lion and snake) under his feet. His left hand holds a book while the right hand is raised in blessing. He towers above those entering in the portal and stares off into the distance. Below Christ in an arch is a crowned figure, variously identified as King David or King Solomon. | ||
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維基百科，自由的百科全書
Li, Shaochang, 1891-1977
Li, Shaochang, 1891-1977
Persons
Rood, John, 1902-1974.
Subjects
Art, American -- 20th century.
Art, American.
Periodical editors -- United States.
Sculptors -- United States.
Sculpture, American -- 20th century.
Sculpture, American.
Biographical History
John Rood, sculptor, was born 22 February 1902 near Athens, Ohio, the son of George D. and Frances E. (Snedden) Rood. He left school at the age of twelve to help his widowed mother support the family, and educated himself in painting, music, and writing. Two years in Europe fostered these interests. Several years' work in printing and publishing culminated in the literary periodical Manuscript, published at Athens from 1934 to 1936, and edited by Rood and his first wife, Mary Lawhead. However, Rood had begun to sculpt in 1933, and as he devoted more time to his sculpture the publishing venture was abandoned.
In 1937 Rood had his first one-man show in New York; more than a hundred one-man shows followed in venues across the United States. His principal medium was wood, a preference reflected in his Folk Music Series and his books Wood Sculpture (1940) and Sculpture in Wood (1950). In the late 1940s he took up stone carving; during this same period he and Lawhead divorced and Rood married his second wife, Dorothy Bridgman Atkinson (1948). Later he moved to metal, using welding tools; his book Sculpture With a Torch was published in 1963. In 1965 Rood had his first exhibition in Europe, at Milan and Rome. Later phases of his work included "structachromes" of wrought iron and stained glass and, in the 1970s, painted wood constructions.
Most of Rood's career was spent in Minneapolis, and examples of his work are abundant in the Twin Cities area. His affiliation with the University of Minnesota began in 1944 as resident artist, and he won successive promotions until his appointment as professor in 1957. He spent a few years in Washington, DC but returned to Minneapolis, where he died in March 1974.
Prehistoric Stone Sculpture of the Pacific Northwest - Exhibition March 11 through April 16, 1952 at the Portland...
1952Paul S. Wingert
CONTRIBUTOR
LOCATION: New York, NY, United States
Professor of Art History and Archaeology, Columbia University. Author of Primitive Art, Its Traditions and Styles and others.
PRIMARY CONTRIBUTIONS (1)
a form of disguise or concealment usually worn over or in front of the face to hide the identity of a person and by its own features to establish another being. This essential characteristic of hiding and revealing personalities or moods is common to all masks. As cultural objects they have been used throughout the world in all periods since the Stone Age and have been as varied in appearance as in their use and symbolism. General characteristics The masks of the world display virtually infinite variety, from the simplest of crude “false faces” held by a handle to complete head coverings designed with ingenious movable parts. Mask makers have shown great resourcefulness in selecting and combining available materials. Among the substances utilized are woods, metals, shells, fibres, ivory, clay, horn, stone, feathers, leather, furs, paper, cloth, and corn husks. Surface treatments have ranged from rugged simplicity to intricate carving and from gaudy adornments to polished woods and...
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