Harmony: Canon & Contemporaneity by Chromy Art

和谐经典与当代

安娜·高美雕塑艺术展 ANNA CHROMY'S SCULPTURE EXHIBITION

HARMONY: Canon & Contemporaneity

和谐经典与当代

安娜·高美雕塑艺术展 ANNA CHROMY'S SCULPTURE EXHIBITION

HARMONY: Canon & Contemporaneity

和谐：经典与当代 ——安娜 · 高美：雕塑艺术展

HARMONY: Canon & Contemporaneity --ANNA CHROMY'S SCULPTURE EXHIBITION 主办方 _ 中国城市雕塑家协会赞助商 _ 阳光保险集团策展人 _ 王春辰

ORGANIZER_ City Sculptor Association of China SPONSOR_ Sunshine Insurance Group CURATOR_ Wang Chunchen 展览总召集 _ 邵伟展览协调 _ 杨薇嘉刘路赵楠展览设计 _ 纪玉洁闵志伊

EXHIBITION ORGANIZER_ Shao Wei EXHIBITION COORDINATOR_ Yang Weijia, Liu Lu, Zhao Nan EXHIBITION VISUAL DESIGN_ Ji Yujie, Min Zhiyi 展览时间 _2015 年 10 月 12 日－ 10 月 25 日

EXHIBITION DATE_2015/10/12-10/25 展览地点 _ 中国国家博物馆 S8 厅

VENUE_Hall S8 National Museum of China

目录 / Content

前言

p001

Foreword

雕塑

p018

Sculptures

素描

p070

Sketches

艺术家生平

p094

Artist's Biography

后记

p102

Postscript

前言 / Preface

The Expression of Life Power -- On the art of Anna Chromy

About five years ago, when I first saw the paintings and sculptures of Anna Chromy, I was sure that the artist was exploring the space and meaning between reality and fantasy. Fancy imagination and distinctive modeling design constructed a state of contradiction for her works. Is it conflict? Or is it harmony? No matter which, it is sure that they are telling the wondrous stories of the artist's spiritual adventure, which contains the life experiences of joy and pain, reality and imagination, hope and struggle. The abstract aspect of her works represent some kind of transcendence of the spiritual world, which reveal that Anna Chromy was affected by surrealism. Later, when I learned that she had conversations with Salvador Dali when she was young, I understood that the effect of these conversations had left a lasting, indestructible, impression imprinted deeply in her artistic memory. And that memory gradually grew into a surrealistic gene, directing her subconscious in her genial creations. Anna Chromy has a passionate and sensitive personality, which allows her to be always in an enthusiastic and exciting creative mood, while being innocent to the world. Therefore, her works can transcend the constrictions of the secular world, while remaining romantic and philosophic and also containing her religious sentiments. Living in the sunshine of Monaco on the shores of the Mediterranean, Anna Chromy admires the great artists of ancient Greece and ancient Rome as well as masters like Michelangelo and Bernini. She worships the light and heat radiated from the stones; she leverages the power of modeling and design to capture and solidify that eternal energy, creating a soul from the stone. In this way, she makes a connection between her art and that ancient great era of humanity. I praise Anna Chromy, not only because she inherited the Western civilization through the art of sculpture and painting, but also she has sought "the beacon of humanity" in the mercy of Confucius. In this way, I understand her particular affection for China. Anna Chromy and I have become good friends that talk about the deepest thoughts in our mind. She actively engaged in China's city sculpture development. She had created for the Science City in Guangzhou a "Galileo Galilei" sculpture of distinctive style and modeling, devoted ideas to the Nanjing Youth Olympic Games sculpture community, etc. She loves the Eastern nations ceremonies, and the Eastern philosophical realm including Lao-tzu's views concerning man and nature as well as Confucius' ethic views, she has found inspirations, which in her own words "get energy on a particular aspect of conscience." We cannot simply use such conceptual words like so-called "integration of Chinese and Western" to define and identify an artist in theory, because in today's changing artistic theories the boundaries of various concepts are not clear. If I have to explain Anna Chromy's work in a theoretical way, I think her art is a research on the matter of life and death and about the quest for the ultimate value of life. This approach is exactly her motivation for seeking close friends in China. Curator of the National Art Museum of China Wu Weishan September 2015 13

经典与当代——谈安娜 · 高美的雕塑

第一次看到安娜·高美的雕塑作品，即被其典雅的品质所吸引，一下子与经典的欧洲雕塑联系了起来。但高美并不是重复古典雕塑，而是增加了自己的生命元素在里面。实际上，这里涉及到了一个很重要的美术史话题，即：艺术发展到今天，我们如何看待传统与经典、如何从中汲取艺术的养分来成就今天的艺术。

我们往往取舍今天的艺术是以非传统划界的。凡是看起来与传统接近的，则以为不属于现代和当代；凡是不着边际、看似新材料、新手段的，则定以为是当代。作为价值判断，“经典”似乎是过去的东西；“当代”瞬间成了臧否高下的准绳。在这里，经典与当代都是不确定的概念，事物的认识往往因为不确定的认识程度而导致偏移和偏差。以安娜·高美的雕塑作品为例，当它们以写实造型出现在今天的视域中的时候，我们怎么看？从表象的逻辑上，写实雕塑不再成为艺术家的首选项目。这是就一般的现象去看、去分析的结论，但在具体的艺术家个体而言，雕塑的造型与内涵并不因为技术手法而减弱其价值。相反，在我们主张解构形态的物象关系之后，我们陷入了空虚；当我们不再叙事的时候，我们忘掉了自己。在我们主张扁平化的世界的时候，我们却失掉了人的意义追求和确立。

在今天的语境里，没错，我们是在追求新的概念和新的方法；但真正的艺术又恰恰不被这类的陈规陋见所囿。那么，何以成为真正的艺术（包括雕塑）？生命价值仍然是第一位的，而关于艺术修辞的淬炼不是可有可无的。高美的雕塑正是在一片消解经典写实雕塑的语境下鹤然而立的。对于中国今天的雕塑艺术而言，高美有着一番启示意义。尽管在中国的雕塑教学中，依然以写实为主，但此写实不是彼写实，并不是雕塑得像就是写实。写实也是有风骨和传承的，同时也有吸收和借鉴。中国的写实雕塑尽管来自欧洲传统，但并没有将写实的精髓贯彻到底。客观地上说，中国的写实雕塑还相当地粗犷，这是有历史原因的。中国古代也有自己的塑形传统和石雕传统，偏大轮廓，讲究圆润，抓神态，甚至极简勾勒，这些都是我们足以傲世世界雕塑之林的。但是，当我们想学习一种我们不曾有的雕塑传统或其经典时，我们要不要深得其精髓呢？学到形似并不够，更要神似；学到表象不是目的，而是要学到其三味精华。这种磨砺需要心性的涵养包孕，需要积累、积淀，它的这种学习不是为了一个人的艺术成就，是为了一个文化体的成长与健壮。所以，对于写实雕像的重新认识，不是短时段的美术史课题，而是长时段的历史责任。只有经过几代人的对这一经典的细心学习、体会、练习，才能变成自己的真正传统和自己的经典。

所以，今天能有高美的雕塑作品来北京展出，就给了我们认识与反思欧洲经典雕塑的契机。高美的雕塑源自欧洲古典雕塑传统，是一种经典范式的传承，但艺术家高美不是简单地传承经典，她已经由现代主义对经典雕塑的断裂里走了出来，重新去接续一种优雅、典范的雕塑遗产，特别是她生活在一个战后重建欧洲的新文化的时代里，以自己的多个文化地区的生活经历为这种新文化做了注解——这些不同地区与国家的经历是一种新文明的质素，高美将它们化为她的雕塑养分。在一个物质的社会里，艺术的生命体验变得尤其重要，高美正是把这些生命体验与神话传说融为一体，以诸神显现的方式述说着雕塑的生命力和作为新文化的源头重启。虽然我们今天有着无数个无边界的艺术创造和无数个拓入潜意识领域的艺术行为和结果，但是关于肉身存在与体验的东西依然弥足珍贵、依然是呵护与守卫人类价值的一道桥梁：它们是通向我们灵魂的载体，基于此，我们对雕塑的实质的认识需要深入：这不是一具躯壳，它是负载着生命灵魂的法身。如果在这个层面上，我们达不到对生命之魂的认识和体悟，雕塑的精髓依然是门外之技。

讨论高美的雕塑，不是对单一件作品进行述说，它们构成了一个整体，这种雕塑的质感和形式，是源自一种文化经典品质，是对生命普适价值与神性的信守所致。她说“我在我雕塑中诉求什么？将生命中每一种空虚的失落面目转化为优美的舞蹈”，她是在追寻人生的意义，她得到启示她有一个使命去完成这样的意义，她找寻良知的力量，一种源自灵魂的神性。这是超越技术的学习，我们对于中国语境下的雕塑创作与实践要鼓励这种心灵的启蒙和呵护，这才是根本，也是重建中国新文化、新文明所必须的。以今日中国之现状，是我们面对伤逝的感喟所最需要做的。对于好的品质，我们必须自设的藩篱而去学习与拿来，而不是按照现代主义与当代艺术的现有逻辑，将经典弃如敝屣。在更大的范围内，都在重新思考一种新的文化心理和能力，没有开放与广博的心灵，断不会产生有生命意义的艺术。

高美的雕塑再次来到北京展览，比前几次集中地展示了她的雕塑成就，使我们近距离看到欧洲雕塑的经典传承，使我们在发展当代的雕塑艺术的时候，不会想当然地认为欧洲艺术的断裂。高美的雕塑再次说明历史的进程的多向度和多种现实状态，也促使我们对艺术的坚守更加坚定——经典不可抛弃，传承有赖新人，创造自有法度，当代方向不变。更重要的是：在 21 世纪，回归人性与神性将是一个持久的行动。高美的雕塑展示了人类拥有的那一份珍爱和神性之光，这不仅是艺术重归高贵与品质之需要，也是人类重振人性之必然。

王春辰中央美术学院美术馆学术部主任

2015 年 8 月 20 日于北京望京

Classics and Contemporary --On the Sculptures of Anna Chromy

At the first sight on Anna Chromy's sculptures, I was instantly attracted by the elegance of her works, which also reminds me of the European classic sculpture. However, Chromy's works are not repetitions of classical sculptures, but they are endowed with new distinctive life elements by the artist. In fact, this involves a very important art history topic, namely, how do we view traditions and the classics as arts develop to this day, and how can we draw artistic fertilities from them to nurture contemporary arts. Nowadays, we tend to recognize contemporary arts with the standard that it is not traditional. Anything that looks close to traditions is classified to non-modern and non-contemporary; and anything that looks irrelevant, seems to be made with new materials or through new means is called contemporary arts. As value judgment, "classic"seems to belong to the past and "contemporary" somehow suddenly becomes a criterion to distinguish the superb from the mediocre. Here, classic and contemporary are both uncertain concepts, and because of different degrees of uncertainty, our understanding of things can lead to deviation and misunderstandings. Taking Anna Chromy's sculpture as an example, what should we think of them, as they appear in today's visual world in realistic modeling style? From the superficial logic, realistic sculptures are no longer first choice for an artist. This is the conclusion when we view and analyze general phenomena; however, when it refers to one particular artist as individual, the value of her sculpture's modeling and connotation will not be abated because of techniques and means used. On the contrary, after we advocate the deconstruction the relationship between forms and objects, we fall into a void; when we abandoned narration, we lost ourselves; as we are promoting a flat world, we forget the establishment and pursuit of the meaning of being human. In today's context, we indeed are looking for new concepts and methods, but real art itself means innovation and should not be trapped by such limitations of stereotype thinking. And, then, what is the real art (including sculpture)? The value of life is still the most important, while the extraction of artistic rhetoric may also be necessary. Chromy's sculptures stand tall right in the craving context for eliminating classical realistic sculptures. Chromy represents a meaning of enlightenment to today's sculpture art in China. Although realism still dominates the Chinese sculpture teaching, Chromy's realism is a different concept, which tells us that similarity does not necessary equal realism. Realism has its own strength of character and tradition, and it also absorbs and learns from other arts in the process. Although inherited from the European tradition, China's realistic sculpture did not implement the essence of realism completely. Objectively speaking, China's realistic sculptures are still quite rough, and there is historical explanation to it. Ancient China also has its own shaping and stone carving traditions, which highlight an exaggerated and more smooth silhouette, focuses on the grasp of demeanor, and even advocates minimalist outlines, and which with these characters has also won us an honorable position in the global sculpture world. However, when we want to learn a sculpture tradition that is not ours or learned its classics, should we not learn its essence? Imitation of the shape seems not enough to get its spirit; it is not our purpose to learn its presentation, but to learn its deep essence. This kind of artistic learning and sharpening requires inclusiveness and accumulation, and this sort of learning is not aimed at personal artistic achievements but at the growth and robustness of a cultural body. Therefore, the re-recognition of 16

realistic sculpture is not a short-term art history topic, but a long-term historic responsibility. Only through generations of study, meditation, and practicing of the classics will they generate our true tradition and our own classics. Thus, Chromy's sculpture exhibition in Beijing brings us a great opportunity to understand and reflect on European classic sculptures. Her works are originated from the European classic sculpture traditions and is a classical paradigm of inheritance; but she does not simply inherited the classics, but instead, she has walked through the fracture between modernism and classical sculpture to once again continue such an elegant graceful sculpture heritage; particularly, she grew up in an era of a postwar rebuilt European culture for which she made annotations with her life experiences in several different cultural regions -these experiences in different regions and countries are elements of a new civilization, and Chromy used them as nutrition for her sculptures. In a corporeal world, the life experiences of art become particularly important, and Chromy indeed synthesized these life experiences with legends and myths to show the vitality of sculpture in the form of Gods revealing and acting as the source of the new culture. Although nowadays we have countless boundless artistic creations and countless artistic behaviors and results that expand into the subconscious, something that explores physical existence and experience is still very precious, and that something is still a bridge that cares and guards the human value: they are carriers that lead to our soul; based on this, we ought to have a deeper understanding about the essence of sculpture: this is not a shell, but a Dharmakaya that is loaded with the soul of life. If we cannot understand and meditate on the soul of life to this level, then the essence of sculpture is still out of our reach. The discussion of Chromy's sculpture should not be dilated on any single piece of work, but on the whole of her works collection, which presents a sculptural texture and form that is originated from a classical culture quality and is achieved by being faithful to the universal value and divinity of life. She said, "What do I look for with my sculpture? To transform every kind of empty lost face in life into beautiful dance." She is seeking the meaning of life; she has revealed that she has a mission to accomplish with such meaning; she is looking for the strength of conscience, a divinity originating from the soul. This is learning beyond the realm of techniques. We have to encourage such spiritual enlightenment and care in the Chinese context of sculpture creation and practice, which is the root to and is necessary for rebuilding Chinese new culture and civilization. Concerning the current situation in China, this is our most urgent mission facing the mourning sighs. For a good quality, we must cross the self-set barrier to learn and bring into our own use, instead of abandoning the classics according to the current logic of modernism and contemporary art. In a wider range, we have to rethink a new cultural psychology and ability. Without an open and broad mind, there will be absolutely no arts of life value. Comparing to her previous exhibitions, this sculpture exhibition of Chromy in Beijing highlights more of her achievements in sculpture, in order to allow us a close look at the classic heritage of European sculpture, preventing us from taking for granted the fracture in European art development, while developing our own contemporary sculpture art. Chromy's sculptures once again demonstrate the multi17

dimension and multi-realistic state of the historical process, and prompt us to stick even closer to the belief of arts -- classics should not be abandoned, inheritance depends on the new generation, criteria should be maintained in creation, and the direction of contemporary art should remain unchanged. More importantly, the return to humanity and divinity will be a lasting movement of the 21 century. Chromy's sculpture displays the light of caring and divinity in human beings, which is not only necessary for art to return to nobility and quality, but also a necessity for the human race to revive humanity as such. Wang Chunchen Head and Curator Curatorial Research Dept CAFA Art Museum of China Central Academy of Fine Arts,Beijing August 20, 2015, in Wangjing, Beijing

心灵的外衣这件斗篷（Cloak）对我而言，就像那些可以使我们在这个地球上历尽沧桑后得以幸存下来的东西；就像在萨尔兹堡陪伴我童年时代的霍夫曼斯塔尔的戏剧《Jedermann》（每一个人）中所说的：我们在人生中将始终有我们的信仰、我们的善行、我们给予他人的关爱和支持陪伴左右。这件斗篷的中空部分是由我们的灵魂、我们的良知和我们的创造力所填满的，而这些正是能使我们获得永生的因素。这个空斗篷的形象伴随了我的整个艺术生涯。它第一次出现，是在我的绘画作品“To be or not to be（生存还是死亡）”中，而当它转变成铜质雕塑，接下来更多的原始雕塑都被安置在整个欧洲的重要位置上了。

2010 年末，我完成了下一页中所描述的纪念碑式的白色大理石材质斗篷，这是一个自从我在莫扎特的《唐璜》中发现了“石客（Stone Guest）”之后就一直困扰我的项目。它成为一个象征符号，基于我们的良知，象征了爱和希望，同时它也拥有了自己的生命，接踵而来的是数不清的媒体报道…… 由于体型巨大，这个大理石的斗篷不可能在圣特罗佩斯这里进行展出。但是我找到了一个适合最终安置它的地方，所以对于圣特罗佩斯而言，一切都没有遗憾。

Cloak of conscience This Cloak is for me the symbol of what survives us after our passage on earth. Like in "Jedermann" ("Everyman"), the play of Hugo von Hofmannsthal which accompanied my youth in Salzburg, we will be accompanied at our passage by our faith and our good deeds, by our love towards others and the support we have given them. The void of the Cloak is filled by our soul, by our conscience, and our creative energy, which will survive us forever. The image of the empty Cloak has accompanied all of my life as an artist. It appeared first in 1980 in my painting "To be or not to be", and after having it transformed into a bronze sculpture several originals were installed in important locations all over Europe. At the end of 2010 I finished the monumental Cloak in white marble as described on the following pages, a project which has haunted me since I had discovered the "Stone Guest" in Mozart's Don Giovanni. This symbol of love and hope, based on our conscience, has since taken on its own life, related in numerous press articles and on the Internet. Because of its dimensions it was not possible to exhibit the Cloak in marble here in Saint-Tropez. But I discovered a location which would be suitable for its final installation, and therefore all is not lost for Saint Tropez www.en.enwikipedia.org, www.annachromy. com/consience/downloads).

心灵的外衣 / Cloak of Conscience 磨光铜 / Polished bronze

2015 120h×110×80cm, 200kg 22

尤利西斯 “当风吹进你的眼睛，我们的灵魂就会赋予我们翅膀”。正是这些翅膀为尤利西斯指明了家的方向，在最神圣的感觉，即夫妻之爱的指引下，他抵制住了所有诱惑。年轻的时候，我们在旅行中征服；年纪大了，我们的根就开始拉扯，指引我们回到最初分离的港口，像是对我们无情结局的一种救赎。因此，尤利西斯也成为了一个象征，象征着这样一种人：他通过重重考验，一步一步接近知识和智慧，接近他的精神家园。尤利西斯和奥德赛是典范，是我们自身的镜像。我们终其一生都行走在寻找知识的道路上，或多或少，都在成功地扫除一个又一个的障碍，而当我们抵达上帝家的那一刻，又将立刻离开这个所在，去寻找下一个。实际上能够真正留下的，只有我们爱的能量，这种能量，我用雕塑作品“心灵的外衣（Cloak of Conscience）”进行了概括。

Ulysses "when the wind blows into your eyes, our soul gives us wings". It was these wings that directed Ulysses home, despite all the temptations encountered, guided by the most divine feeling, the love of a couple. When young we travel to conquer, in age our roots start pulling, directing us back to our port of departure, as if it were a salvation from our inexorable end. Ulysses becomes thus the symbol for man who, through his trials, proceeds towards knowledge and wisdom, his spiritual home. Ulysses and the Odyssey is a paradigm, a mirror of ourselves. We spend our life finding ways towards knowledge, overcoming more or less successfully one obstacle after another, and the moment we reach our Creators home we leave this existence only to start another. What remains of us on earth is the energy of our Love, which I have symbolized in my Cloak of Conscience.

尤利西斯 / Ulysses 青铜、颜色包浆 / Bronze, Color patina

2000 190×180×120cm, 200kg 25

长笛演奏家 / Flutist 青铜、颜色包浆 / Polished bronze

1997 170h×60×90cm, 120kg 26

小号演奏家 / Trumpetist 青铜、颜色包浆 / Bronze, Color patina

1997 210×70×100cm, 150kg 27

吉他手 / Guitarist 青铜、颜色包浆 / Bronze, Color patina

1997 200h×100×70cm, 150kg 29

小提琴演奏家 / Violonist 青铜、颜色包浆 / Bronze, Color patina

1997 200h×100×70cm, 150kg 30

音乐家与舞者之曼陀林舞者这组与实物大小一致的雕塑，是为捷克共和国首都布拉格老城的一个喷泉而制。喷泉由音乐家们和一名舞者组成，象征五大洲的音乐。小提琴演奏者象征欧洲多瑙河，小号演奏者象征北美密西西比河，长笛演奏者象征南美亚马孙河，曼陀林演奏者象征亚洲恒河，舞者象征非洲尼罗河。作品展现了安娜最喜爱的一个主题——舞蹈与音乐。

Musicians and dancer –The mandolin dancer The life-size sculptures of this group have been created for a fountain located in the old town of Prague, the capital of the Czech Republic. The fountain comprises for musicians and one dancer symbolizing the music of the five continents; The Violin-player the river Danube for Europe; The Trumpet-player the Mississippi, for North-America; The Flute-player the Amazonas, for South America; The Mandolin or Cithara-player the Ganges, for Asia; The Dancer the Nile for Africa. In the musicians Anna treats one of her favorite themes – Dance and Music. In the musicians Anna treats one of her favorite themes – Dance and Music.

河流的旋律一个古老的谚语说：“学习舞蹈吧，不然天使们都不知道要拿你怎么办”。舞蹈是动态的和谐。任何静止不动的东西都会腐烂枯朽，这个道理，无论在大自然中还是人性中都是适用的。停止不动的死水是单调沉闷的，只有流动的溪流和猛烈的山洪才能创造它们自己的音乐旋律。河流是盖亚 (Gaia) 音乐创作的乐器：长笛，象征着发源于安第斯山脉（Andean Mountain）的亚马逊河；印度吉他，象征恒河；小号，象征了三角洲在新奥尔良的密西西比河；小提琴，象征了中欧大陆的母亲河——多瑙河；而尼罗河，几个世纪以来都在演绎着它的精神舞蹈，其舞姿的线条曾一度被用作在每次发洪水后丈量沃土面积的几何单位。河流的健康状况反映了其流经区域的环境状态。它们想象中的音乐旋律提醒着我们：地球被交付给我们的时间，仅限于我们短暂的生命长度。我们是她的监护人，而保障这永恒的音乐旋律持续顺畅流淌是我们的责任。

Music of the rivers "Learn to dance, otherwise the angels will not know how to handle you", says an old proverb. Dance is the harmony of movement. What does not move rots, in nature as in humans. Stagnant and still water is toneless, only flowing streams and impetuous torrents create their music. The rivers are the instruments of Gaia's music: The Amazon, with it's source in Andean Mountains, is symbolized by the Flute; Ganges by the Indian Guitar; Mississippi, with its delta in New Orleans, by the Trumpet; and Danube, the river of central European homeland, by the Violin. Nile uses in it's immaterial dance, which has crossed centuries, the ropes once used for the geometrical measurement of the fertile soil after each flood. The state of health of the rivers reflects the environmental conditions in the regions they cross on their way. Their imaginary music reminds us that our earth has been entrusted to us only for the short span of our life. We are her guardians and it is our duty to ensure that this eternal music can continue unperturbed.

曼陀林舞者 / The Mandolin Dancer 青铜、颜色包浆 / Bronze, Color patina

1997 170hx70x100cm, 150kg 33

欧律狄克美，是永恒的，它从不消逝，只是有时会改变形式。欧律狄斯身体的和谐，永远回响在乐器和俄耳甫斯（Orpheus）的歌声中。她宣布了一个新世界的新和谐。欧律狄斯对俄耳甫斯终极的爱的姿态，体现在她将自己的身体变形为一只大提琴，从而使得俄耳甫斯可以继续他的歌声。欧律狄斯的损失所造成的痛苦，赋予了俄耳甫斯的歌声具备超自然的能量，使其可以驯服野兽、感动神明、安抚每一个人类的灵魂。这是一个关于安慰和希望的讯息：我们认为无可替代的损失，也许可以在我们体内生成新的能量。

Eurydice Beauty is eternal, it never dies, but can change its form. The harmony of Eurydice's body echoes forever in the instrument and the Orpheus' song. She announces the harmony of a new world. Eurydice's ultimate gesture of love for Orpheus is this metamorphosis of her body into a violoncello to enable him to continue his song. The pain of Eurydice's loss gives the song of Orpheus supernatural strains that tame wild beasts, soften the Gods, and touch the soul of every human being. It's a message of consolation and hope: A loss which we consider irreplaceable, can generate new strength in us.

欧律狄克 / Eurydice 卡拉拉白色大理石 / White Carrara marble 缺年代 200×250×60 cm, 1200kg 36

阳光女神 / Sunshine Goddess 大理石 , 青铜 , 水晶 / Marble, bronze, crystal

2004 330h×120×170cm, 1800kg 39

翠鸟（阿尔塞） “在这个世界上，我只是一滴水，终生在汪洋中追寻另一滴水；我投入这汪洋之中，寻找我的伴侣，然后，消散在这追寻之中”。我创作阿尔塞的灵感，来源于观察海鸥杂技般的飞行，从我的窗口看出去，正好能看到地中海上这一幕幕精彩的表演。多么高贵，多么优雅，多么自由，多么地应对自如啊！这是为我们这些只有两条腿的可怜生物所上的一堂课。年复一年，我看着同一对海鸥共同筑起它们的爱巢，抚养它们的后代。我的阿尔塞就象征着这种忠诚和一种克己的精神，为了自己的伴侣去冒生命的危险，无所畏惧。这种牺牲中所释放出的能量，赋予了她一双翅膀，用来自我救赎，也用来同情世人。

Alcyon "You must imagine Sisyphus happy" said Albert Camus talking about his hero of the absurd; and regarding the subject of the artist he added: "To create means to live twice, the only chance to keep our conscience". Are we artists, as heralds of the absurd, happier than the others? Homer considered Sisyphus the wisest and craftiest of men. How does that apply to us? To what extent can the creation of a couple, a family, a home, increase or attenuate the absurdity of our existence? Questions that "L'homme revolté" asks since his creation. My Sisyphus has chosen a family to progress, or at least he tries. His eternal 翠鸟（阿尔塞）/ Alcione 青铜、颜色包浆 / Bronze, Color patina

2004 400h×230×150cm, 500kg 40

pedaling, which mirrors the boulder rolling down the hill after each ascent, measures the absurdity of our existence. It's the rebellion against a blind and unjust destiny and search for a meaning in our life, which confers to us our dignity as humans.

柯罗诺斯为寻找生活的意义，我们必须把日常生活的狂乱放到一边，转而投入到神秘静默的沉思之中，这样一场宗教仪式般的舞蹈能让时间暂停，从而引领我们走向宁静。如此，我们的物质性逐渐消散，而我们的灵魂逐渐展出翅膀。正如在《尼罗河诸神》（the

Enneads）中所写：“如果你现在还没有找到美，那就去自我的内心里寻找吧。就像那些模仿美的雕刻家一样去行动吧。”所有美的基本准则和理想比例都实际存在于上帝创造的大自然中。然而，要深刻理解这些，我们必须花费大量的时间。

柯罗诺斯组合 / Chronos 青铜、颜色包浆 / Bronze, color patina

2000 180h×50×100cm, 100kg 42

Chronos To find the meaning of our life, we have to put aside the frenzy of daily life and plunge into the mystic silence of contemplation, in a ritual dance which suspends time and leads us to serenity. Our materiality dissipates and our soul grows wings. As it is written in the Enneads: "Return into your inner self if you do not see beauty yet. Act like the sculptor who models beauty". All basic rules and ideal proportions are present in nature as created by God. To understand them, time, a lot of time necessary.

柯罗诺斯组合 / Chronos 青铜、颜色包浆 / Bronze, color patina

2000 180h×50×100cm, 100kg 43

普罗米修斯 / Prometheus 青铜、颜色包浆 / Bronze, color patina

2009 250h×200×135cm,700kg 45

科林斯王 “你必须想象科林斯王是快乐的”，阿尔贝·加缪（Albert Camus）如此叙说着他的这位荒诞派英雄。他又说道：“只有一个机会可以保持我们的良心，那就是通过创造意义来拥有两个生命”。作为艺术家，作为荒诞派的先驱，我们是否比别人更快乐？荷马（Homer）认为科林斯王是最聪明、最狡猾的人类。这在我们身上又如何体现？一对夫妻，一家人，一个家的创造力究竟能从多大程度上增加或减少我们自身存在的荒谬性呢？这是《反叛者》（L'homme revolté）自其诞生一直都在问的问题。我的科林斯王选择了一家人来进行研究发展，或者说，至少它试图这么做。他的永恒踩踏动作，其实就反射了那个每上坡一段就会往下滚一段的大圆石，这也丈量了我们自身存在的荒谬性。这是对一种盲目不公命运的反抗，也是在追寻我们生活的意义，也正是这种追寻，赋予了我们作为人类的尊严。

Sisyphus "You must imagine Sisyphus happy" said Albert Camus talking about his hero of the absurd; and regarding the subject of the artist he added: "To create means to live twice, the only chance to keep our conscience". Are we artists, as heralds of the absurd, happier than the others? Homer considered Sisyphus the wisest and craftiest of men. How does that apply to us?To what extent can the creation of a couple, a family, a home, increase or attenuate the absurdity of our existence? Questions that "L'homme revolté" asks since his creation. My Sisyphus has chosen a family to progress, or at least he tries. His eternal pedaling, which mirrors the boulder rolling down the hill after each ascent, measures the absurdity of our existence. It's the rebellion against a blind and unjust destiny and search for a meaning in our life, which confers to us our dignity as humans.

科林斯王 / Sisyphus 青铜、颜色包浆，轮子部分是抛光不锈钢 / Bronze,

colour patina, wheels in polished stainless steel 2003 290×70×250cm, 900kg 47

卡门 / Carmen 青铜、颜色包浆 / Bronze, color patina

1998 170h×90×80cm,150kg 51

马 / Horse 青铜、颜色包浆 / Bronze, color patina

2010 70h×100×20cm, 15k 53

儿童之心作品表达了对于同一主题——“保护儿童”的两种诠释。儿童的心第一件原作在一部的德国电视台组织的连续电视拍卖节目中被以十万欧元拍卖

A heart for children These are two interpretations of the same theme: the protection of children. The first original of the Heart for Children was auctioned in a charity telethon organized by the German television and fetched a price of € 100.000,-.

儿童之心 / A heart for children 磨光铜 / Polished bronze

2004 100h×70×40cm, 100kg 54

安娜·高美受邀为 2015 年米兰世博会中国馆创作雕塑作品“丝绸之路”。这座雕塑作品的主要元素是两座仿生塔，标志新的城市建设沿古老之路行进。那两只风格化的双手中间托举整个世界，则代表了丝绸之路的东西两端，连接着当时世界上最为先进的两个文明。两座塔身雕刻的装饰，显示了中国的丝绸和其他货物经丝绸之路运往欧洲。在象征世界的球体上方有一位和平天使在飞翔，致意赞颂西安（永久和平之城），丝绸之路的东部起点。

Anna Chromy has created her sculpture "The Silk Road" for the Chinese pavilion in Expo 2015 in Milano. The sculpture' s main elements are two bionic towers, as symbols for the new city developments along the ancient road. The two stylized hands, holding the world between them, stand for the eastern and western ends of the Road, connecting the two most advanced civilizations of their time. The towers are engraved with ornaments showing the caravans who brought the silk and other goods from China to Europe. On top of the globe flies the Angel of Peace, a tribute to the City of Xi'an ("Eternal Peace"), the eastern beginning of the Road.

丝绸之路 / The Silk Road 磨光铜 / Polished bronze

2015 35h×14×13cm, 5kg 56

心灵的外衣 / Cloak of Conscience 磨光铜 / Polished bronze

2008 42h×25×30cm, 20kg 58

魔圈 / Magic Circle 磨光铜 / Polished bronze

2008 65h×40×20cm, 20kg 59

尤利西斯 / Ulysses 青铜、颜色包浆 / Bronze，color patina

俄耳甫斯与欧律狄克生死恋 / Orpheus and Eurydice 磨光铜 / Polished bronze

2001 45h×40×30cm, 10kg

2004 40h×20×37cm, 10kg

俄耳甫斯与欧律狄克生死恋这是历史上最被人熟知的一段爱情故事。欧律狄克因俄耳甫斯而死。但俄耳甫斯却在把她从阴间救出后，迫不及待地要看她的脸。安娜根据戏剧的内容创作了两个版本的雕塑：一件小型的青铜雕塑，表现了两人最后的道别；另一件花白大理石作品，表现欧律狄克死后化身为大提琴，以使她的爱随音乐继续。最初的两件大型欧律狄克原作，被私人收藏者在迪拜和雅典抢购。她无与伦比的美，印证了安娜的信仰——“只有美能拯救世界”。

Orpheus and Eurydice Theirs is one of the best known love stories in history. There are countless operas, musicals, movies and books with this theme; one of the most moving was the film Orfeo Negro, 40 years ago. Eurydice died because Orpheus, a famous singer and musician, could not wait to see her face after he had rescued her from the underworld. Anna has created two versions with the content of this drama:a small bronze depicting both characters in their final good-by and a version in precious Carrara marble where Eurydice transforms herself after death in a violoncello to allow her lover to continue his music. It’s her way to show him that she has forgiven him. The first two originals of the large Eurydice have been snapped up by private collectors in Dubai and Athens, Greece. In her incomparable beauty this sculpture exemplifies Anna’s belief in the expression of Dostoiewskij that“only beauty can save the world”.

欧律狄克 / Eurydice 磨光铜 / Polished bronze

2009 37h×15×37cm, 8kg 62

唐 · 乔瓦尼和马有关马的绘画作品，在安娜眼中，是爱神的象征。这就是为什么她赋予莫扎特歌剧中的英雄们以马头的形象。大型的“唐·乔瓦尼”在欧洲被不同的私人收藏者收集，而“马”在德国过去这 15 年中，每年都被作为奖品颁发给在马术运动中具有特殊才华的人。

Don Giovanni and Equus As explained already with the paintings the horse if for Anna the symbol of Eros. This is the reason why she has created the hero of W.A. Mozart’s opera with the head of a horse. The large Don Giovanni is in different private collections in Europe and the horse has been awarded every year for the last 15 years in Germany as a trophy for people with particular merits in the equestrian world.

唐乔瓦尼 / Don Giovanni 磨光铜 / Polished bronze

2000 70h×48×34cm, 15kg 63

曼陀林舞者 / Marionette Dancer 磨光铜 / Polished bronze

小号演奏家 / Trumpetist 磨光铜 / Polished bronze

2007 61h×20×32cm, 10kg

2000 70h×24×32cm, 15g

小提琴演奏家 / Violinist 磨光铜 / Polished bronze

2000 58h×22×36cm, 15kg 64

长笛演奏家 / Flutist 磨光铜 / Polished bronze

吉他演奏家 / Guitarist 磨光铜 / Polished bronze

2000 54h×20×12cm, 15kg

2000 70h×24×32cm, 15kg

克洛诺斯 1/ Chronos I 磨光铜 / Polished bronze

2003 45h×10×30cm, 10kg 66

克洛诺斯 2/ Chronos II 磨光铜 / Polished bronze

2003 45h×10×30cm, 10kg 67

翠鸟（阿尔塞）/ Alcione/Halcyio 磨光铜 / Polished bronze

2003 70h×14×33cm, 5kg 68

莱波雷诺 / 公鸡 / Leporello/Rooster 磨光铜 / Polished bronze

2009 60h×20×45cm, 15kg 69

奥林匹克精神

在古代，奥林匹克运动是最伟大的挑战。现代生活中虽然出现了许多其他挑战，如对太空的探索、遗传研究等。然而，直到今天，奥林匹克运动仍然是和平竞争和勇于超越自我的象征。这三位处于不稳定平衡状态中的杂技运动员，象征了我们的生活是永恒的挑战。从技术上来说，这种挑战精神主要体现在我大胆地选用了铜这种材料。很少有人相信它可以成功保持直立状态。除了对其明显不平衡状态的合理怀疑，这种精神显示了一种完美的平衡和稳定。如果想让人类在这个星球继续生存下去，这种失落的平衡也正是我们一定要重新找回的。否则，剩下的唯一可能，就是效仿这三运动员，像宇航员一样，移民到外太空去。

Olympic Spirit

In Antiquity the Olympic Games were the greatest of all challenges. Our modern days have added many others, such as space exploration, genetic research, etc. However, until today the Games are the symbol for peaceful competition and the desire to surpass ones-self. Yet, these three acrobatic athletes in their precarious balance are also the symbol of our life as a permanent challenge. Technically the Spirit is the most daring of my bronzes. Only very few believed that it could stay upright. Despite those justified doubts about its apparent imbalance, the Spirit shows a perfect balance and stability. It's this lost balance which we have to regain if we want humanity to survive on this planet. Otherwise all that is left is the emigration into outer space following the example of these three athletes/astronauts.

奥林匹克精神 / Olympic Spirit 磨光铜 / Polished bronze

2004 80h×25×40cm, 10kg 70

中国印象 / Chinese Impressions 木炭白纸 / Charcoal on white paper

2005 60h×50cm 74

一个孩子的梦想 / A Child dream 木炭白纸 / Charcoal on white paper

1979 50h×65cm 75

和平的使者 / Messenger of Peace 木炭白纸 / Charcoal on white paper

世界和平 / Peace for the world 木炭白纸 / Charcoal on white paper

1987 70h×50cm

1980 60h×45cm

我们不是如此不同 / We are not so different 木炭白纸 / Charcoal on white paper

我的导师 / My Master 木炭白纸 / Charcoal on white paper

1980 60h×45cm

1977 70h×50cm 77

丝绸之路 - 希望 / The Silk Road (Hope) 粉笔黑纸 / Chalk on black paper

2015 70h×50cm 78

孩子们的心灵外衣 / A cloak for children 粉笔黑纸 / Chalk on black paper

2008 70h×50cm 79

孩子之心 / A heart for children 粉笔黑纸 / Chalk on black paper

2003 70h×50cm

阳光女神 / Sunshine Goddess 粉笔黑纸 / Chalk on black paper

2015 70h×50cm

研究阳光女神 / Study for Sunshine Goddess 粉笔黑纸 / Chalk on black paper

2015 70h×50cm 82

奥林匹克精神 / Olympic Spirit 粉笔黑纸 / Chalk on black paper

2003 70h×50cm 83

翔鸟 / Halcyone 粉笔黑纸 / Chalk on black paper

2005 70h×50cm 84

尤利西斯 / Ulysses 粉笔黑纸 / Chalk on black paper

2000 70h×50cm 85

西西弗斯 / Sisyphus 粉笔黑纸 / Chalk on black paper

重塑西西弗斯 / Sisyphus revisited 粉笔黑纸 / Chalk on black paper

2002 70h×50cm

2005 70h×50cm

研究西西弗斯 / Study for Sisyphus 粉笔黑纸 / Chalk on black paper

2002 70h×50cm 87

美好新世界 / Brave new world 粉笔黑纸 / Chalk on black paper

2008 50h×70cm 88

马 / Equus 粉笔黑纸 / Chalk on black paper

2001 50h×70cm 89

艺术家生平安娜�高美－公共雕塑作品，荣誉奖项，展览和公共活动安娜�高美漫长的职业生涯中获得了无数的荣誉和声望，比如托斯卡纳的米开朗基罗奖（Michelangelo Award）和布拉格的达利和卡夫卡奖（Dali and Kafka Prizes）。她是北京中国雕塑院的名誉院士，并且她曾受邀在例如巴黎旺多姆广场（Place Vendome）等名胜地点举行作品展览。安娜�高美是在欧洲拥有最多公共雕塑作品的艺术家。

公共雕塑作品 2015 年纪念雕塑“SUNSHINE GODDESS（阳光女神 - 10 米）”和“Fountain of Musicians（音乐家之泉）” 在阳光保险集团北京新总部安装落成作品“Sunshine Goddess（阳光女神 - 4 米）”在阳光保险集团四川成都总部安装落成作品“The Silk Road（丝绸之路）”在 2015 米兰世博会中国馆门口安装落成

2014 年作品“Ulysses（尤利西斯）”在新摩纳哥游艇俱乐部（Monaco Yacht Club）的门庭前安装落成摩纳哥王子艾伯特（H.S.H. Prince Albert）在格里马尔迪综合中心花园为大理石作品“Coat of Conscience（心灵的外衣）”举行了落成仪式

2013 年在萨尔茨堡（Salzburg）附近安装落成第四座“Anif Pantheon（阿尼夫众神）”半身像

2012 年作品“Olympic Spirit（奥林匹克精神）”在 2012 伦敦奥运村的英国组委会住地前落成，运动会后被英国私人藏家收藏为已故索尼总裁大贺典雄（Norio Ohga）创作的半身雕像在萨尔茨堡（Salzburg）的阿尼夫（Anif）安装落成在中国雕塑院安装落成作品“Olympic Spirit（奥林匹克精神）”雕塑作品

2011 年雕塑作品 “Galileo Galilei（伽利略）” 落成在广州科学城的主路上

2009 年由慕尼黑大主教亲自在圣赛芙韩教堂主持作品“Christ Resurrected（耶稣复活）”的落成典礼为摩纳哥王子艾伯特二世（Albert II）的生态基金会创作了 “Peace Eagle（和平之鹰）” 作品 “Franz Schubert（弗朗兹·舒伯特）” 在奥地利巴德加斯坦落成

2008 年作品“Saint Francis with Poverty（穷困潦倒的圣弗朗西斯）”在阿西西的圣弗朗西斯修道院落成 2007 年作品 “Cloak of Saint Martin（圣马丁的外衣）”在法国蔚蓝海岸（Cote d’Azur）的马丁岬角（Cap Martin）的入口处落成作品 “ Saint Martin（圣马丁）” 在阿西西的圣方济各圣殿的圣坛上落成作品“Cloak of Conscience（心灵的外衣）” 在国家考古博物馆落成作品 “Cloak of Conscience（心灵的外衣）” 在意大利阿尔巴的 Fondazione Ferrero 落成

2006 年为意大利托斯卡纳区的马尔米堡市创作作品 “Premio Ulysses（普雷米欧尤利西斯）” 作品 “Carmen（卡门）”和“Sisyphus（科林斯王）”在中国广州美术馆落成作品“Violin Player（小提琴演奏家）”和“Trumpet Player（小号演奏家）” 在卢森堡的“Le Dome”落成

2005 年作品 “Christoph Willibald Gluck（克里斯托夫·维利巴尔德·格鲁克）”在德国纽伦堡的州立歌剧院落成 2004 年作品 “Sisyphus（科林斯王）” 在意大利比萨大学的圣安娜高等学校落成作品 “Ulysses（尤利西斯）”在法国蒙顿的 “Espace Cocteau 落成作品 “La Bella Elvira（美丽的埃尔维拉）”在意大利佛罗伦萨托斯卡纳区的 Regione 宫殿落成 2003 年作品 “Marionette Dance（曼陀林舞者）”在意大利菲诺港的“Museo del Parco（白沙博物馆）”落成作品 “Marionette Dance（曼陀林舞者）”在意大利彼得拉桑塔的加里波第广场（Piazza Garibaldi）落成为奥地利维也纳的“Menschen fuer Menschen（人人为人人）”基金会创作了卡尔海因茨·伯姆（Karheinz Boehm）的铜像 2002 年布拉格市长为作品 “Czech Musicians（捷克音乐家们）”喷泉在 Sénovàznénàmesti 举办落成仪式为教皇保罗二世创作的作品“Hear of the World（世界之心）”被送到了罗马梵蒂冈的圣彼得大教堂供朝圣者欣赏，教皇保罗二世私人收藏作品“Cloak of Conscience（心灵的外衣）”在博洛尼亚佐拉普雷多萨（Zola Predosa）的哲学博物馆 C’à la Ghironda 落成作品“约翰奈斯·莫埃（Johannes Moy）伯爵”的铜像在萨尔兹堡的阿尼夫（Anif）落成

2001 年作品 “Ulysses（尤利西斯）” 和四个“Constellations（星座）” ，在意大利马尔米堡的 Pontile 落成作品 “Herbert von Karajan（赫伯特·冯·卡拉扬）”在卡拉扬本人位于奥地利萨尔兹堡的中心的出生地点举行了落成典礼，维也纳爱乐乐团、里卡多穆蒂（Riccardo Muti）、和卡拉扬遗孀埃列特（Eliette Von Karajan）等参加了落成典礼作品“Herbert von Karajan（赫伯特·冯·卡拉扬）”铜像在奥地利萨尔兹堡的阿尼夫公墓落成作品“Oscar Wilde（奥斯卡·王尔德）”铜像在法国蒙顿的现代美术馆落成作品 “Cloak of Conscience（心灵的外衣）”在意大利彼得拉桑塔的“博塞蒂博物馆（Museo dei Bozzetti）” 落成

2000 年作品“心灵的外衣之 Commendatore（指挥官）”在布拉格歌剧院 Stavovské divadlò 前面落成作品 “Elvira（埃尔维拉）”和 “Don Ottavio（唐奥塔维奥）”在纽伦堡保险公司新总部落成为乌尔姆国家剧院和维也纳卡拉扬中心创作“赫伯特·冯·卡拉扬（Herbert von Karajan）”的铜像

1999 年作品“心灵的外衣之 Piétà（圣母怜子图）”由萨尔兹堡的大主教主持在大教堂面前落成由 Rainier 王子三世为作品“ Carmen（卡门）”在蒙特卡洛的格里马尔迪宫举办落成仪式

1997 年作品“Cloak of Conscience（心灵的外衣）”在德国 Sylt 的 Keitum 教堂落成作品 “Heart for Children（儿童之心）” 在德国科隆的 RTL 电视总部落成

1996 年作品“Cloak of Conscience（心灵的外衣）”由 Rainier 王子三世主持在摩纳哥公国的格里马尔迪宫落成 1995 年作品“France Triomphante（法国凯旋）” 和“Leporello（莱波雷洛）”在法国洛克布鲁娜马丁角落成

奖项荣誉 2015 年在意大利彼得拉桑塔海岸的韦西利亚纳艺术节（La Versiliana Festival），“Chromy Award（高美奖）” 授予歌手兼演员 Massimo Ranieri 在韦西利亚纳艺术节（La Versiliana Festival）“Dance Award（舞蹈奖）”授予莫西彭尔顿（Moses Pendleton）的 Momix 舞蹈剧场（Momix Dance Theatre）和摩托世界冠军贾科莫阿格斯蒂尼（Giacomo Agostini）在阿布扎比的“可持续周（Sustainability Week）”，“Chromy Award（高美奖）” 授予两位飞行员贝朗特皮卡尔博士（Dr. Bertrand Piccard）和安德烈波森博格（André Borschberg），他们是“阳光动力（Solar Impulse）”的创始人

2014 年 “Chromy Award（高美奖）”授予 Kaqun Water 总裁罗伯特里昂博士（Dr. Robert Lyons） 2013 年摩纳哥王子艾伯特二世（Albert II）在摩纳哥皇宫被授予“Chromy Award（高美奖）” 在依瓦河畔海伊文化节，由英国查尔斯王子颁发“Chromy Award（高美奖）”予英国环保主义者领袖托尼（Tony Juniper） “Chromy Award（高美奖）”授予 LPO 总裁法国环保主义者领袖 Alain Bougrain Dubourg “Chromy Award（高美奖）”授予电影“The Intouchables（无法碰触）”主人公原型 Philippe Pozzo di Borgo “Chromy Award（高美奖）”授予印度圣人和拥抱世界基金会（Embracing the World Foundation）主席 AMMA 在嘎纳电影节第一座“Chromy Award（高美奖）”颁发给了海洋守护者协会创始人和会长保罗华生船长（Captain Paul Watson），由好莱坞明星“速度与激情”女主角米歇尔·罗德里格兹代替领奖

2010 年为医疗组织 Pax Medicalis 创作的作品“Olivier d’Or/ Pax Medicalis 2010” 被作为奖励授予了“巴沙医生” 亚布莱殊（Izzeldin Abuelaish）

2009 年作品“Equus（马）”作为奖杯授予了 Landsberg-Velen 伯爵，他是纽伦堡马耳他骑士团（Order of Malta）备受尊敬的主席。摩纳哥王子艾伯特二世（Albert II）将安娜创作的“Olivier d’Or 奥利维尔奖” 作为荣誉颁给了诺贝尔和平奖得主埃利·威塞尔（Elie Wiesel）

2008 年在意大利托斯卡纳区的卡拉拉，安娜·高美被授予“Premio Michelangelo（普雷米欧米开朗基罗奖）”，这是意

大利最高雕塑家奖项为法国蔚蓝海岸（Cote d’Azur）的医疗组织 “Association Pax Medicalis”创作了作品“Olivier d’Or（奥利维尔奖）”奖杯（2008 年得奖人：伊马内利修女，“法国版的特蕾莎修女”）

2006 年安娜·高美在托斯卡纳区的马萨 - 卡拉拉省被授予“Premio Voce delle Alpe Apuane（普雷米欧在阿尔卑斯山的声音）”奖项

2003 年安娜·高美获得布拉格“Medal Franz Kafka 卡夫卡”终生成就奖（该奖项的历届获奖人包括：史蒂芬·斯皮尔伯格 , 米洛斯·福曼 , 诺曼·梅勒等）超现实主义艺术家安娜·高美获得布拉格“International Premio Salvador Dali（萨尔瓦多达利国际奖）”奖项巴伐利亚总理 Edmund Stoiber 获得了安娜高美创作的 “马奖杯（Equus Trophy）” 2002 年安娜·高美获得了布拉格“Masaryk Prince for European Reconciliation（和解欧洲的马萨里克王子）”奖项

展览和社会活动 2014 年安娜·高美参演的电影“Spoliation（掠夺）”参加 2015 年嘎纳电影节（Cannes Film Festival 2015）在圣让费拉角蔚蓝海岸（Cote d'Azur）参展艺术博览会（Continental Art Fair）安娜的作品在艾迪奥尼·蒙达多利（Edizioni Mondadori）出版的“现代艺术目录（Catalogo dell'Arte Moderna）”一书中占据了显著地位 2013 年参展北京艺术博览会（Beijing Art Fair）、伦敦切尔西花展（Chelsea Flower Show）为新教皇创作绘画作品“Francesco（弗朗西斯科）” 2012 年在佛山举行“Spiritus Mundi（东方精神）”安娜·高美个人艺术大型展览接受中国雕塑院院长吴为山颁发名誉院士邀请任命函

2011 年在圣特佩罗（Saint-Tropez）旧港口举行“Myths of the Mediterranean（地中海神话）”安娜·高美个人大型展览为约翰保罗二世（John Paul II）的宣福礼创作绘画作品“Misericordia（仁慈）”

2010 年 Chromy Art Space（高美艺术空间）在意大利托斯卡纳区的彼得拉桑塔正式开幕作品“心灵的外衣”有幸成为了南巴黎大学的外交调解的一门研究生课程

2009 年支持托尼·布莱尔（Tony Blaire）为 IWCA 创建的信仰基金会和“心灵的外衣学会（Cloak and the Conscience

Institute）”项目在北京香港马会会所的艺术空间举行“东方遐思”个展

2008 年在罗马的圣彼得教堂会见本笃十六世教皇（Benedict XVI）并介绍和赠送了一个“心灵的外衣”雕塑会见法国总统尼古拉·萨科齐（Nikolas Sarkozy）并介绍“心灵的外衣（the Cloak of Conscience）”项目

2007 年展览 “Mythos Europe( 欧洲神话 )”在雅典国家考古博物馆举行 2005 年在巴黎旺多姆广场 ( Place Vendome) 举办“Mythos Europe（欧洲神话）”个人大型展览，展出了 20 件大型雕塑作品安娜·高美受邀请作为荣誉嘉宾参展中国广州艺术博览会

2004 年为意大利托斯卡纳区的世界妇女节创作官方海报作品“Il Canto di Orfeo（俄耳甫斯之歌）”在意大利托斯卡纳区彼得拉桑塔的圣奥古斯丁博物馆（Sant'Agostino

Museum）进行展览 2000 年雕塑展 “Mythos Europe（欧洲神话）” 成为欧洲文化首都布拉格的一部分

1999 年雕塑作品被作为主要图案印刷在莫扎特的“Don Giovanni（唐乔瓦尼）”CD 封面

1997 年系列展览“Don Giovanni（唐乔瓦尼）” 在蒙特卡洛歌剧院和巴黎滑稽剧院举行

1993 年为德国慕尼黑的巴伐利亚马术联合会创作了“Equus Trophy（马奖杯）”

1992 年在维也纳、萨尔兹堡、苏黎世和威尔巴登举行个人绘画作品展览在布拉格秋节（Prague Autumn Festival）举行展览，为 Suk 交响乐创作海报

1991 年在瓦沙雷利博物馆（Vasarely Museum）、艾克斯普罗旺斯（Aix-en-Provence）、布拉迪斯拉发帕尔非宫博物馆（Palffy Palace Museum）、布拉格卡罗来纳州大学（Karolina University）、乌克兰基辅 Michailiwska

Trapezna 博物馆、布达佩斯国家博物馆等地举行画展 1988 年以 92 年世博会为主题的官方绘画作品被设计在摩纳哥首批电话卡发行 1986 年塞尔维亚世博会的官方机构选择了作品“Man, Earth, Universe（人类，地球，宇宙）”作为官方绘画作品将于 1992 年世博会展出，随后收藏在 Cartuja 博物馆中

1985 年为纽约的联合国组织创作了“Peace On Earth（世界和平）”系列的三幅绘画作品

1977 年在德国慕尼黑的奥地利遗址和巴伐利亚的其他地方举行了首次个人展览

ANNA CHROMY â&#x20AC;&#x201C; PUBLIC SCULPTURES, EXHIBITION, AWARDS Anna Chromy has been showered in her long career with honors and distinctions, such as the Michelangelo Award in Tuscany and the Dali and Kafka Prizes in Prague. She was made an Honorary Fellow of the National Sculpture Academy of China in Beijing, and she has been invited to show her works in such prestigious places as Place Vendome in Paris, and major museums. Anna Chromy is the artist with the largest number of Public Sculptures in Europe.

PUBLIC SCULPTURES 2015 Installation of monumental "SUNSHINE GODDESS" (10 meters) and "Fountain of Musicians" at new Headquarters of Sunshine Insurance Group, Beijing Installation of "Sunshine Goddess" (4 m) at Headquarters of Sunshine Insurance Group in Chengdu, Sichuan Installation of "The Silk Road" sculpture at the China Pavilion, Expo 2015 Milano 2014 Installation of "Ulysses" in front of the new Club House of Monaco Yacht Club H.S.H. Prince Albert of Monaco inaugurates a "Cloak of Conscience" in the Gardens of Grimaldi Forum 2013 Installation of a fourth bust in the "Anif Pantheon" near Salzburg 2012 Installation of "Olympic Spirit" at the Olympic Village London 2012 in front of Home Team GB, bought by local collector after the games Installation of a portrait of Norio Ohga, the late President of Sony Corporation, at Anif/Salzburg Installation of an "Olympic Spirit" in the Gallery of the National Academy of Sculpture 2010 Installation of " Galileo Galilei" sculpture on the main road of Science City in Guangzhou 2009 Inauguration of the "Christ Resurrected" in Saint Severin Church by the Archbishop of Munich Creation of the "Peace Eagle" for the Foundation of Prince Albert II of Monaco Installation of the sculpture "Franz Schubert" at Bad Gastein, Austria 2008 Installation of the group "Saint Francis with Poverty" in the Monastery of Saint Francis in Assisi 2007 Installation of the "Cloak of Saint Martin" at the entrance of Cap Martin, Cote d'Azur, France Installation of "Saint Martin" on the altar of the Saints Chapel at Basilica di San Francesco, Assisi Installation of a "Cloak of Conscience" at the National Archeological Museum Installation of a "Cloak of Conscience" at Fondazione Ferrero, Alba, Italy 2006 Creation of "Premio Ulysses" for the City of Forte dei Marmi, Tuscany Installation of "Carmen" and "Sisyphus" in the Museum of Modern Art of Guangzhou, China Installation of "Violin Player" and "Trumpet Player" at "Le Dome" building, Luxemburg

2005 Installation of "Christoph Willibald Gluck" in the State Opera House, Nurnberg, Germany 2004 Installation of "Sisyphus" in Scuola Superiore di Sant'Anna, University of Pisa, Italy Installation of "Ulysses" on "Espace Cocteau", Menton, France Installation of "La Bella Elvira" in the Palace of Regione Toscana, Florence, Italy 2003 Installation of "Marionette Dancer" at "Museo del Parco", Portofino, Italy Installation of a "Marionette Dancer" on Piazza Garibaldi, Pietrasanta, Italy Installation of bronze portrait of Karheinz Boehm for Foundation "Menschen fuer Menschen", Vienna, Austria 2002 Installation of fountain "Czech Musicians" by the Major of Prague I on Sénovàzné nàmesti "Heart of the World", for Pope John Paul II and audience on St. Peters Square, Vatican,Rome Installation of a "Cloak of Conscience" at the Philosophers Cercle of Museum C'à la Ghironda, Zola Predosa, Bologna Installation of bronze portrait of Count Johannes Moy, Anif/Salzburg 2001 Installation of "Ulysses" together with the four "Constellations" at Pontile, Forte dei Marmi, Italy Installation of "Herbert von Karajan" at his birthplace in the center of Salzburg, Austria, and inauguration with the Vienna Philharmonic, Riccardo Muti, Eliette von Karajan, etc. Installation of a bronze portrait of Herbert von Karajan at the cemetery of Anif/Salzburg, Austria Installation of a bronze portrait of Oscar Wilde at the Museum of Modern Art, Menton, France Installation of a "Cloak of Conscience" at "Museo dei Bozzetti", Pietrasanta, Italy 2000 Installation of a "Cloak of Conscience - Commendatore", in front of Stavovské divadlò, the Prague Opera house Installation of "Elvira" and "Don Ottavio" in the new Headquarters of Nuernberger Versicherung Installation of bronze portrait of Herbert von Karajan for State Theatre Ulm and Karajan Center Vienna 1999 Installation of a "Cloak of Conscience - Piétà" by the Archbishop of Salzburg in front of the Cathedral Installation of "Carmen" by Prince Rainier III at the Grimaldi Palace in Monte Carlo 1997 Installation of a "Cloak of Conscience" at Keitum Church, Sylt, Germany Installation of a "Heart for Children" at RTL Television headquarters, Cologne, Germany

100

1996 Installation of a "Cloak of Conscience" in bronze by Prince Rainier III at Grimaldi Palace, Principality of Monaco 1995 Installation "France Triomphante" and "Leporello" at Roquebrune Cap Martin, France

AWARDS 2015 "Chromy Award" for Singer/Actor Massimo Ranieri at La Versiliana Festival, Marina di Pietrasanta "Dance Award" for Moses Pendleton's Momix Dance Theatre and Giacomo Agostini, Moto World Champion, at La Versiliana Festival "Chromy Award" for Dr. Bertrand Piccard and André Borschberg, pilots and founders "Solarimpulse", at "Sustainability Week", Abu Dhabi Dr. Robert Lyons, President of Kaqun Water, receives a “Chromy Award” 2013 Prince Albert II of Monaco is honored with the "Chromy Award" in the Monaco Palace Tony Juniper, leading UK environmentalist, receives a "Chromy Award" at Hay-on-Why literary Festival Alain Bougrain Dubourg, President of the LPO and leading French environmentalist receives a "Chromy Award" Philippe Pozzo di Borgo, known for his life story in the movie "The Intouchables" receives a "Chromy Award" AMMA, the Indian Saint and President of Embracing the World Foundation, receives a "Chromy Award" 2012 Launch of the "Chromy Award" at the Cannes Film Festival and dedication of the first Trophy to Captain Paul Watson, Founder and President of Sea Shepherd Foundation 2010 The "Olivier d'Or/ Pax Medicalis 2010" is awarded to the "Gaza Doctor" Izzeldin Abuelaish 2009 "Equus" Trophy for Count Landsberg-Velen, Honorary President of the Order of Malta, Nuremberg Prince Albert II of Monaco honors the Peace Nobel Elie Wiesel with the "Olivier d'Or" Trophy created by Anna 2008 Anna Chromy received "Premio Michelangelo" in Carrara, Tuscany Creation of "Olivier d'Or" Trophy for "Association Pax Medicalis", Cote d'Azur, France （Laureate 2008 Sister Emmanuelle, the "French Mother Theresa"）

101

2006 Received "Premio Voce delle Alpe Apuane" in Massa-Carrara, Tuscany 2003 "Medal Franz Kafka" for the life-time achievements of Anna Chromy, Prague (former laureates include: Steven Spielberg, Milos Forman, Norman Mailer, a.o.) "International Premio Salvador Dali" for the surrealist artist Anna Chromy, Prague Edmund Stoiber, Prime Minister of Bavaria, receives the "Equus Trophy" created by Anna Chromy 2002 Received "Masaryk Price for European Reconciliation" in Prague

EXHIBITION AND PUBLIC ACTIVITIES 2014 Anna stars in the movie "Spoliation", to be released at the Cannes Film Festival Exhibition Continental Art Fair, Saint Jean Cap Ferrat, Cote d'Azur Anna's works figure prominently in "Catalogo dell'Arte Moderna" published by Edizioni Mondadori 2013 Exhibitions at the Beijing Art Fair, Chelsea Flower Show in London, and other events Painting "Francesco" for the new Pope 2012 Exhibition "Spiritus Mundi" at Private Museum of Foshan City Received letter of appointment as Honorary Fellow from Mr. Wu, Weishan the Principle of the National Academy of Sculpture, Beijing 2011 Exhibition "Myths of the Mediterranean" at the old Port of Saint-Tropez Painting "Misericordia" created for the Beatification of John Paul II 2010 Inauguration of the Chromy Art Space in Pietrasanta, Tuscany A "Cloak" as distinction for the Master Class in Mediation and Diplomacy of University Paris South 2009 Support of Tony Blair and his Faith Foundation for the Cloak and the Conscience Institute Solo Exhibition at the Arts Space of the Hong Kong Jockey Club Beijing Clubhouse 2008 Audience with Benedict XVI at Saint Peters in Rome and presentation of a model of the Cloak Presentation of the Cloak of Conscience project to Nikolas Sarkozy, the President of France

102

2007 Exhibition "Mythos Europe" at the National Archeological Museum, Athens 2005 Exhibition "Mythos Europe" on Place Vendome, Paris (20 monumental sculptures) Anna is invited as Guest of Honor to exhibit at the Art Fair in Guangzhou, China 2004 Creation of the Official Poster of Tuscany for the World Women's Day 2004 Exhibition "Il Canto di Orfeo" at Sant'Agostino Museum, Pietrasanta, tuscany 2000 Sculpture Exhibition "Mythos Europe" as part of "Prague European Capital of Culture" 1999 CD-Edition "Don Giovanni" by W.A. Mozart illustrated with the sculptures of Anna Chromy 1997 Exhibition "Don Giovanni" group at Opera de Monte Carlo and Opera Comique, Paris 1993 Creation of "Equus Trophy" for Bavarian Equestrian Federation, Munich, Germany 1992 Solo exhibitions of paintings in gallery in Vienna, Salzburg, Zurich and Wiesbaden Exhibition at the Prague Autumn Festival, creation of program and poster for the Suk orchestra 1991 Painting exhibitions at Vasarely Museum, Aix-enProvence; Palffy Palace Museum, Bratislava; Karolina University, Prague; Michailiwska Trapezna Museum, Kiev, Ukraina ; National Museum Budapest 1988 The motive of the official painting of EXPO'92 is used for the first telephone card issue in Monaco 1986 "Man, Earth, Universe" becomes the Official Painting of EXPO'92 in Seville, Cartuja Museum 1985 "Peace On Earth", three drawings for the United Nations in New York 1977 First Solo exhibitions in the Austrian General Consulate in Munich and other parts of Bavaria

103

我的心灵外衣

生存还是死亡

自儿时，有个问题一直缠绕着我：我究竟在这里做什么？我人生的意义是什么？是否有一个使命、一个责任需要我去完成？当我发现我的艺术天赋之后，我开始慢慢找到了一些答案。

在 1980 年，我创作了一幅绘画作品，将其命名为“To be or not to be（生存还是死亡）”。这幅作品，展现了一个裸露的女性身体，用以代表年轻的、明亮耀眼的美，以及与之相反的一件老妇人的空衣服，它在生活的重压之下，因为焦虑和痛苦而弯曲着身子。

在 1992 年，因为一场严重事故而经受了很长一段时间的痛苦之后，我决定在一段时间内放弃绘画，转而完全投入创作雕塑。我的第一件主要作品就是这个空斗篷，它反映了我的痛苦，同时也反映了我对未来会更美好的信念。这件雕塑作品完成之后，就被选中参加在我工作的彼德拉桑塔主广场举行的展览，它有一个宽泛的名字叫作“真空的外衣（La veste del vuoto）”。从此我踏上了一条漫长的路程，至今也只能隐约瞥见最终的目的地。对我而言，这件斗篷（Cloak）象征着那些可以使我们在这个地球上历尽沧桑得以幸存的东西。就像童年时代陪伴我在萨尔兹堡的霍夫曼斯塔尔的戏剧 “Jedermann（每一个人）”中所说的，我们在人生中将始终有我们的信仰、我们的善行、我们给予他人的关爱和支持陪伴左右。这件斗篷的中空部分是由我们的灵魂、我们的良知和我们的创造力所填满的，而这些正是能使我们获得永生的力量。

保尔·瓦雷里（Paul Valery）用以下文字很好地表达了这种感觉：“你知道我对这个叫做人生的事业的评价：那里只有两个东西，仅有的两个东西，它们可以将我们转化为有能力避免成为只是别人复制品的生物，并且成为值得拥有这种能力的生物，那就是爱和工作。然而，当爱即成为工作时，已然对它们彼此都赋予了一个全新的、极端的、相融合的感受。”

斗篷和良知

在东西方哲学中都有处理良知及和谐问题的大量思想学派，而对于阿尔贝·加缪来说：“良知甚至比生存更重要”。从一开始，斗篷就在大众和媒体中激起了极大兴趣，是我所有作品中反响最大的。很多公共机构和个人都决定在有象征意义的位置标记上这个不可思议的标志。因此，一个 150 厘米高的铜质斗篷，出现在布拉格艾斯特剧院，让我们想起了莫扎特《唐璜》中的司令官形象，以及它在此地的首次演出；另一个原始雕像则反映着萨尔兹堡礼拜堂面前的圣母怜子图（Pieta），一幅一个母亲为了世界而承受苦难的图像；还有一个，出现在博洛尼亚的博物馆，代表了一幅哲学图像。

所有这些雕塑，加上其他很多在过去十年中落成的雕像，在公众中引起了热烈的反响，在无数的信件和电子邮件中表露无遗。就算没有经过进一步解释，这些斗篷貌似也能将所有遇到它们的人们的良知唤醒。很遗憾的是，这种影响力并不足够。否则，怎么会几乎所有我们的同胞都没有被那些生活着的“斗篷”所感动呢？也就是那些我们在街角看到的穷人们，那些数以百万计的被利用、虐待的孩子们的命运。还记得圣经中以西结书（Ezekiel）命令的人太少了，而我将其铭刻在我的作品“心系世界（Heart for the World）”的底座上。它是我

104

在 2002 年为保罗教皇二世（Pope John Paul II）所创造的：“请丢弃你的铁石心肠，而我将为你换上一颗善良充实的心灵。”

建筑雕塑

经一位出生在卡拉拉大理石山脉的朋友（巴西利卡修道院和阿西西的圣弗朗西斯修道院的院长）鼓励，我决定以斗篷的形式创作一个让我们用以沉思并找回自我的场所。为了让它更壮观和别致，我决定用一整块的白色大理石作为材料来创作。

而世界上只有一处采石场能够为这件作品提供大小合适的石块，那就是卡拉拉的米开朗基罗山洞采石场。这里也曾经为古罗马的纪念碑提供大理石，也使得米开朗基罗（Michelangelo）、贝尼尼（Bernini）等很多天才得以创作他们的大师之作。

我选用的这个 250 吨重的石块，一开始只能在该采石场里面直接进行雕刻，这是继 500 年前米开朗基罗如此创作之后的第一次，也是雕塑历史上的第一次：巨大石块的中间被雕空，用以创造一个空间来让人们找到内心的自我，并激发良知的力量。

2008 年，这种探索行为被授予了意大利雕塑界最富盛名的“米开朗基罗奖”。如今，我的斗篷完工了，我感受到其大理石材质的柔软波状组织形态流露出一种无限和谐以及心灵平静的感觉。我希望有更多的人来分享这种感受。

我深信，这个斗篷会自己找到最终的落成地点，那将是这个世界上一个能够散发出特别强烈能量的地点。

遗憾的是，这尊 50 吨重的不朽作品不能出现在圣特洛佩斯展览中了。不过，它在卡拉拉的米开朗基罗工作室还是可以通过预约接受拜访，唯一预约地址是：stein.w@conscienceinstitute.org 安娜·高美

105

My cloak of conscience

To be or not to be Since my early childhood there is a question that never left me: What am I doing here? What is the meaning of my life? Do I have a mission, a duty to perform? As I started to discover my artistic talent I began to find some answers. In the year 1980 I created a paining which I called "To be or not to be", which shows a nude female body, representing the radiant beauty of youth, and in contrast the empty garment of an old woman, bent by the weight of life, with its worries and sufferings. In 1992, coming out of a long period of suffering due to a serious accident, I decided to abandon for some time painting, and to devote myself entirely to sculpture. My first major work was the empty Cloak, which reflects my pain, but also my confidence in a better future. When finished, the sculpture was chosen for an exhibition on the main square of Pietrasanta, my place of work, with the ominous title "La veste del vuoto" ("The Clothing of the Void").This was the start on a long road of which I can only now glimpse the final destination. This Cloak is for me the symbol of what survives us after our passage on earth. Like in "Jedermann" ("Everyman"), the play of Hugo von Hofmannsthal which accompanied my youth in Salzburg, we will be accompanied at our passage by our faith and our good deeds, by our love towards others and the support we have given them. The void of the Cloak is filled by our soul, by our conscience, and our creative energy, which will survive us forever. Paul Valery has expressed it wonderfully in the following words: "You know my judgment on the enterprise called Life: there are only two things. The only two that transform us into beings capable and worthy of surmounting all that reduces us to being only the duplicates of our fellow citizens…Love and Work. But to give them a sense new and extreme and combined, Love becoming Work". Cloak and Conscience In the Western and Eastern philosophy there is a strong school of thought which deals with questions of Conscience and Harmony, and for Albert Camus "Conscience is even more important than survival". From the beginning the Cloak created the greatest interest among all my works, in the public and the media. Many public institutions and individuals have decided to mark symbolic places with this enigmatic symbol. Thus a Cloak in bronze, 150 centimeters high, reminds us of the Commander in Mozart's Don Giovanni and its first performance at the Stavovskédivadlò (Estates Theatre) in Prague; another original reflects the Pieta in front of the Salzburg Cathedral, the image of a mother suffering for the world; still another represents the image of philosophy at FondazionC'à la Ghironda in Bologna. All these sculptures, together with many others installed over the last ten years, create a lively reaction by the public, which are expressed in numerous letters and e-mails. It seems that, even without further explanation, these Cloaks contribute to an awakening of conscience in all people who encounter them. Unfortunately this appeal does not suffice. Otherwise how would it be possible that very few of our fellow citizens seem moved by the living cloaks of the poor which we see on street corners, and the fate of millions of exploited and abused children? Too few of us remember the command of Ezekiel in the Bible, 106

which I have engraved in the base of my "Heart for the World", created in 2002 for Pope John Paul II: "Throw away your hearts of stone, and I will give you a heart of flesh." The archi-sculpture Encouraged by a friend who was born in the marble mountains of Carrara, the Abbot of the Basilica and holy Convent of Saint Francis in Assisi, I decided to create a space for meditation and the return to ourselves in the form of the Cloak. To make it spectacular and unique I decided to create this work out of a single block of white marble. There is only one quarry in the world capable of supplying blocks of a suitable dimension: the Cave Michelangelo in Carrara. These quarries have supplied the marbles for the monuments of Ancient Rome, and they allowed Michelangelo, Bernini and many other geniuses to create their masterworks. The block with a weight of 250 metric tons had first to be worked in the quarry itself, the first time after Michelangelo 500 years ago. It is also the first time in the history of sculpture that a block was emptied inside in order to create a space to find ones inner self and harness the energy of conscience. In 2008 this exploit was honored with the "Premio Michelangelo", the most coveted prize for sculptors in Italy. As my Cloak is now completed I realize that it's softly undulating tissue of marble radiates a feeling of immense harmony and peace of mind, and I want as many people as possible to share this feeling. I'm convinced that the Cloak will find alone its final point of installation, in a place somewhere in the world which radiates a particularly strong energy. Unfortunately it was impossible to bring this monumental work of 50 tons to Saint-Tropez for the exhibition but it can be visited at Studio Michelangelo in Carrara upon appointment only at: stein.w@ conscienceinstitute.org Anna Chromy

107

斗篷的力量 / The power of the cloak

良知的能量，集中在历史上最大的“宝石”中：钻石和大理石都是连锁交织的碳酸盐结晶晶体马赛克，正是这些碳酸盐晶晶体给了它们力量和魅力。但是，钻石是碳的同素异形体，而大理石则是由矿物质碳再结晶组成的，是具有隐喻意义的石头。它的名字来自古希腊，可以直译为“水晶般的石头”或者“闪亮的石头”。自古代起，人们就总是将特殊力量跟宝石和次宝石相联系。据传说，白色大理石的纯洁对于沉思和治愈受伤的灵魂来说，具有特别强大的力量。这个斗篷，其内部被切割得好像宝石一般，让其拜访者们第一次得以在一个雕塑作品中感受到这种力量。这种专注的力量，又通过下面底座的八角形形状和四条在中间连接的经线而得到加强。自从公元前 300 年的雅典风塔（Tower of the Winds）之后，这种八角形的形状就频繁出现在很多古建筑中，其中我们可以看到中国的塔（Pagodas）；耶路撒冷的金顶磐石清真寺（Dome of the Rock）；亚琛（Aachen）的巴拉丁大教堂（Palatine

Chapel）；以及西西里（Sicilia）的德尔蒙特城堡（Castel Del Monte）。经过“心灵的斗篷”的每一条经线，都在其末端蕴藏着一个人的名字，这些人在其一生中都曾经作为“人性的指路明灯”。因此，每一条经线都象征了良知的一个特定方面的能量：孔子 / 鲁米；和谐以及仁慈圣弗朗西斯科 / 保罗教皇二世；谦逊以及怜悯米开朗基罗 / 莫扎特；美以及正义圣雄甘地 / 爱因斯坦；真理以及和平这四条经线在斗篷的中心相会，这里还有一个精细的照明水晶球，用以创造一种舒心安宁的氛围，一种普世的良知感。她那平滑的外部织物状的纹理展现了一种在很多不同文化国度中都被使用的长袍。这种戏剧化的褶皱从来没有被如此大范围地创作使用过。斗篷反映出一种疲倦和沉思感，并且将我们包裹在它的温暖、爱和怜悯之中。现在，当我们看到阿拉伯世界的发展，我们内心的良知都渴望着和平。圣雄甘地所教授的非暴力解决方法，经过爱因斯坦学会（Einstein Institute）、塞尔维亚抵抗组织 Otpor（Serbian

Otpor）以及其他种种，得到了完善，并证明了其方式的效率。同时，也证明了使用暴力来解决分歧的情况总是会失败的，即使是自卫也一样。甘地的一个基本教义理念就是：只要你还在你自己的军械库中保留暴力，那么你永远无法战胜暴力。“Satyagraha（真理之路）”允许我们违反压迫性的法律，但是不允许暴力。爱因斯坦完全同意这个观点，这可以在他的文章“我的人生观（My Life as I see it）”中看出来。 “心灵的外衣”的创作者，艺术家安娜高美仅仅有幸亲眼见到了八位“指路明灯”的其中一人——保罗教皇二世，而这，就已经改变了她的人生。这次会面是在 2002 年 5 月 15 日。奥地利萨尔兹堡的大主教委派安娜来为这位教皇（Holy Father）的 82 周年纪念创作一个雕塑。在这一天，他们都聚集到了圣彼得广场的教堂大厅，来把“心系世界（Heart of the World）”献给保罗教皇二世。当安娜坐在大厅座位上等待轮到自己拜见教皇的时间里，在罗马的耀眼阳光下，她有足够的时间来在内心深化这样一个画面：一个穿着白斗篷的人坐着，他因为承受苦难而弯曲着身子。当最终轮到她的时候，她差一点就晕过去了，觉得自己终于遇见了这“整个世界的良知”。保罗教皇二世用有点虚弱的语气感谢安娜为他创作的这件美妙的礼物，并大声朗读了雕刻在底座上的以西结书（Ezekiel）中的话语：“请丢弃你的铁石心肠，而我将为你换上一颗善良充实的心灵”，这是普遍的对怜悯的呼吁。从那一天起，这个白色斗篷的形象就一直萦绕着这位女雕塑家。几年后，它就以实质化的实体形象在其作品“心灵的外衣（Cloak of Conscience）”中重新面世。今天，这些模范人物们留下的“良知”仍继续在全世界散发着能量。也许，现在他们的能量主要集中于斗篷上了。每一个拜访者都能够基于他们自身的情绪和智力状态感受到这种能量。因此，它也就成为了个人良知的一面镜子。

请访问：www.annachromy.com/the_cloak 以了解更多有关莫扎特的音乐、爱因斯坦的学说和米开朗基罗的西斯廷教堂穹顶对安娜高美的斗篷的影响。

108

The Energy of Conscience, concentrated in the largest Gemstone in history Diamond and marble are interlocking mosaics of carbonate crystals which give them their power and attraction. But while diamond is an allotrope of carbon, marble is a metaphoric rock composed of recrystallized carbon minerals. It's name has come from Ancient Greece and translates literally as "crystalline rock" or "Shinning stone". Since Antiquity people associate special powers with precious and semi-precious stones. The purity of white marble is said to be especially powerful for meditation and the healing of injured souls. The Cloak, with its interior walls cut like diamonds, allows for the first time, visitors to experience this power in a sculpture. The concentration of energy is reinforced by the octagonal shape of the lower plinth and the four meridians meeting at the centre. The octagonal form was used in many of the great buildings of old, since the Tower of the Winds in Athens 300 B.C., among them we see it in Pagodas, China; the Dome of the Rock in Jerusalem; the Palatine Chapel in Aachen; and Castel Del Monte in Sicilia. Each Meridian crossing the Cloak of Conscience bears at each end the name of a person who has been a Guiding Light of Humanity in their lifetime. Therefore each Meridian symbolizes the energy of a particular aspect of Conscience: Confucius/Rumi: Harmony and Kindness San Francesco/Papa Wojtyla: Humility and Compassion Michelangelo/W.A. Mozart: Beauty and Justice Mahatma Gandhi/Albert Einstein: Truth and Peace The Meridians meet in the center of the Cloak where a subtly illuminated crystal ball creates an atmosphere of comfort and well-being, a feeling of universal conscience. The flowing tissue of the exterior shows a garment used in many different cultures. Never have such dramatic folds been created on such a large scale. The Cloak radiates weariness and contemplation, and envelopes us in its warmth, love and compassion. These days our conscience wishes for peace when we look at developments in the Arab world. Mahatma Gandhi's teachings of resolution without violence, perfected through the Einstein Institute, the Serbian Otpor, and other, prove the efficiency of his ways. Just as they prove failure when violence is used to resolve differences, even in defence. It is one of the primary teachings of Gandhi that you cannot defeat violence and cruelty for as long as you keep them in your own armoury. "Satyagraha â&#x20AC;&#x201C; the Truth Force" allows the breaking of suppressive laws, but disallows violence. Einstein shared this view completely, as shown in his essay "My Life as I see it". The artist Anna Chromy, the creator of the Cloak of Conscience, was only able to meet one of the eight "Guiding Lights" in person â&#x20AC;&#x201C; John Paul II, and it changed her life. It occurred on May 15th 2002. The Archbishop of the City of Salzburg in Austria had commissioned Anna for a sculpture for the 82nd anniversary of the Holy Father. On this day they had arrived together at the Papal audience in Saint Peters square to present the "Heart of the World" to John Paul II. While sitting there on the podium, under the blaring sun of Rome, waiting for her turn to kneel in front of the Holy Father, Anna had enough time to interiorize this image of a seated person in a white Cloak, bent from his suffering. When it was finally her turn she almost fainted. She felt that she had finally encountered the Conscience of the World. John Paul II thanked her in a frail voice for this wonderful gift, and read aloud the words of Ezekiel inscribed on the plinth of the sculpture "Throw away your Heart of Stone, and I will give you a Heart in Flesh", a universal appeal for compassion. From this day the image of the white Cloak would never leave our sculptress, and it resurfaced materially a few years later in her Cloak of Conscience. Today, the Conscience these exemplary human beings left behind continues to radiate around the world. Perhaps now their energy is most concentrated in the Cloak. Every visitor is able to experience it according to their own emotional and intellectual state. It becomes therefore, a mirror of personal Conscience. Consult www.annachromy.com/the_cloak to find out more about the influence of the music of W.A. Mozart, the teachings of Albert Einstein and Michelangelo's ceiling in the Sixtine Chapel on the Cloak of Anna Chromy. 109

110

111

心灵之约 / The Meeting of Minds 邵伟 / Shao Wei Chair, British Chinese Collectors Association

从欧洲文艺复兴的中心到中国的千年古都，从意大利米开朗基罗山谷到中国国家博物馆，两个璀璨的古老文明在金秋时刻相遇北京，共赴一场高水平的艺术约会——世界著名女雕塑家安娜·高美的雕塑作品展。这也是外国艺术家首次在中国国家博物馆举行的艺术个展。

出生于捷克的安娜·高美从小深受音乐家父亲的影响，成年后去巴黎学习艺术，成为与毕加索和马蒂斯齐名的萨尔瓦多·达利的弟子。她是迄今为止唯一获得意大利雕塑最高奖——米开朗基罗奖的女雕塑家，还荣获了卡夫卡终身艺术成就奖。

安娜·高美的雕塑是复活在雪白大理石和青铜雕像上的古老传说，让古希腊古罗马的艺术精神穿越数千年历史长河，吸纳巴洛克和超现实主义的风格，并运用音乐和美术融为一体的通感，使之重现在 21 世纪的另一个古老文明的首都北京。这次在中国国家博物馆展出的她的 30 多件雕塑精品和素描手稿中，包括了著名的《阳光女神》、《尤利西斯》、《西西弗斯》和《被缚的普罗米修斯》。尽管安娜·高美的每一件雕塑作品都是意大利古典浪漫主义与欧洲超现代主义美轮美奂的结合，都会强烈震撼观众的心灵，我仍然认为她的《欧律狄克》、《音乐家们》和《阳光女神》是值得特别提出的精品中的精品。

安娜·高美的《阳光女神》站在海天相接处，迎着朝霞，踏浪而来。漫天霞光把她的头巾染成一把燃烧的火焰，朵朵浪花在她脚下吹响一往无前的进军号角。她的目光坚定热烈，头颅微微下俯，双腿乘势蓄力，两臂迎风高扬——准备着下一次冲向天际的飞跃。以古希腊神话中使后世数千年的人类最感动的爱情故事之一、能用琴声与歌声迷惑百兽的俄耳甫斯的妻子欧律狄克命名的这座雕塑，就是把这段感天动地的爱情故事复活在雪白的大理石上。远古的希腊圣山上的欧律狄克那迷人的躯体躺靠在一把现代大提琴上，安娜 - 高美用她穿越时空的遐想力，用她融汇音乐与雕塑与一体的艺术通感，向观众如歌如泣的诉说这段因至爱而生的悲剧。而这组《音乐家们》的雕塑最早则是安娜·高美为祖国捷克首都布拉格老城的一个喷泉创作的，四个奏乐者和一个舞者（或五个艺术精灵）的群雕分别象征着世界五大河流：小提琴象征着时而悠扬宁静时而汹涌澎湃的多瑙河；小号象征着雄伟浩瀚的密西西比河；长笛是千回百转的亚马逊河；曼陀林是虔诚圣洁的恒河；而舞者则象征着热情奔放的尼罗河。音乐和艺术像河流一样，从远古流到今天，绵延不断，生生不息。

这次安娜·高美在中国国家博物馆、今日美术馆的个展堪称今秋北京文化界的盛事，祝愿所有热爱艺术的人们能与这位杰出的女画家兼雕塑家一起感受她的艺术精品带来的欢愉和心灵震撼。愿她的爱、她的天才、以及她所创作的美永恒存在，丰富我们生活着的这个世界。

谨祝愿安娜·高美本次在中国的展览成功 ! 最后我谨向阳光保险集团的大力赞助深表感谢，并诚挚感谢杨薇嘉小姐和北京世纪凌霄国际展览有限公司以及各位友人！

邵伟英国华人收藏协会主席

112

Anna Chromy's exhibition in the National Museum of China and Today Art museum is a great event for the Beijing art circle this autumn. I hope all those who love art will feel and share the joy and impact that these selected works of art bring to us, together with this outstanding painter and sculptress. May her love, her talent and the beauty that she has created live forever and enrich the world we are living in. This is the first time that the National Museum of China has hosted an art exhibition for a single foreign artist. From the centre of the European Renaissance to the ancient capital of China, from Michelangelo's valley to the National Museum of China, the two long and celebrated civilisations meet in the golden autumn in Beijing with this outstanding exhibition â&#x20AC;&#x201C; a collection of sculptures and sketches by the world renowned artist Anna Chromy. Anna Chromy was born in the Czech Republic. She was very much influenced by her musician father. She later went to Paris to study art and became a student of Salvador Dali, the artist who enjoyed the same fame as Picasso and Matisse. She remains the only female sculptor who has won Premio Michelangelo, the highest prize for sculpture in Italy. She is also a winner of the Kafka Award. Anna Chromy's sculptures are living legends revived through marbles and bronze. By drawing on Baroque ideas and surrealism, and integrating music with art, they bring to life the spirit of ancient Greek-Roman art in the 21st century in Beijing, the capital of another ancient civilisation. The collection at the National Museum of China consists of over 30 carefully selected sculptures and original sketch drawings, including some of the best known works of art like Goddess of Sunshine, Ulysses, Sisyphus, and Prometheus. All Anna Chromy's works combine classic Italian romanticism and European surrealism superbly. I still believe that her Eurydice, Musicians and Goddess of Sunshine are among the best of her collections. The Europa (also known as the Goddess of Sunshine) is coming towards us from the distant horizon, riding waves in the morning sunshine, with the bright glow turning her scarf into a burning flame, and the waves underneath her feet blowing the marching horn. With eagerness and firmness in her eyes, her head slightly held, her both arms extending high against the wind and her legs gathering strength, she is ready for another leap into the sky. Eurydice revives the earth-moving love story in the snow white marble, named after the wife of Orpheus who could captivate all the animals with his songs and music, one of the most moving love stories since in ancient Greek mythology. Here, the enticing body of Eurydice from the ancient Greek sacred mount is reclining against a modern cello. With her imagination that transcends time and space and her artistic inspiration that integrates music and sculpture, Anna Chromy is recounting vividly that tragic story of love. Musicians is a group of sculptures originally created for a fountain in the old city of Prague, the capital of the Czech Republic. The sculpture of four musicians and one dancer (or five art nymphs) signifies the five rivers in the world: the violin stands for the Danube which is slow and quiet at one time and fast and roaring at another; the trumpet for the long and magnificent Mississippi; the flute for the Amazon with its innumerable twists and turns; the mandolin for the holy Ganges; and the dancer for the passionate Nile. Music and art are just like these rivers, flowing from the ancient times, continuously to now, never ending. I wish Anna Chromy's exhibition great success in China. Finally, I wish to thank Sunshine Insurance Group Corporation Limited for its generous sponsorship. My sincere thanks also to Georgia Yang, Beijing Shiji Lingxiao International Exhibition Co. Limited, and all my dear friends for their support. Shao Wei Chairman, British Chinese Collectors Association 113

安娜·高美工作照片 / Photos of Anna Chromy 114

115

《和谐：经典与当代——安娜 · 高美：雕塑艺术作品集》

HARMONY: Canon & Contemporaneity --ANNA CHROMY'S SCULPTURE EXHIBITION 主编

编：王春辰辑：纪玉洁、闵志伊

书籍设计：纪玉洁设计制作：闵志伊译：翻文字校对：图片提供： 116

117

118

119

120

121

122

123

124