Carbon Claus-Christian
Department of General Psychology and Methodology, University of Bamberg, Bavaria, Germany.
Research Group EPAEG (Ergonomics, Psychological Aesthetics, Gestalt), Bamberg, Germany.
Iperception. 2023 Mar 9;14(2):20416695231162010. doi: 10.1177/20416695231162010. eCollection 2023 Mar-Apr.
When we attend sculptures in museums, they might fascinate us due to the mastery of the material, the inherent dynamics of body language or due to or the sheer size of some of these statues such as Michelangelo's David. What is less convincing, however, is the life-alikeness of the face. Actually, most visitors experience dead faces, dead eyes, and static expressions. By merely adding paraphernalia to a face (e.g., a facemask or sunglasses), such unalive sculptures gain vividness and liveliness. This striking effect is demonstrated by applying a facemask and sunglasses to a sculpture on public display in Bamberg, but it can easily be demonstrated on any available sculpture. This simple method might help connect people with sculptures or artworks, in general, to lower the barrier between the beholder and artwork and increase their interaction.
当我们在博物馆观赏雕塑时，它们可能会因对材料的精湛运用、肢体语言所蕴含的动态感，或者像米开朗基罗的《大卫》这类雕塑的巨大尺寸而令我们着迷。然而，雕塑面部的逼真程度却不那么令人信服。实际上，大多数参观者看到的都是毫无生气的面孔、呆滞的眼睛和呆板的表情。仅仅给面部添加一些配饰（如口罩或太阳镜），这些缺乏生气的雕塑就会变得生动活泼起来。在班贝格一件公开展示的雕塑上戴上口罩和太阳镜就展现出了这种惊人的效果，而且在任何一件现有的雕塑上都能轻易演示。总的来说，这种简单的方法可能有助于拉近人们与雕塑或艺术品的距离，降低观赏者与艺术品之间的隔阂，增强他们之间的互动。
