The Abduction of the Sabine Women in Florence, Italy

The Rape of the Sabine Women (Latin: Sabinae raptae) is an episode in the legendary history of Rome, traditionally dated to 750 BC, in which the first generation of Roman men acquired wives for themselves from the neighboring Sabine families. The English word rape is a conventional translation of the Latin raptio, which in this context means abduction rather than its prevalent modern meaning in English language of sexual violation. Recounted by Livy and Plutarch (Parallel Lives II, 15 and 19), it provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures, in intensely passionate struggle. Comparable themes from Classical Antiquity are the Battle of the Lapiths and Centaurs and the theme ofAmazonomachy, the battle of Theseus with the Amazons. The sculpture by Giambologna (1579–1583) that was reinterpreted as expressing this theme depicts three figures (a man lifting a woman into the air while a second man crouches) and was carved from a single block of marble. This sculpture is considered Giambologna's masterpiece. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the legendary rape of the Sabines, had to be invented after Francesco I de' Medici, Grand Duke of Tuscany, decreed that it be put on public display in the Loggia dei Lanzi in Piazza della Signoria, Florence. True to mannerist densely packed, intertwined figural compositions and ambitious overinclusive efforts, the statue renders a dynamic panoply of emotions, in poses that offer multiple viewpoints. When contrasted with the serene single-viewpoint pose of the nearby Michelangelo's David (also uploaded to MyMiniFactory and Scan The World), finished nearly 80 years before, this statue is infused with the dynamics that lead towards Baroque, but the tight, uncomfortable, verticality— self-imposed by the author's virtuosic restriction to a composition that could be carved from a single block of marble— lacks the diagonal thrusts that Bernini would achieve forty years later with his Rape of Proserpina and Apollo and Daphne, both at the Galleria Borghese, Rome. The proposed site for the sculpture, opposite Benvenuto Cellini's statue of Perseus, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of Andromeda by Phineus. The respective rapes of Proserpina and Helen were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins. The work is signed OPVS IOANNIS BOLONII FLANDRI MDLXXXII (The work of Johannes of Boulogne of Flanders, 1582). An early preparatory bronze featuring only two figures is in the Museo Nazionale di Capodimonte in Naples. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the Victoria and Albert Museum, London. The artist's full-scale gesso for the finished sculpture, executed in 1582, is on display at theAccademia Gallery in Florence. Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century. This object is part of Scan The World. Scan the World is a non-profit initiative introduced by MyMiniFactory, through which we are creating a digital archive of fully 3D printable sculptures, artworks and landmarks from across the globe for the public to access for free. Scan the World is an open source, community effort, if you have interesting items around you and would like to contribute, email [e-mail] to find out how you can help.《劫掠萨宾妇女》（"The Rape of the Sabine Women"）是罗马传奇历史中的一则事件，传统年代定于公元前750年，讲述罗马第一代男性通过劫掠从邻近的萨宾家族中为自己获取妻子的故事。 英语中使用"rape"一词作为拉丁语*raptio*的常规译法，但在该语境下，该词意为"劫掠"，而非其在现代英语中普遍指代的性侵害行为。 李维（Livy）与普鲁塔克（Plutarch，见于《希腊罗马名人传》（"Parallel Lives"）卷二第15、19章）均对此事件有所记述，该题材也成为文艺复兴及后文艺复兴时期艺术作品的经典主题：这类作品既可以展现古罗马人果敢坚毅的励志范例，又能刻画众多身处激烈情感冲突中的人物形象，包括英勇的半裸角色。 古典时代（Classical Antiquity）的同类主题还有《拉庇泰人与半人马之战》（"Battle of the Lapiths and Centaurs"）以及《亚马孙之战》（"Amazonomachy"），即忒修斯（Theseus）与亚马孙人的战役。 乔瓦尼·博洛尼亚（Giambologna，1579–1583）创作的同名雕塑经重新解读后被认为表现了这一主题：作品刻画了三个人物（一名男子将女子举至空中，另一名男子蹲伏于侧），整体由一整块大理石雕刻而成。 该雕塑被视为乔瓦尼·博洛尼亚的代表作。 该作品最初仅作为艺术家创作复杂雕塑群的技法展示，其主题"传说中的萨宾妇女劫掠"实则是在托斯卡纳大公弗朗切斯科一世·德·美第奇（Francesco I de' Medici, Grand Duke of Tuscany）下令将其公开展出于佛罗伦萨领主广场（Piazza della Signoria）的兰齐敞廊（Loggia dei Lanzi）后才确定的。 该雕塑契合风格主义（Mannerism）密集交织的人物构图与宏大包容的创作理念，展现出层次丰富的动态情绪，其姿态可从多个视角观赏。与近80年前完成、相邻的米开朗基罗《大卫》（"David"，该作品亦上传至MyMiniFactory与"扫描世界"项目）宁静的单视角构图形成鲜明对比，这件雕塑充满了导向巴洛克风格的动态张力，但受限于艺术家为使用单块大理石雕刻而主动设定的紧凑局促的垂直构图（此举旨在展现其精湛的雕刻技艺），它缺少贝尼尼（Bernini）40年后在罗马博尔盖塞美术馆（Galleria Borghese）展出的《劫掠普洛塞庇娜》（"Rape of Proserpina"）与《阿波罗与达芙妮》（"Apollo and Daphne"）中运用的斜向动感。 该雕塑的拟定摆放位置与本韦努托·切利尼（Benvenuto Cellini）的《珀尔修斯》（"Perseus"）雕像相对，因此有人提议该组雕应表现与前者相关的主题，比如菲纽斯（Phineus）劫掠安德洛墨达（Andromeda）的故事。此外，劫掠普洛塞庇娜与劫掠海伦（Helen）的主题也被纳入备选方案。最终该雕塑被确定为表现萨宾妇女劫掠的主题。 该作品落款为*OPVS IOANNIS BOLONII FLANDRI MDLXXXII*，意为"佛兰德斯的约翰·博洛尼亚之作，1582年"。 一件仅刻画两人的早期青铜（bronze）预备稿现藏于那不勒斯的那不勒斯国家考古博物馆（Museo Nazionale di Capodimonte）。 此后乔瓦尼·博洛尼亚修改了创作方案，新增第三人形，现存于伦敦维多利亚与阿尔伯特博物馆（Victoria and Albert Museum）的两件蜡制模型即为该阶段的创作成果。 艺术家于1582年完成的等比例石膏（gesso）模型现展出于佛罗伦萨美术学院美术馆（Accademia Gallery）。 以该雕塑为原型的青铜缩制品，既有乔瓦尼·博洛尼亚工作室制作的，也有后世仿造的，直至19世纪仍是艺术鉴赏家收藏的经典藏品。 本作品属于"扫描世界"（"Scan The World"）项目。"扫描世界"是MyMiniFactory推出的非营利性倡议，旨在创建全球范围内可免费3D打印的雕塑、艺术品与地标建筑的数字档案，供公众免费获取。该项目为开源社区协作项目，若您身边有有趣的藏品并希望参与贡献，可发送邮件至[e-mail]了解参与方式。