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来源：百度知道 编辑：UC知道 时间：2024/05/29 06:00:32
这两尊奴隶雕像都是用来装饰陵墓的，最早的目的是来象征死者的权威，但在这里却变成了作者自己思想的真实写照。雕像中的奴隶都被塑造成了渴望自由和解放的强壮青年，都有着年轻而健美的体魄。
《垂死的奴隶》两眼紧闭，似乎不是在迎接死亡，好象是在休息。他那安祥的脸上，没有垂死挣扎的痕迹，也没有因痛苦而造成的痉挛，却呈现出一种梦幻般的平静和陶醉，仿佛是一种摆脱了苦难的昏迷。他左手支撑着头部，右手扶在胸前，好象刚刚经历过严酷的折磨，精疲力尽，正在进入一种解脱的状态。
《被缚的奴隶》则完全是另一种风格。他如公牛一样健壮的身体呈螺旋形强烈地扭曲着，似乎正在力图挣脱身上的绳索，虽然双臂被反绑着，但全身的肌肉都紧绷着，让人感到那里蕴含着无比强大的反抗力量，相比之下，身上的绳索则显得那么脆弱无力，似乎仅仅成了装饰品。他的头高昂着，紧闭着嘴唇，眼睛圆睁着，眼神中流露出反抗的愤怒和坚强不屈的意志。
这两尊雕像表现的仿佛不是奴隶，而是两个英勇的斗士，人的尊严达到了完美地体现。当时米开朗基罗一直被迫为教皇和城市的统治者们服务，而作为一个具有人文主义思想的艺术家，他与他自己作品中的人物一样具有一种被压抑、被束缚而渴望解脱的痛苦，和实现理想的要求。米开朗基罗不仅为处于动荡的祖国忧心忡忡，同时还苦于摆脱不了为统治者服务的命运——这是文艺复兴时期艺术家们的普遍遭遇。他的精神空间是窒息的，只能在相对自由的艺术创作中发泄对统治者的不满和寻求精神上的解放。他曾写到：“……在这样奴隶般和这样寂寞无聊的条件下，在斜路上，在极端的精神疲乏中，我应该雕刻自己神圣的制作……”。后来由于势态的变更，米开朗基罗的思想变得深沉而苦闷，再也没有创造出类似这两件作品那样充满生命力的雕刻。
Created for the tomb of a few pieces of sculpture, "the dying of the slaves" and "slaves were tied up" is one of the well-known masterpiece.
Respect the two slaves are used to decorate the tomb of the statue, the first purpose is to represent the authority of the deceased, but here the author has become a true portrayal of his own thought. Statue in the shape of the slaves were free and the liberation of desire to become the strong young people, young and have a bodybuilding physique.
"Dying Slave" eyes closed, does not seem to meet at the death, as if it is at rest. His face serene, there is no trace of a last-ditch struggle, nor because of the pain caused by cramps, a fantastic show calm and intoxicated, as if out of a coma suffering. His left hand supporting the head, at the right hand supporting his chest, as if just experienced harsh torture, exhausted, is entering a free state.
"The slaves were tied up" is a completely