這個世界充滿了無限的創(chuàng)意，也許不經(jīng)意間，就會被深深觸動。

The world is full of infinite creativity, and perhaps inadvertently, it will be deeply touched.

相比起那些懸掛在美術(shù)館里的名畫，各種矗立街頭的雕塑，可以說是最接近我們生活的藝術(shù)形式，每天匆匆而過之時，就會邂逅這些飽含情感和意義的作品。

Compared with the famous paintings hanging in the museum, the sculptures that stand on the street can be said to be the art form closest to our lives, and when we rush by every day, we will encounter these works full of emotion and meaning.

城市的文化氛圍，某種程度上也取決于雕塑所傳達出的理念和價值，那些超越膚淺的表象，記載了不同歷史和文明的紀念物，傳遞的不僅是美學(xué)表達，更是歷史的遺留、文化的積淀和精神的追求。任何時候，都可以給予我們不同的思考和借鑒。

The cultural atmosphere of the city, to some extent, also depends on the concept and value conveyed by the sculpture, those beyond the superficial appearance, record the monuments of different histories and civilizations, convey not only aesthetic expression, but also the legacy of history, cultural accumulation and spiritual pursuit. At any time, it can give us different thinking and reference.

本次介紹十個充滿創(chuàng)意和情感的城市雕塑。這些具有生命力的作品，將凝聚的故事和意義，強烈的輻射到周圍環(huán)境之中，讓每個駐足的行者，都收獲屬于自己的獨特感悟。

This article introduces ten urban sculptures full of creativity and emotion. These living works will condense the story and meaning, strongly radiate into the surrounding environment, so that every walker who stops can gain their own unique understanding.

1

困于內(nèi)心的孩子

Inner Children Trapped Inside Adult Bodies 

Alexander Milov，Ukraine

你上一次跟所愛的人爭執(zhí)是什么時候？不可抑制的惡言相向，是成年人自負與恐懼的結(jié)果。但內(nèi)心深處，我們依然渴望著愛和聯(lián)結(jié)。

When was the last time you argued with a loved one? The irrepressible evil language is the result of adult conceit and fear. But deep down, we still yearn for love and connection.

烏克蘭海邊，2015年燃燒人節(jié)上的這座名為「愛」的雕塑。由 Alexander Milov 創(chuàng)作，描繪了充滿希望和純真的沖突場面。

This sculpture called “Love” on the Burning Man Festival in 2015, Ukraine. Created by Alexander Milov, it depicts a clash of hope and innocence.

金屬構(gòu)筑的情侶彼此背對，仿佛疏離而空洞的軀殼。但內(nèi)心卻如孩童般呈現(xiàn)前所未有的光亮，即使隔著柵欄，也渴望彼此觸碰。

Metal couples turn their backs to each other, like alienated and hollow shells. But their hearts are shining like children like never before, and even through the fence, they long to touch each other.

隨著夜幕降臨，象征著純潔和真誠的溫暖光彩，用無聲的方式訴說著，即使貌似疏離，我們的內(nèi)心依舊如此渴望親近，而即使在最黑暗的時刻，一切依然有著彌補的機會。

As night falls, the warm radiance, symbolizing purity and sincerity, speaks in a silent way, that even if it seems to be alienated, our hearts still yearn for closeness, and even in the darkest moments, everything still has a chance to make amends.

雕塑留給所有人溫柔的提醒：當我們不可抑制的怨恨之時，請記住，憤怒之下隱藏著深愛。每個貌似冷漠的外表下，都藏著受傷卻依然渴望愛的孩子。

The sculpture is a gentle reminder for everyone: When we have irrepressible resentment, remember that under anger lies deep love. Beneath every seemingly indifferent exterior hides a wounded child who still longs for love.

如果此刻情緒正動蕩不安，那么可以留給彼此降溫的空間。等塵埃落定情緒平復(fù)之后，再加強彼此之間的愛。冷靜地找出解決問題的方法… 讓我們最終，在一起。

Uneasy, then you can leave room for each other to cool down. When the dust settles and the emotions have calmed down, strengthen the love between each other. Calmly figure out how to solve the problem … Let’s finally, together.

2

失去主人的鞋

The Shoes On The Danube Bank 

 Can Togay & Gyula Pauer, 

Budapest, Hungary

在多瑙河岸邊，匈牙利國會大廈前，站著60雙鐵鞋指向河邊，他們背后藏著凄慘的故事。紀念因布達佩斯的箭十字民兵實施的暴行，而喪生的數(shù)百人。

On the bank of the Danube, in front of the Hungarian Parliament building, 60 pairs of iron shoes stand pointing to the river, and behind them hide a sad story. Commemorate the hundreds of people who lost their lives as a result of the atrocities committed by the Arrow Cross militia in Budapest.

從1944年10月15日到1945年3月28日，納粹同僚箭十字軍在布達佩斯肆虐，造成毀滅性的破壞。五個月統(tǒng)治期間，有超過1萬人在街頭被射殺，超過8萬人被驅(qū)逐出境，遣送奴隸勞工營或集中營，主要是猶太人。

The Crusaders raged in Budapest, causing devastating damage. During the five-month rule, more than 10,000 people were shot dead in the streets and more than 80,000 were deported to slave labor or concentration camps, mostly Jews.

這段時間里，布達佩斯的猶太人常被圍困在多瑙河兩岸，然后被射殺入水中。最殘忍的是，他們經(jīng)常被迫脫鞋，因為這是戰(zhàn)爭期間的寶貴商品?？植婪肿訒⑵涑鍪刍蚴褂?。

During this time, Jews in Budapest were often besieged on both sides of the Danube and shot into the water. The cruelest thing is that they are often forced to take off their shoes, because this is a precious commodity during the war. Terrorists will sell or use it.

他們的身軀永葬長河，鞋子依然遺留岸邊，為了紀念些無辜喪生的人們，匈牙利于2005年4月16日設(shè)立了「多瑙河上的鞋子」。將60雙形式各異的鑄鐵鞋固定湖畔，作為他們活過的證據(jù)。

Their bodies are buried forever, their shoes are still on the shore, and Hungary established the “Shoes on the Danube” on April 16, 2005 to commemorate the innocent lives of those who lost their lives. 60 pairs of cast-iron shoes of various forms were fixed to the lakeside as evidence that they had lived.

牌匾上書「為了紀念1944–1945年被阿羅克斯 ? 克羅斯民兵射入多瑙河的遇難者。2005年4月16日豎立?！谷缃?，很多人在這些鞋子雕塑放上蠟燭與鮮花，表達紀念和哀悼。

The plaque reads: “In memory of the victims of the 1944–1945 Arrow Cross militia who entered the Danube. Erected on 16 April 2005.” Today, many people place candles and flowers on these shoe sculptures to express remembrance and condolences.

曾經(jīng)的歷史無法改變，但從歷史中引以為戒，才是避免重蹈覆轍的唯一途徑。

History cannot be changed, but learning from history is the only way to avoid repeating it.

3

旅行者

Les Voyageurs

 Marseilles, France

法國馬賽港口，矗立著十個法國藝術(shù)家 Bruno Catalano 創(chuàng)作的引人注目的青銅雕塑，名為「 萊斯旅行者」，描繪了缺失了大部分身軀的，步履匆忙的路人。

In the port of Marseille, France, stands ten striking bronze sculptures by French artist Bruno Catalano entitled “Les Traveler”, depicting hurried passers-by missing most of their bodies.

寫實雕塑缺失部分，是如此非凡而獨特，也為我們留下了無盡的想象空間 —— 是他們遺漏了一些東西，還是僅僅留下了一些東西？

The missing part of realistic sculpture is so extraordinary and unique, and it leaves us with endless room for imagination – are they missing something, or just something?

我們每天行色匆匆的奔走在世間的每個角落，是否也如同這些殘缺的雕塑一般，有著不完整的靈魂，和空洞的生活？我們究竟把身體或心靈的某一部分，留在了哪里？

Do we rush to every corner of the world every day, like these mutilated sculptures, with incomplete souls and empty lives? Where do we leave a part of our body or mind?

4

擴張

Expansion

Paige Bradley, New York, USA

這件唯美而引人深思的作品「擴張」的誕生和創(chuàng)造。提醒我們在瞬息萬變的世界中，永遠不要忘了繼續(xù)成長和發(fā)展。

The birth and creation of this beautiful and thought-provoking work “Expansion”. Remind us that in a rapidly changing world, never forget to continue to grow and develop.

Paige Bradley 花了幾個月的時間，完成了這座雕塑。然后將其砸在地板上，變成碎片。這些碎片組裝，再以漂浮的狀態(tài)重新聯(lián)結(jié)。

Paige Bradley spent several months completing the sculpture. Then it smashes it on the floor and turns it into pieces. These pieces assemble and reconnect in a floating state.

其實從出生的那一刻，世上就已經(jīng)有一個為我們準備的容器了：無論性別，種族，職業(yè)或智商。我們終生都在執(zhí)著于適應(yīng)這種外部的容器，而非感受內(nèi)部的真實的自己。

In fact, from the moment of birth, there is already a container for us: regardless of gender, race, occupation or IQ. Throughout our lives, we are obsessed with adapting to this external container rather than feeling our true selves inside.

如果我們能夠超越身體的束縛，是否會更深刻的認識自己？

If we can transcend the constraints of the body, will we know ourselves more deeply?

雕塑內(nèi)部透出的亮光，代表了我們內(nèi)在的光明。當內(nèi)心充滿著信仰和精神的力量，你會感到前所未有的生機勃勃，充滿盼望。

The light that shines through the interior of the sculpture represents the light within us. When your heart is filled with faith and spiritual strength, you will feel more alive and hopeful than ever.

5

消逝的路人

The Monument Of An Anonymous Passerby

Wroclaw, Poland

這座迷人而醒目的公共雕塑名為 Przej?cie（通道），是寓意波蘭戒嚴時期，那些神秘的不幸失蹤者的匿名行人紀念碑。

This fascinating and striking public sculpture, called Przej?cie (Passage), is an anonymous pedestrian monument to the mysterious unfortunate missing during the Polish martial law.

雕塑由藝術(shù)家 Jerzy Kalina 創(chuàng)作，描繪了14個栩栩如生的人，沉入 Swidnicka 街一側(cè)，然后重新出現(xiàn)在另一側(cè)。紀念上世紀80年代，波蘭戒嚴期間遇難或失蹤的公民。

Created by artist Jerzy Kalina, the sculpture depicts 14 lifelike people sunk to one side of Swidnicka Street before reappearing on the other. Commemorate citizens killed or missing during martial law in Poland in the 80s.

這座青銅紀念碑于2005年12月，波蘭共黨實施戒嚴24周年之際安裝。從1981年12月到1983年7月，專制政府對公民實行限制性法律，以鎮(zhèn)壓迅速發(fā)展的政治反對派。

The bronze monument was installed in December 2005, the 24th anniversary of the imposition of martial law by the Polish Communist Party. From December 1981 to July 1983, the authoritarian government imposed restrictive laws on citizens to suppress the burgeoning political opposition.

戒嚴使人們陷入深深的恐懼之中，許多人在深夜被捕，然后神秘失蹤。從街道另一側(cè)人行道上出來的行人，則代表了1983年戒嚴后，波蘭公民的重新崛起。

Martial law plunged people into deep fear, with many arrested in the middle of the night and then mysteriously disappeared. Pedestrians coming out of the sidewalk on the other side of the street represent the resurgence of Polish citizens after martial law in 1983.

這些消失的路人提醒我們，永遠不要忘記那些由于狹隘的偏見，制造出的人為苦難。

These vanishing passers-by remind us to never forget the man-made suffering created by narrow prejudices.

6

沉沒的國家圖書館

The Sinking Library

Melbourne, Australia

在澳大利亞墨爾本街頭，矗立著名為「沉沒的國家圖書館」的巨大雕塑。這個曾經(jīng)恢弘的建筑似乎正被周圍環(huán)境所掩埋，只露出寫著「Library」的一角。

On the streets of Melbourne, Australia, stands a huge sculpture called the “Sunken National Library”. This once magnificent building seems to be buried by its surroundings, revealing only a corner of the “Library” written on it.

「這是最好的時代，也是最壞的時代?！怪R的獲取渠道前所未有的豐富多樣，我們面前應(yīng)有盡有，卻又一無所有。

“These are the best of times and the worst of times.” Access to knowledge has never been more abundant and diverse, and we have everything in front of us and nothing.

在這個信息爆炸的年代，雕塑的存在提醒著每個人：圖書館是人類文明和歷史中，沉淀下的最經(jīng)典的觀念和思想，透過文字，我們能夠了解世界是什么樣，以及為何是這樣。

In this era of information explosion, the existence of sculpture reminds everyone that the library is the most classic concept and thought precipitated in human civilization and history, and through words, we can understand what the world is like and why.

時代巨變，當我們被碎片化的知識淹沒。不要忘記閱讀圖書館的經(jīng)典，它會讓你形成知識體系，塑造觀念，學(xué)會獨立思考，從而掌握能夠真正理解時代，與世界相處的鑰匙。

Times change dramatically when we are overwhelmed by fragmented knowledge. Do not forget to read the classics of the library, it will allow you to form a body of knowledge, shape ideas, learn to think independently, and thus master the key to truly understand the times and get along with the world.

7

掙脫束縛

Break Through From Your Mold 

 Zenos Frudakis, USA

賓夕法尼亞費城的 GSK 世界總部前，有個名為「自由」的雕塑。從左到右，描繪了我們畢生都在努力擺脫的束縛。從象征被鎖死的木乃伊狀態(tài)，逐漸掙扎解脫，仿佛米開朗基羅的「叛逆奴隸」。

In front of GSK’s world headquarters in Philadelphia, Pennsylvania, there is a sculpture called “Freedom”. From left to right, it depicts the bondage we have struggled to get rid of all our lives. From the state of a symbolic locked mummy, he gradually struggled to be freed, like Michelangelo’s “rebellious slave”.

每個人都能從中讀取到屬于自己的象征意義，不僅如此，我們甚至可以「站在這里」，感受到自己和雕塑融為一體，切身體會到這種努力斗爭，和實現(xiàn)自由的過程。

Everyone can read their own symbolism from it, not only that, but we can even “stand here” and feel that we are one with the sculpture, and experience this process of hard struggle and freedom.

最終，人物逐漸從束縛的墻壁上完全掙脫，舒展雙臂擁抱著自由，遠離留下的墳?zāi)箍臻g，也使自己擺脫一切有形或無形的束縛。

Eventually, the figure gradually breaks free from the bound walls completely, stretches his arms to embrace freedom, away from the grave space left behind, and also frees himself from all tangible and invisible bondage.

8

天國的階梯

Diminish And Ascend 

David Mccracken, Bondi, Australia

澳大利亞悉尼懷赫科島海灣，矗立著一個「天國的階梯」的雕塑，從某些角度看，就如同一個永無止境向上攀升的樓梯。

In the bay of Waiheke Island in Sydney, Australia, stands a sculpture of a “staircase of heaven”, which, from some angles, looks like a staircase that never ends upwards.

樓梯越到達頂部尺寸越小，直至消逝在云端，漫長的攀登仿佛永無止境，超越想象和現(xiàn)實，散發(fā)出通往天堂的無限錯覺。

The more the stairs reach the top, the smaller they get, until they disappear into the clouds, and the long climb seems to be endless, transcending imagination and reality, emitting the illusion of infinite passage to heaven.

這個雕塑有著不同的理解，你可以把它想象成通往天堂的信仰之路；也可以從世俗角度，代表著要保持至高的精神境界，或社會的最高地位，需要付出艱苦卓絕的努力。

The sculpture has a different understanding, and you can think of it as a path of faith to heaven; It can also be from a secular point of view, representing that it takes painstaking efforts to maintain the supreme spiritual state or the highest status of society.

這座雕塑還被放入新西蘭 Christchurch Botanic Gardens 的湖水之中，從水底直通天際，水面的阻隔，讓這種通往天際的意向，多了些許可望而不可及的意味。

The sculpture was also placed in the lake of Christchurch Botanic Gardens in New Zealand, from the bottom to the sky, and the barrier of the water surface makes this intention to the skyline more unattainable.

無論你最終追求的終點是什么，我們一生總在主動或被動的向上攀爬，越接近頂點越充滿挑戰(zhàn)，卻也能領(lǐng)略到下面看不到的風(fēng)景。

No matter what you ultimately strive for, we are always climbing up actively or passively throughout our lives, and the closer we get to the top, the more challenging it is, but we can also appreciate the scenery that cannot be seen below.

9

深海滄桑

Viccisitudes 

Jason Decaires Taylor, Grenada, Vest Indies

墨西哥坎昆海洋公園的水下雕塑博物館來自英國的雕塑家 Jason DeCaire Taylor。寓意著「先創(chuàng)造后毀滅，繼而在毀滅中重生」。

The Museum of Underwater Sculpture at Cancun Marine Park in Mexico is from British sculptor Jason DeCaire Taylor. It means “first create and then destroy, and then be reborn in destruction”.

這些海底雕塑亦被賦予了環(huán)保的使命 —— 隨著時光流逝，它逐漸褪去人為的斧鑿痕跡，被來自海洋的生命力淘洗覆蓋，直至長成真正的珊瑚礁叢，完全融于自然之中。

These underwater sculptures have also been given an eco-friendly mission – over time, they fade away from man-made axe chisels and are washed and covered by the life force of the sea until they grow into a real coral reef and completely melt into nature.

第一個水下雕塑公園「變遷」Viccisitudes —— 由75座海洋水泥制成的真人大小的雕塑，分布在800平方米的海底，模擬有利于珊瑚繁衍的自然巖層。
The first underwater sculpture park, Viccisitudes – a life-size sculpture of 75 marine cements spread over 800 square metres of seabed, simulating natural rock formations conducive to coral growth.

雕塑被放入海底的幾天內(nèi)，就感受到了大自然施加的魔法：年輕的藻類開始形成，新的生態(tài)系統(tǒng)初具雛形… 一個月后更多的藻類以異乎尋常的速度生長著，很快就吸引無數(shù)海洋生物在此覓食… 幾個月后各類珊瑚也來了，雕塑形體變得不復(fù)清晰可辨。

Within a few days of the sculpture being placed on the bottom of the sea, the magic of nature was felt: young algae began to form, new ecosystems began to take shape… A month later, more algae grew at an extraordinary rate, and soon attracted countless marine creatures to feed here… A few months later, various corals arrived, and the sculptural form became no longer legible.

隨后，Taylor 又在世界其它地方建造了這些水下雕塑群。仿佛龐貝古城中的人體化石，囿于特殊空間及觀看角度，傳遞出某種令人不安的生與死之間的神秘交流。

Taylor later built these underwater sculptures in other parts of the world. It is as if the human fossils in Pompeii, confined to a special space and viewing angle, convey a mysterious exchange between life and death that is disturbing.

每件真人大小的雕塑，都擁有獨特的面部表情和身體語言，有些彼此交織橫臥在海床上，構(gòu)成環(huán)形空間。

Each life-size sculpture has a unique facial expression and body language, and some are intertwined with each other lying on the seabed, forming a circular space.

在寂靜無聲的水下世界，這些雕塑會讓我們感受到某種過去與現(xiàn)在，生與死的隱形邊界?！高@些人工雕塑必須消融在海水，才能再次成為自然的一部分，延伸至永恒。」

In the silent underwater world, these sculptures will make us feel a certain invisible boundary between past and present, life and death. “These artificial sculptures must dissolve in the sea to become part of nature again and extend into eternity.”

10

愛別離

Ali and NinoTamara Kvesitadze，Batumi

在格魯吉亞沿海城市巴統(tǒng)，矗立著兩尊巨型移動雕塑 Ali and Nino。由雕塑家 Tamara Kvesitadze 用堆疊的金屬片構(gòu)成。

In the coastal city of Batumi, Georgia, stand two giant moving sculptures, Ali and Nino. Constructed by sculptor Tamara Kvesitadze with stacked pieces of metal.

這對雕像的故事，出自 KurbanSaid 1937年的著名愛情小說。信仰穆斯林的阿塞拜疆名門之后 Ali，與信仰基督教的格魯吉亞公主 Nino 相愛，但最終，這對戀人因信仰不同，以及蘇聯(lián)入侵而被迫分離。

The story of the statues is from KurbanSaid ‘s famous 1937 romance novel. Ali, a Muslim Azerbaijani celebrity, fell in love with the Christian Georgian princess Nino, but in the end, the lovers were forced to separate due to their different beliefs and the Soviet invasion.

故事在歐洲國家膾炙人口，富有宗教和政治的時代大背景下的悲情色彩。這也許是世界上最浪漫，也是最虐心的雕塑。

The story is sad in the context of a time when European countries are popular and rich in religion and politics. This is perhaps the most romantic and sadistic sculpture in the world.

每天晚上7點，Ali 和 Nino 開始向彼此移動，穿過身體融為一體后逐漸背道而馳，十分鐘后，孤獨的留在原位，遙遙相望，靜待第二天短暫的相擁，日復(fù)一日。

Every night at 7 p.m., Ali and Nino begin to move towards each other, moving through their bodies and gradually moving in opposite directions, and ten minutes later, they stay alone in place, looking at each other from afar, waiting for a brief hug the next day, day after day.

相遇仿佛剎那，分別卻是永恒。這個浪漫又極富創(chuàng)意的雕像，表達了世間所有的愛與傷痛，也隱喻了每一次相遇與別離。我們是如此親密無間，卻只能天各一方。

The encounter seems to be instantaneous, but the difference is eternal. This romantic and creative statue expresses all the love and pain in the world, and is also a metaphor for every encounter and parting. We are so close, but we can only be on one side of the world.