《人体形态组合》。1922年。鲍里斯·科罗廖夫。青铜。尺寸：131×45×54厘米。触觉模型。塑料，金属化处理（青铜）。 雕塑由复杂的几何体块构成。形态与比例高度抽象，通过对角线构图营造出动态感。头部呈现为多层几何体，标有鼻梁线条、右眼与左耳。躯干由若干尖锐的棱角块面构成，可辨识出肩膀、脊柱线条与手臂。左臂如细长杆件抵在弯曲的左膝大腿处，右臂肘部弯曲，四指手掌置于臀部的圆形体块上。躯体由笔直的右腿支撑，腿型似弯曲柱体。左大腿体量厚重，与形似木质海盗假肢的细棍状小腿形成强烈对比。雕像立于方形基座之上。 艺术家在此作中运用了»生长型»空间 motif——这种近乎与建筑争锋的纪念碑式形态。作品既融合了正统立体主义的造型意识（体现为简化几何体块的理性追求），又重构了对原始艺术的塑性记忆。科罗廖夫创作探索的独特性在于他对待自然的态度——无论对»模特»进行何等强烈的变形处理，自然印象始终是其构图根基。这尊接近真人尺度的雕塑，堪称立体主义造型体系与深度重构的原始塑性记忆的完美融合。 翻译注解 by Arseniy Danilov
«Conjugation of Human Body Forms». 1922. Boris Korolyov. Bronze. Dimensions: 131×45×54 cm. Tactile model. Plastic, metallization (bronze). The figure consists of complex geometric volumes. The forms and proportions are highly stylized, and the pose conveys dynamism through diagonal lines. The head is depicted as a multi-layered volume, with the outline of a nose, the right eye, and the left ear indicated. The torso is formed by several sharp, angular volumes. The shoulders, the line of the spine, and the arms are discernible. The left arm, resembling a long, thin rod, rests on the thigh of the bent left leg. The right arm is shown bent at the elbow, with a four-fingered hand placed on the right buttock, which is rendered as a rounded volume. The figure stands on the straight right leg, which resembles a crooked pillar. The volume of the left thigh is much more massive than the thin, stick-like shin, evoking the image of a wooden pirate’s peg leg. The figure stands on a square pedestal. In this sculpture, the artist employs the motif of a form that «grows» into space, almost rivaling architecture in its monumentality. This work combines the plastic language of orthodox (classical) Cubism—with its rational impulse toward geometric simplification of volumes—and a reinterpreted «reminiscence» of primitive plasticity. The distinctiveness of Boris Korolyov’s artistic quest is defined by his approach to nature, the impressions of which always underlay his compositions, no matter how strongly he transformed the «model.» Moreover, this large-scale figure, nearly life-sized, seems to merge the plastic culture of Cubism with a deeply reimagined «memory» of primitive art. by Arseniy Danilov