Kwontanti̱n Bi̱ri̱ngkushi

Kwontanti̱n Bi̱ri̱ngkushi (; ; Zwat Sweang 19, 1876 – Zwat Tsat 16, 1957) ku yet a̱tyunok nghwughwu Romaniya wa, a̱tyuswup a̱vwuo ma̱ng a̱tyukwok nghwughwu a̱ ku tsa a̱kariya nggu wu mi̱ Fi̱ransa. Á̱ nwuan nggu nang a̱tyonyiung mami á̱nietnok nghwughwu  ba̱ ku byia̱ a̱lyoot ba̱t mi̱ sa̱ncuri 20 wu ma̱ng a̱tyonyiung mami á̱niet ba̱ ku yet a̱yaakwak a̱son modani̱zi̱m, á̱ ngyei Bi̱ri̱ngkushi a̱tyia̱ nok nghwughwu mam a̱fwun wu. Nang gu ni̱ ngyet nngwon a̱ni, a̱ vwuot mumwang shap nkwon nkyangkhap. Fang da̱ a̱gba̱ndang a̱vwuofang si̱ tsa nkyiak nggu nat mi̱ Bukha̱ret, a̱wot a̱ si̱ kin nat Munki̱n, a̱ sii du ta̱bat cong École des Beaux-Arts mi̱ Pari̱t kyiak neet ma̱ a̱lyia̱ 1905 ba̱ng si̱ tat a̱lyia̱ 1907. Nghwughwu nggu na byia̱ kpa̱mkpa̱rang ndang nfam swanta na̱ tyei nkyang na nang á̱ maai á̱ shyia̱ mi̱ nghwughwu nggu nia a̱ni na̱ cong ca̱caat ma̱ng a̱yaalama ba ba̱ yong da̱ a̱kwonu nkyang na nang ghwughwu hu fa a̱ni da̱ a̱ka̱nyiung. Bi̱ri̱ngkushi ku cat mumwang neet mi̱ a̱yaataada vwuon ta̱usa Yurop ba̱ yet nggu a̱tyin egi̱zotizi̱m jen gbangbang, ma̱nang Paul Gauguin, Pablo Picasso, André Derain, ma̱ng á̱ghyang ku nyia̱ a̱ni. Da̱ a̱kwonu a̱kya, mumwang neet da̱ a̱ka̱vwuo jhyang si̱ ghwut neet mi̱ nyian ghwughwu taada Romaniya di̱n vak a̱yaataada Bizantyom ma̱ng Dyonisiya ba.

Á̱son ndyia̱

Bi̱ri̱ngkushi ku laai a̱ shi ma̱ a̱bakeang Hobița kya, mi̱ Gorj, di̱ hyia̱k Târgu Jiu, kpa̱mkpaan ma̱ng A̱ka̱fan Ka̱pat Romaniya na, a̱vwuo ka nang á̱ ndyen ma̱ng a̱dodoo taada nta̱m-bwak a̱taada nka na, nang shap-nkwon a̱ni. Á̱ maai á̱ li ndyuut jiyometi̱rik fam-a̱byin na di̱ nta̱m nggu na nang gu na nang nnyia̱ á̱zanson a̱ni nang Tsuung Sang Sangba̱p a̱ nyia̱ ma̱ a̱lyia̱ 1918.

Á̱nietmbyin nggu ba Nicolae ma̱ng Maria Brâncuși ku yet á̱kunak á̱niet a̱bakeang bya a̱nyanyan bya ku shyia̱ kyang yaan mba hu di̱n vak nta̱m gurup ma̱ng kan-a̱lahyia̱ nia; kyiak neet mi̱ jen a̱ ku shyia̱ ndyia̱ a̱natat a̱ni, Kwontanti̱n si̱ ta̱bat nggo a̱sworong zónseap kyangbwak ka. A̱ ku vwuot mumwang di̱ shap nkyang ghwut ndyo neet mi̱ nkwon a̱ni a̱wot di̱n jen ma̱ a̱di̱di̱t a̱ ku tyong mali a̱ shot a̱ngai á̱nietmbyin ma̱ng á̱nietkhwop nggu ba.

Ma̱nang gu nshyia̱ ndyia̱ a̱kubunyiung a̱ni, Bi̱ri̱ngkushi si̱ ghwon a̱bakeang ka si̱ nat ta̱m ma̱ da̱ndi ma̱ a̱keang ka̱ laai byia̱ shi ka̱ hyia̱k mba a̱ni. Mi̱ ndyia̱ swak ma̱ng a̱nyiung, a̱ si̱ nwuo khwo a̱tyulyiai kyayak mi̱ Si̱la̱tina; a̱wot a̱ si̱ kin bai a̱ yet nggwonta̱m a̱mali á̱niet mi̱ Ki̱rayova, a̱ja wa nang gu si̱ swan ndyia̱ ma̱ a̱di̱di̱t. Ma̱nang gu ntat ndyia̱ 18 a̱ni, Bi̱ri̱ngkushi si̱ jhyi vayolyin ma̱ng bwak ma̱ng nkyang nang gu ku nshyia̱ a̱ni da̱ a̱vwuota̱m nggu ka. Nang gu si̱ ndi a̱ si̱ fa̱k nyinyang mumwang shap nkyang Bi̱ri̱ngkushi a̱ni, a̱tyu byia̱ a̱linoknkyang a̱ghyang si̱ tyia̱ nggu ma̱ A̱lifang Nyian Ghwughwu ma̱ng Nta̱m-bwak Ki̱rayova ka (școala de arte și meserii), a̱ja wa nang gu si̱ ngya a̱son ma̱ng cat nta̱m-nkwon nggu hu, a̱ si̱ tyak ma̱ng a̱di̱dyep ma̱ a̱lyia̱ 1898.

A̱ si̱ cat a̱ si̱ shyia̱ nwuo ma̱ A̱lifang Nyian A̱sham Ghwughwu Bukha̱ret ka, a̱ja wa nang gu si̱ san a̱tsak tyiet tazwa nok nghwughwu. A̱ si̱ nyia̱ ta̱m ma̱ng ntyia̱ fwuo a̱wot a̱ si̱ ghai a̱pyia̱ nggu nang a̱tyumumwangta̱m a̱ni. Ta̱m nyiung di̱ nta̱m ntsa nggu na ku ku swuan a̱ni, a̱ ku nyia̱ ma̱ a̱ghyi a̱tyutyiet a̱natomi nggu ba, Dimitrie Gerota, yet ta̱m écorché (ghwughwu sang swuan a̱tyok ma̱ng kwa-vam nang á̱ ku wa̱i a̱ni mat á̱ tyai nam-vam hu a̱tafa) ghyang hwa a̱ ku nyia̱ ma̱ng mumwang a̱gwak-nta̱m a̱ni a̱wot á̱ si̱ teak ma̱ A̱teniyom Romaniya wu ma̱ a̱lyia̱ 1903. Shimba ku ku mi̱ ngyet zop a̱natomi ja ma̱nyin, ku si̱ bai shei á̱zanson a̱lahyia̱ a̱tyunokghwughwu na di̱ kwan tyai fa da̱ a̱kwonu li lili ta̱usa ma̱nyin.

Ta̱m mi̱ Pari̱t

Ma̱ a̱lyia̱ 1903, Bi̱ri̱ngkushi si̱ cyiet nat Munki̱n, a̱wot neet ma̱ a̱ja a̱ si̱ nat Pari̱t. Mi̱ Pari̱t, sot á̱nietjhyighwughwu ji ma̱ng á̱nietbyia̱lyen ba̱ nhyat tyentyiang ma̱ng á̱di̱dam a̱ni si̱ tyia̱ nggu aba̱n. A̱ si̱ nyia̱ ta̱m ndyia̱ a̱feang da̱ a̱ka̱ciro-nta̱m Antonin Mercié a̱si̱ École des Beaux-Arts a̱wot á̱ si̱ yorong nggu gu nwuo a̱ka̱ciro-nta̱m Auguste Rodin. Shimba a̱ ku cat a̱gba̱ndang a̱tyunta̱m Rodin, da̱ a̱kwonu a̱kya, a̱ kai a̱vwuonta̱m Rodin ka a̱ ghwon lilyim zwát sweang ma̱nyin, a̱ si̱ nyia̱, "Kyang si̱ mi̱n laai shi tafa a̱ca̱cet a̱ka̱kwon bah."

Nta̱m jhyang

 1898: Vitellius. Fa̱k, 61 × 43 × 27 cm, Muzeul de Arta, Ki̱rayova
 1900: Laocoon (Lawokun). Fa̱k, a̱son nyia̱ ka da̱ lyem hwa, (ka̱ bwuk)
 1903: Général Dr. Carol Davila (Jenera Dokto Carol Davila). Fa̱k, 71 × 61 × 33 cm, Institut Sanitar Militar, Bukha̱ret
 1905: L’Orgeuil (Tam hu). Fa̱k, kpa̱mkpaan ma̱ng 31 × 20 × 22 cm, Muzeul de Arta, Ki̱rayova
 1906: L’Enfant (Nggwon ka). Fa̱k, kpa̱mkpaan ma̱ng 35 × 25,7 × 22,5 cm Kpa̱m George Oprescu, Bukha̱ret
 1907: Le Baiser (Kpa-a̱nu hu). A̱fang, 32,5 × 24,5 × 20 cm, Muzeul de Arta, Ki̱rayova
 1908: Tête d’enfant (A̱pyia̱ nggwon). Mabut, 17,1 × 30,5 cm, Kpa̱m Yolanda Penteado, São Paulo
 1909: Le Baiser (Kpa-a̱nu hu). A̱fang, 89 × 30 × 20 cm; Kuntyin a̱fang, 155 × 64 × 33 cm, Bibi Montparnasse, A̱bi Tanioucha Rashewskaia
 1909: La Muse endormie I (Nyiin-nda Kwak-fwuo hu I). Mabut, 17,2 × 27,6 × 21,2 cm, Hirshhorn Museum and Sculpture Garden, Washington, D.C.
 1910: La Baronne R. F. (Baron-a̱nap wu R. F.). A̱fang, 27 cm, á̱ lyen a̱vwuo ka bah
 1910: La Muse endormie I (Nyiin-nda Kwak-fwuo hu I). A̱shong tswam, 17,5 × 26,5 × 19 cm, Musée National d’Art Moderne, Pari̱t
 1911: Maïastra. A̱shong tswam á̱ ku shok a̱ni, 90.5×17.1×17.8cm, Tate Gallery, London
 1911: Prométhée (Pi̱rometyot).  Mabut, 12.7×7.7cm, Philadelphia Museum of Art, The Louis and Walter Arensberg Collection, Fila̱defiya
 1912: Mademoiselle Pogány I. Mabut, 61 × 43 × 27 cm, Philadelphia Museum of Art, Fila̱defiya
 1913: Mademoiselle Pogány I. A̱shong tswam, 43.8×27×30cm, Museum of Modern Art, New York
 1914: Deux pingouins (Pengwin Feang).  Mabut, 54×28.3×30.8cm, Art Institute of Chicago, Cikago
 1914–1917: Portrait de Madame L. R. (A̱junjung ghwughwu Madame L. R.).  Kwon oak, shi a̱za 117.1 cm, kyang a̱pyia̱ a̱yin
 1916: Portrait de Mme Meyer (A̱junjung ghwughwu A̱yang-a̱li Meyer).  Kwon, 83×18×24cm, Musée National d’Art Moderne, Pari̱t
 1916: Princesse X (Nggwoneam-a̱gwam X).  Mabut, 55.8×28×22.8cm, Musée National d’Art Moderne, Pari̱t
 1916: Sculpture pour aveugles (Ghwughwu Sang Swuan Á̱niet A̱fi̱fan ba).  Mabut, 15.2 × 30.4 cm, Philadelphia Museum of Art, Fila̱defiya
 1917: La Muse endormie II (Nyiin-nda Kwak-fwuo hu II).  A̱la̱ba̱sta, 16.5×29.9×21cm, Washington Gallery of Modern Art, Washington, D.C.
 1917: Le Premier cri (A̱son Tywei ka).  A̱shong tswam á̱ ku shok a̱ni, 17 × 25.8 × 18 cm, Louisiana Museum, Humlebæk 
 1919: L'Oiseau d'or (A̱man A̱na-a̱shong ka).  A̱shong tswam á̱ ku shok a̱ni, 217.8×29.9×29.9cm 53.5cm, Art Institute of Chicago, Cikago
 1920: La Colonne sans fin (The Endless Column).  Kwon (a̱khwukhwop oak), 558×34×37cm, Musée National d’Art Moderne, Atelier Brancusi, Pari̱t
 1919: Mademoiselle Pogány II. Mabut a̱ci̱ci̱p, 44.2 × 20 × 27 cm, kpa̱m a̱pyia̱ a̱yin, Cikago
 1917: La Muse endormie II (Nyiin-nda Kwak-fwuo hu II).  A̱shong tswam, 17×28.6×17cm, kpa̱m a̱pyia̱ a̱yin
 1922: Socrate (Soki̱ratet).  Kwon, 111×28.8×36.8cm, Museum of Modern Art, New York
 1923: L'Oiseau dans l'espace (A̱man ka di̱ Kyai Tswazwa hu).  A̱sai mabut, 144.1×16.5cm, Museum of Modern Art, New York (a̱son ta̱m ka di̱ ce-nta̱m na)
 1923: Tête, Eileen (A̱pyia̱, Eileen).  Oni̱k, 29×24×16cm, Musée National d’Art Moderne, Pari̱t
 1925: L'Oiseau dans l'espace (A̱man ka di̱ Kyai Tswazwa hu).  A̱shong tswam á̱ ku shok a̱ni, 127×15.5cm, Philadelphia Museum of Art, Fila̱defiya
 1927: Jeune Fille sophistiquée [Portrait de Nancy Cunard] (Fi̱ng Nggwoneam A̱ Gwai A̱pyia̱ Nggu [A̱junjung Ghwughwu Nancy Cunard]).  Kwon, 55×12.5×55cm, Nelson-Atkins Museum of Art, Kansas City
 1927: L'Oiseau dans l'espace (A̱man ka di̱ Kyai Tswazwa hu).  A̱shong tswam á̱ ku shok a̱ni, 184.8 × 16.5 × 12 cm, in: A  Forest of Sculptures - Simon Spierer Collection, Hessisches Landesmuseum Darmstadt
 1930: Portrait de Mme E. Meyer Jr. (A̱junjung ghwughwu A̱yang-a̱li E. Meyer Jr.).  133 cm, a̱dyundyung mabut, National Gallery of Art, Washington, D.C.
 1931: Mademoiselle Pogány III. a̱sai mabut, 45.1 cm, Philadelphia Museum of Art
 1933: Mademoiselle Pogány III. a̱shong tswam á̱ ku shok a̱ni, 44.5×17.8×24.1cm, kpa̱m a̱pyia̱ a̱yin
 1937–1938: La Colonne sans fin (Tsuung Sang Sangba̱p ji).  29.33m, Târgu Jiu
 1937–1938: La Porte du baiser (A̱nunwuai Kpa-a̱nu ka).  513×654×196cm, Târgu Jiu
 1937–1938: La Table du silence (A̱tyii Nyonywang wu).  45 cm, ⌀ 215 cm, Târgu Jiu
 1943: Le Phoque (A̱kpang-a̱ghat wu).  Mabut a̱ci̱ci̱p a̱sa̱khwot khaan, 112×100×84cm, Musée National d’Art Moderne, Pari̱t
 1943: La Tortue (Kuvak-a̱sa̱khwot hu).  A̱sai mabut, 31.8 × 93 × 69 cm, Solomon R. Guggenheim Museum, Pari̱t

Di̱ nkhang a̱di̱dam
 Kpa̱m a̱kukum nkhang Robert McAlmon 1925 Distinguished Air includes one that revolves around an exhibition of Princess X. In 1930 the watercolour painter Charles Demuth painted Distinguished Air, based on this story.
Mi̱ novet Evelyn Waugh 1945 Brideshead Revisited, Anthony Blanche remarks in relating a story to Charles Ryder that "I have two sculptures by Brancusi and several pretty things" [sic].
Mi̱ fim a̱lyia̱ 1988 hu Short Circuit 2, a man walking through an outdoor exhibition speculates that the stationary Johnny 5 robot, who is also admiring the exhibit, is "an early Brâncuși."
Mi̱ ce-fim nkhang a̱di̱dam sains a̱lyia̱ 1999 hu Total Recall 2070, one episode ("Astral Projections") featured an artifact called the "Brancusi Stone" because it looks like one of Brâncuși's sculptures.
Mi̱ fim a̱lyia̱ 2000 hu Mission to Mars, the "Face on Mars" is modeled after Brâncuși's Sleeping Muse.

Ya̱fang

Nkwaa̱mbwat
Tom Sandqvist, Dada East – The Romanians of Cabaret Voltaire, MIT Press, 2006, 
Adams, Laura S. A History of Western Art. 4th ed. New York: McGraw–Hill, 2005.
Cristea, Simion Doru. "O escultor Constantin Brâncusi e a consistência paremiológica da sua arte / The Sculptor Constantin Brâncusi and the Paremiological Consistence of His Art." Proceedings of the Twelfth Interdisciplinary Colloquium on Proverbs, November 4 to 11, 2018, at Tavira, Portugal. Eds. Rui J.B. Soares and Outi Lauhakangas. Tavira: Tipografia Tavirense, 2019. 252-282. With 7 illustrations.*Richler, Martha. National Gallery of Art, Washington: A World of Art. London: Scala Books, 1998.
Neutres, Jerome. Brâncuși New York, 1913-2013 . New York: Editions Assouline, 2014. 
Varia, Radu. Brancusi. New York: Rizzoli, 1986.

A̱ka̱fwuop nta

Support for the inclusion of "Heroes' Way", the most prominent monumental ensemble in the region as well as one of Brâncusi's major creations, in the list of UNESCO World Heritage Sites
An excerpt from the transcript  of Brâncuși versus United States
Brâncuși  in the Philadelphia Museum of Art
Brâncuși in the Guggenheim Museum.

Peggy Guggenheim Collection
Public domain image resources

Brâncuși's atelier at Centre Pompidou, France
Petre Țuțea – An encounter with Brâncuși a rare meeting between two unusual personalities


Sa:Á̱nietnokghwughwu a̱fwun
01
Sa:Byin 1876
Sa:Kwi 1957
Sa:Niat mi̱ Bibi Montparnasse
Sa:Á̱nietnokghwughwu á̱sam
Sa:Á̱nietkwokghwughwu Fi̱ransa
Sa:Á̱niet Sot A̱gwomna̱ti Mali Gori̱ji
Sa:Avant-garde A̱romaniya
Sa:Á̱nietkwokghwughwu Romaniya
Sa:A̱lifang Pari̱t
Sa:Editing together in Tyap, Romanian and English