Page 133 - 亚洲二十世纪及当代艺术
P. 133
e
, Y
a
r
a
s
u
a
m
a
us
y
o
i K
’
s n
a
n
a
p
a
l t
r
e
a
t
io
n
’
t
o s
h
e
g
ua
g
e
o
r l
v
o
w h
e
u
e a
r
q
s u
n
i
ic l
a
n
t
t
i
s
Japan’s national treasure, Yayoi Kusama’s unique artistic language to show her love
J
e r
s
a
r
r
e
m
t
e
y e
n
p
i
x
t o
c
n
e
s
l
. O
r
o
i
f h
is the result of her extraordinary experiences. Originally from f f or hat s as an
e
h
u
y f
s t
d
n
s a
i
r h
x
s a
o
a
r
o
e
i
r
g
r e
a
n
i
ll
r
a
t
r
n
v
t
r
t
a
s
a
g
v
e w
-
i
d
e
, s
o
p
conservative Japan, she developed a series of avant-garde works in accessory. In her
n
r
d a s
e d
v
y
e
e
l
e
h
. I
f a
s o
a
a
e J
c
v
a
o
e
r
e
p
r
i
k
s i
n h
s
o
e
r
n
c
c
e
o
n
s
a
n
e
t a
t
a
v
s t
n
i
the United States that appeared to be deviant and controversial, and g r a p h ic c r e a t io n s ,
l
d c
n
o
, a
i
a
n
t
e
r
t
e
h
a
e
p
s
p
t a
e d
h
e U
d
r
o b
d t
graphic creations,
a
v
e
a
e
d S
t
r
i
t
n
o
e
h
e
a
r
e
s
at
e v e n t ua ll y g a i n e d w o r l dw i d e a t t e n t io n . s she created several l
r
v
e
eventually gained worldwide attention.
d
e
c
w o r k s o n p a p e r
works on paper
A s e a r l y a s 1 9 4 4 , a t t h e a g e o f f i f t e e n , Y a y o i K us a m a w a s d r a f t e d
As early as 1944, at the age of fifteen, Yayoi Kusama was drafted
with the theme of
y t
n
m
o
o
e
t
u
a
n
e s
t
r
n
c
e f
n a p
a
r
h
a
, wh
o
a
c
e
r
y
t
r
e l
b
e
k i
r
v
h
o w
e g
r
t t
by the government to work in a parachute factory, where she learnt w i t h t h e t h e m e o f
e
h
hats, including A
e
n
i
d
r
a
s
a
e
s
a
t
t
d
w
i
t to sew. Kusama is a multifaceted artist, not only a painter and h a t s , in c l u din g A
p
i
c
a
t
t
i
f
m
o
K
t
n
e
n
a
l
o
y
r
l
s
a
o
,
u
.
a
a
us
n
e
t
m
r
n P
o
ng i
a
e o
S
f
is
o
r b
r
sculptor but also a performance artist, fashion designer, poet and Song in Praise of
c
a
s
e
n
t
o
m
e
f
e a
r
c
l
h
r
n d
io
a
n
s
n
s
l
u
s
i
g
e
t a
t a
p
e
, p
o a p
t
r
, f
t
i
s
d
u
o
Hat. Later in 1981,
novelist. Her works are diverse, ranging from painting, soft sculpture,
n o v e l i s t . H e r w o r k s a r e d i v e r s e , r a n g i n g f r o m p a i n t i n g , s o f t s c u l p t u r e , Ha t . L a t e r i n 1 9 8 1 ,
e
e r
l
s
h
e
e
d h
e
r
a
performance, installation and film, and cover the genres of Abstract s she released her ণගᏎ͛ࢬӽ྅d̛ɚމণගᏎ͛dՉ͎ፋ̛ɓԒɪٙձ
p
b
t
, a
e
r
n
s
n
s o
r
c
d fi
e
v
o
f A
a
e g
d c
m
n
e
r t
l
t
h
n
io
o
t
s
f
e
c
r
, i
e
r
n
a
m
a
t
n a
ll
a
Չ
̛ɚ
d
͛
a
ɓ
ග
ፋ
e
t
Ꮞ
͎
f
in
t
̛
H
ণ
މ
ণ
Ꮞ
t
d
s
ࢬӽ
͛
p
ir
ٙ
ɪ
L
r
ձ
t
྅
ග
Ԓ
E x p r e s s io n , P o p A r t a n d F e m i n i s m . T o da t e , s h e h a s b e e n r e c o g n i s e d f first print Hat Left ᔌيڀ७уމᓃϓ
Expression, Pop Art and Feminism. To date, she has been recognised
ᔌ
ي
ᓃ
у
މ
७
ڀ
ϓ
d
F
i
t
i
i
n
e
e
b
h
d
n
e
h
l
9
e H
e “
as one of the “Greatest Artists in Japanese History”. In June 2009, The behind in the Field, ,
y
e
s o
t
r
0
. I
”
a
s i
e
a
is
n
h
e
r
t
is
, T
p
n
a
G
t
or
e o
t A
a
n
e 2
n J
s
t
h
f t
s
0
e
n Ju
and in the same
Times announced the 200 greatest artists of the 20th century, with
T i m e s a n n o u n c e d t h e 2 0 0 g r e a t e s t a r t i s t s o f t h e 2 0 t h c e n t u r y , w i t h a n d i n t h e s a m e
a
e
v
e
t
h
s w
a
o c
h t
e
n t
r
e b
o
r
r
e t
h
a
k
n
h
n c
e o
e w
f h
y
s
a
m
e
t
i
s o
a
, s
a
t
g
Yayoi Kusama as the representative of Japan, alongside the likes of
Y a y o i K us a m a a s t h e r e p r e s e n t a t i v e o f J a p a n , a l o n g si d e t h e l i k e s o f year, she began to create works on canvas with the theme of hats, ,
which demonstrated the profound significance of the theme to
g
n
Pablo Picasso and Paul Cézanne, demonstrating her outstanding w h ic h d e m o n s t r a t e d t h e p r o f o u n d si g n i f i c a n c e o f t h e t h e m e t o
n
a
o
a
t
z
s
s
o
a
g h
e
u
u
ic
P
a
t
r o
n
i
b
r
t
s
é
n
o a
l
s
n
i
a
d
t
l C
n
d P
e
m
a
, d
P
n
e
m
us
s a
n
”
e
r
e l
r
i
a
s
l o
eg
c
i
t b
t
e
t
’
m
y
h
m
a
o
d i
a
e a
o
a - h
t
s “
K
f t
k
e a s
b
, a
i
s
ev
d
f
i
h
a
ts
c
-
t
e
-
i
h
a
-t
o
t
r
a
me
nd
n
r
me
a
a
and ahead-of-her-time artistic achievements. . Kusama - hats are like a symbol of the artist’s “ego”, and it became
e
c
e
h
i
s
e
e r
e o
io
r
a
n
r
o
n t
h
p
s i
e
v
e
i
e
t p
e
k
r w
t the representative theme of her works in that period.
e
h
d.
m
r
t
f h
t
a
h
e t
Fashion: The Movement of Polka Dots!
F a s h i o n : T h e M o v e m e n t o f P o l k a D o t s !
o
h
u
m o
Colourful Sky, Rhythm of Life
C
t
r
f L
l
f
i
k
h
u
, R
y
l S
f
e
o
y
s a k
a
T
ol
o
k a
k
p
l
s w
e
a
’
y e
r
a
d a
n
h
”
n K
w
t
o
us
e
e
The “polka dot” was a key element in Kusama’s work and an After living in New York for seventeen years, she returned to Japan in
n
e
m
m
a
n
“
d
t i
e
n y
n
n
A
e
e
n
r
n i
w Y
n N
s
e
, s
t
v
e
a
v
d t
u
e
k f
h
i
e
o
r
r s
e r
f
o J
n
i
g i
p
o
t
e
a
a
r l
r
e
t
a
r
n
s a
e h
a w
p
t
a
m
m
i
i important symbol of the hippie era. In the 1960s, Kusama was an 1 9 7 3 a n d b e g a n t o c r e a t e m o r e w o r k s o n p a p e r , w i t h A S o ng i n P r a is e
o
o
s
us
m
n
p
9
h
. I
e 1
t s
6
b
l o
, K
a
a
h
y
i
0
r
n t
f t
p
e e
1973 and began to create more works on paper, with A Song in Praise
a c t i v e m e m b e r o f t h e i n t e r n a t i o n a l a r t s c e n e , a s i n f l u e n t i a l a s t h e of Hat being one of her rare large-scale works on paper from the Tokyo
active member of the international art scene, as influential as the
n
e
e
o
k
e
c
k
t
of
m t
r
r
i
a
o
r r
s o
g
p
l
e o
r
a
y
r f
g o
b
a
h
a
-
n p
o
f h
o
e T
H
e l
n
e w
a
e
r
s
p o p a r t i s t A n d y W a r h o l . T h e r e c u r r i n g “ p olk a d o t s ” i n h i s w o r k s p e r io d. T h e w o r k c o m bi n e s t h e p o l k a d o t s , wh ic h i s h e r l i f e l o n g f a v o u r i t e
pop artist Andy Warhol. The recurring “polka dots” in his works
period. The work combines the polka dots, which is her lifelong favourite
s
h
a
us l
r
i
k
n
i
e
m
s
t
s D
r
pi
a
e
o
u
e
d T
s
e
c
r
t
s s
a
d n
t
i inspired numerous later artists such as Damien Hirst and Takashi i e l e m e n t , w i t h h e r s p e c i a l l o v e f o r h a t s . O n e c a n s e e t h e s p r e a d i n g
r a
n
t a
i
h a
s
m
a
r
u
n H
element, with her special love for hats. One can see the spreading
t
s
n p
io
s a
u
m
e
e
u
t
t
Murakami. This autumn auction presents A Song in Praise of Hat, , circular lines, like an organic “infinite net” in yellow, white and gradual l
r
n
u
s
M
t
n a
A S
n P
e o
i
ong i
a
. T
m
h
r
k
r
a
is
c
a
i
a
u
f H
n o
i
w
r
in
t
t
i
r l
n
l
“
ll
, l
c
ua
, wh
d g
o
n
e
r
ic
n
k
i
t
s
i
g
i
e
e
a
e a
u
e a
”
n y
n
in
a
r
d
i
c
f
e
a
e a
9
c
ic
o
n
y
m
t
t
e
s
o i
e
7
bi
n 1
l
k
, wh
s
s t
p
e
9
n T
r
h c
o
h
t
o
i
d i
’
m
o
t
completed in Tokyo in 1979, which combines the artist’s most s silver, constantly extending and growing outwards. The entire hat is
s m
v
r
e
w
i
n
a
t
d
l
i
t
o
t
, c
ds
o
e e
d g
n
u
r
a
s
t
y e
n
x
g o
. T
a
e h
r
t i
s
w
n
h
l
g a
n
e
n
n
t
i
r
i
y
t
t
e
n
e
f
n
i
n
i
w
a
s
o
o
t
a
s
d
n
f
o
s
o
p
e
e
m
ic
t
n
iconic elements of polka dots, infinity nets and sawtooth, with outlined by a jagged thick black line, demonstrating that what looks
l
s
t
i
,
a
k
l
o
d
w
h
o
n
,
t
h
ic
i
t
e
a
o
r
c
h
g
a
n
s
t
k l
o
s
a
a
t
k b
k
g
ic
i
l
a
t wh
i
n
t
y a j
l
o
h
g t
u
n
d b
m
o
i
n
e
, d
d t
t l
e
e
a
k o
e
d
h
s
f e
io
a
r
io
t
her exploration of fashionable objects, a work of extraordinary sweet and lovely also carries “sharp claws,” and to a certain extent, it
a
o
r
h
f f
x
t
r
n o
o
s
e
b
p
e o
, a w
a
c
e
r
j
l
t
y
b
o
r
n
n
r
a
i
x
l
x
e
v
t
t
n e
t
y a
l
e
n
, i
t a
a
h
s
r
o c
l
p
c
s
a
r
r
e
i
s
“
e
we
aw
o a c
e
n
d t
o
a
i
r
t
l
,
n
s
”
a
d l
s
significance.
s i g ni fi c a n c e .
a l s o d e m o n s t r a t e s t h e r i s e o f w o m e n ’ s p o we r i n t h a t e r a .
also demonstrates the rise of women’s power in that era.
e
L
f
i
s
us
K
am
’
a
u
o
r
e
it
v
on
l
g
a
F
Hats: Kusama’s Lifelong Favourite
s
a
t
:
H
o
r
n
u
u
, a
r
l
o
n
h
e
d
d a
e
e r
d t
y u
e
v
r
T
e
t
q
o
s
e h
The hood and bow are uniquely upturned, and the rounded curves
d b
d c
h
i
d
u
n
e u
p
o
u
n
n
w a
a
i
s
a
a
t
w
d
o
r
t
f
e
e
i
f
us
n
s
t
e
t
e
d
h
c
t
h
e
u
r
n
t
7
n
In the 17th century, the colour of hats was used to differentiate r resemble a smiling mouth, reflecting the spirit of Kusama’s upward
I
t
1
h
e
o
u
l
c
o
f
o
r
t
,
y
e
h
e
s
e
, r
fl
e
h
c
a
’
m
us
a
s u
r
d
a
p
w
g t
h
n
t
i
e s
t o
f K
i
pi
r
u
e
l
i
t
b
m
e a s
l
g m
o
m
i
n
social status, and hats themselves became, to some extent, a
s o c i a l s t a t u s , a n d h a t s t h e m s e l v e s b e c a m e , t o s o m e ex t e n t , a m o b i l i t y a n d i n d o m i t a b l e w i l l . S h e i s a c t i v e i n t h e a r t w o r l d o f J a p a n
mobility and indomitable will. She is active in the art world of Japan
h
t
r
i
n
t
o
e B
a
i
a
l
f c
a
s
. L
s
r
, t
o
r
t
e
n o
t
l f
a
m
a
e
p
y
o
r
y w
o
representation of class. Later, the British royal family wore hats for and the United States in her own way and is never afraid of other
e h
i
l
r
t
e
s
i
s
a
e
s f
r
h r
h
a
d i
s i
v
a
e
s n
wn w
n
y a
a
t
e U
e
h
i
d o
i
r
f
a
r o
n h
d t
e
f o
e
t
t
n
d S
n
t
r a
e
e
r
a long time, which led to a fashion trend. Since the Meiji Restoration,
a l o n g t i m e , wh ic h l e d t o a f a s h io n t r e n d. S i n c e t h e M e i j i Re s t o r a t io n , p e o p l e ’ s j u d g m e n t s , b u t c o n t i nu e s t o m o v e f o r w a r d w i t h h e r s t r o n g
people’s judgments, but continues to move forward with her strong
J a p a n h a s b e e n i n f l u e n c e d b y t h e W e s t , a n d i t s c i t i z e n s h a v e a l s o w i ll a n d a r t i s t ic c o n v ic t io n . T h e a r t w o r k i n c o r p o r a t e s t h e a r t i s t ’ s
Japan has been influenced by the West, and its citizens have also
will and artistic conviction. The artwork incorporates the artist’s
b e c o m e m o r e f o n d o f we a r i n g h a t s , w i t h t h e i r c l o t h e s t o s h o w t h e i r si g n a t u r e i n f i ni t y n et , p olk a d o t s an d s a w t o ot h e le m e n t s , m a k in g
become more fond of wearing hats, with their clothes to show their
signature infinity net, polka dots and sawtooth elements, making
personalities and tastes. Since she visited the United States in 1957,
p e r s o n a l i t i e s a n d t a s t e s . S i n c e s h e v i s i t e d t h e U n i t e d S t a t e s i n 1 95 7 , i it display a unique rhythm that is dynamic and organic under the
n
e
d
y
r
y
h
h
t
p
a
i
n
m
n
a
a
d
ic
n
r
o
e
y
g
u
d
n
u
ic
e
l
q
a
a
r
u
m
h
d
a
t
s
h
t
s
t
i
i
t
o
e
a
r
a
s b
n
t o
c
n
sio
n v
e
a
m
a h
p
g h
n we
m
a
a
K
r
t
Kusama has been wearing hats on various important occasions, ,
i
s
c
t
r
n
us
a
us i
a
s o
io
d r a m a t ic i n t e r p r e t a t io n , f o c us i n g v i e we r s ’ a t t e n t io n o n t h i s r ic h v i s ua l
dramatic interpretation, focusing viewers’ attention on this rich visual
io
n
us
ll
illusion. .
i
Beyond the Hat: Rain Falls, Clouds Fold
B e y o n d t h e H a t : R a in F a l l s , C l o u d s F o l d
t
a
s f
o
f
r
o
g
o
ong i
k
r
c
e
A S
r
a
g
The background of A Song in Praise of Hat goes from dark to light: :
T
m da
d o
i
i
h
g
h
a
o l
f H
s
u
k t
n
e o
t
n P
r
e b
da r k g r e y w a t e r c o l o u r c h a n g e s f r o m t h e c e n t r e t o pi n k i s h p u r p l e ,
dark grey watercolour changes from the centre to pinkish purple,
d
a
v
o
f f
a d
e
o
. T
l
r
h
u
t t
r
e r
k
d
m n
h
s i
e t
n
g
k
a
r
o
as if from night to day. The red polka dots pervade the background, ,
t
s p
e
i
c
o da
a
y
g
o
h
e b
d p
s
a
w
s
e
d
t
s
v
n
e
t
a
o
u
f
g
n
r
d
h
ds
i
h
t
o
n
t
dancing in the vastness of the universe, spreading outwards to
i
o
a
a
v
t
n
i
s
i
g
n
e
e
r
r
u
p
,
e
n
e
c
s
e
a
r
s
e
, e
o
k
e
i
f form a majestic atmosphere, each flickering under the seemingly
e s
a
j
h
e
r
s
n
c
e
p
e
r t
m a m
m
i
l
e
l
h
h f
n
n
g
ic a
t
r
g u
y
t
m
d
o
ic
t o
e
c complex, but in fact, rhythmic movement, with the yellow hat on
v
y
e
n
o
n
w h
a
m
e
p
h
t i
m
u
m
o
ll
t
n f
o
l
, r
, b
i
x
a
h
, w
t
h
t
c
h t
ic m
t
e
e y
i
d
i
h
t
a
e
o
e a g
l
e v
we
v
i
a
io
p
p
l
k
p o
’
t
r
g t
e o
h
, c
s
m
l
e
t top of them like a glorious temple of gold, captivating the viewer’s
n
i
f g
e
o
r
us t
o
m l
f t
a t t en t i o n.
attention.
a u
H
n
a
, K
s h
d
a
io
m
t
a
ng i
a
d i
o
n a
A
s
r
S
e
n
r
n
us
In In A Song in Praise of Hat, Kusama uses her grand imagination and
o
a
is
r g
i
e
n P
a
f
m
g
e
t
passion to give ordinary objects the splendour of life. Everything seen
p a s s io n t o g i v e o r d i n a r y o b j e c t s t h e s p l e n d o u r o f l i f e . E v e r y t h i n g s e e n
a
l
t
r
h h
k
h
h o
t
n
n t
e p
t
s
e
r
g d
e
r
o
a
o
i
w
c
y
t
a
e
r e
e
i
h
e
i
u
n
h
s r
t through her eyes resonates with each other, writing down the polka
, w
g
o
s w
o
h e
dot queen’s persistence and undying expectation for art.
d o t q u e e n ’ s p e r s i s t e n c e a n d u n d y i n g e x p e c t a t io n f o r a r t .
ː
ٙ
ੰ
͛
స
෧
Ꮞ
ᎉ
ᓃ
ხ
͂
࢝
̈
ɿ
̔
ণගᏎ͛࢝̈၅֥ੰપᄿ˕౪ʕːٙసɿᎉ෧dϓމήხࠋସΤٙ͂̔౻ᓃ
ସ
d
˕
ή
ণග
ϓ
౻
પ
ࠋ
ٙ
މ
౪ʕ
Τ
၅֥
ᄿ
0 93 - 0 9 4
