Page 137 - 亚洲二十世纪及当代艺术

ᇶˏࣺஹdԒ΅ٙІҢႩΝ Damien Hirst: “Do you perceive yourself more as a
chromatic virtuoso, a painter, an artist, or a sculptor?”
ϾίЪۜٙிۨႧԊɪdᖵஔ࢕तจ˸ɓ࣬୚ڗٙ˜ᖸᇶ™ਗ਼ɚࡈ˴
᜗޴ஹd୚ฆٙ،໢߰ॸ࠭ٙሀሁdၾᔮߕٙ໧ൃ΍Νܔ࿴̈ɓࡈϞ Yayoi Kusama: “I perceive myself as more of a sculptor.”
ዚٙᐑྤdረʚఊॱٙي΁˸͛նfༀ༱໧ൃৢٙଧɿίϤ೓νɓࡈ Over the past 80 years, Yayoi Kusama has wholeheartedly
˜͎ߣ™dၾІʉٙ˜Ꮓ܀™{{ৢ؎޴ஹdί͎ߣ̳ٙԃɨdৢ؎͵ dedicated herself to artistic creation, exploring a diverse
׶ସή͛ڗ̈ᒻߕٙ໧ൃfᖸᇶίϤ̙஗ൖމ˜͛նٙᔘ੭™dਗ਼ɚ range of expressive mediums including painting, collage,
٫ၡ੗޴ஹdစᖫ̈ɛᗳІ୚ߤ୭ߣeᐿࠃdϓڗމ͛նٙփѶཀ sculpture, film, performance, installation, and even novel
೻fЪۜ༊ྡఎৎ־ࣛڭςٙ˚͉ᖵஔޢ࿁׵˜Ԓ᜗™e˜ɾ׌˴່™ writing. This multifaceted journey reflects the brilliant life
ٙᗫءf࿁ণගԸႭdɾ׌ٙԒ᜗ʔස݊ᐿࠃٙ˜ʈՈ™dίϤһϓ of a prolific and gifted creator. Growing up in Matsumoto
މɓ၇ࡈɛଣַׂٙ࢝dৢଧၾৢ؎˸˜ᔘ੭™޴ஹeɦ΢Іዹͭπ City, Nagano Prefecture, Japan, in the post-World War II era
ίd੶ሜəࡈ᜗ٙዹͭ׌fೌᕚ‘ʔස࢝ତəণග࿁͛նeԮᆀٙ when Japan was striving to rebuild its society economically
᝔཰dᒔӼԈή࢝ତ̈ᖵஔ࢕࿁׵͛նᐿࠃٙܠϽdʿ˸ɾ׌˴່ٙ and culturally, she diligently honed her artistic skills. In the
ൖԉ࢝ତ̈ІҢႩΝٙᙂ፴f early 1960s, during her initial years in the United States, her
works were exhibited alongside renowned figures such as
ᚭˌٙވɛ৪Έdϓڗٙ୞฽ɢඎ Donald Judd and Andy Warhol, shining amidst an American
˜ၠЍٙओറɨࠦdίɓࡈτ᎑੻༓ମٙϫ෨༁dϞɓࡈᅂɿdΆྡ art scene dominated by white male voices. In the 1970s, she
ˏႰҢٙᜳ჻fփ׉ٙাኳfவఱ݊Ңᜳ჻̈ᔄٙԟɓᐛගٙྐྵ᎑ boldly engaged in various body-centric performance arts,
෗k™ delving into themes of identity, anti-war sentiment, and
feminism. Upon her return to Tokyo, starting in the 1980s,
{{ণගᏎ͛
she seamlessly merged diverse media such as painting,
͟׵ख़˨ቁڗಂ຾ᐄ၇ɿ͛จdণග੽ʃکঐڐ൷ᕎટᙃ΢ᗳಔيd sculpture, and installation, showcasing her abundant world
Ԩίˌൖձˌᛓٙᅂᚤɨ࿁ၠಔ˰ޢवɨዹतٙൖᙂΙ൥dϾɰ̥Ϟ of creativity. The presented piece, Untitled, completed in
ίІ್ʘʕdμʑঐνՉІԊ˜ҙۍהϞԫઋdਖ਼ːߧқή޶ഹҢࠦ 1983, embodies Kusama’s unique contemplation of life
ۃٙҖ൥™d੽Ͼᐏ੻ᜳ჻ٙહᛙfϤһ઼೯əμٙ௴Ъjೌᕚ‘዆ through its distinct form.
᜗˸ˆ௚ͩၠఊЍᖭႡd੶ሜՉϞዚ׌ၾಔي׌dϾմԒᛈɪვЍٙ The Song of Dionysus: The Radiant Chalice of Grape
ڥ४dҗ߰ረʚ̴ɓ၇ڢତྼٙ੶ɽঐඎdʔස࢝ତ̈ɓ၇͛ዚۉۉ Nectar
ٙߕชdһ˸଻ۃ৪৪೯Έٙൖᙂ Untitled cleverly consists of two sculptural components
᜗᜕dџ൘̈࿁͛նٙ - a wine bottle and a wine glass. The bottle narrows at
᝔ဂfϾৢ؎ʿৢ the neck while maintaining a solid and weighty body, with
ଧٙҖًΪɛ bountiful grapes symbolizing abundance and prosperity
growing along its edges. The smaller wine glass, with a
˓ٙ࣌෧eደ shape widening at the top and narrowing towards the
ႡϾଫяʔ஝ bottom, also features grape clusters at the rim and base,
ۆҖdһ᜗ତ creating a harmonious connection with the wine bottle.
̈͛նᒱʔҁ This creative theme evokes associations with the renowned
ߕdۍ̥Ϥɓ masterpiece Bacchus by the Italian Renaissance artist
ϣeӊࡈᜳ჻ Michelangelo da Caravaggio. In ancient Greek and Roman
ே݊ዹɓೌɚ mythology, the god of wine, Dionysus, was seen as a symbol
ٙޜ൮ଣׂf of celebration. The sweetness and juiciness of grapes, the
Ъۜ˸ᒻڥٙ intoxicating effect
Ѝ੹eཱིတٙ of alcohol, and the
ிۨ੽ɚၪ̻ࠦ allure and indulgence
ɪ˜୭጑Ͼ̈™d a s s o c i at e d wi t h
t h e m we r e a ll
࢝ତ̈ɓ၇ᐿࠃeϓ embraced to revel
ڗٙ୞฽ɢඎf in the most fulfilling
ণගᏎ͛˸Ъۜၾ˰ޢ࿁༑d an d ab u n d an t
ίतϞٙၚग़˰ޢʕІίዹ moments of life. In
Бd͍νՉהԊj˜வ݊Ңٙ the East, there is
also the poetic line
̦་dᐼܼҢٙɓ “the radiant chalice
ʲ ™dೌᕚ‘͍ of grape nectar,”
˸࿁І್ٙ᝔཰ symbolizing the joy of
⥙⥙͛ሾdෂ჈ drinking to the fullest,
̈͛նၾ̳ԃٙ celebrating life’s ̔ז͙ఐৢग़‘dذ੹೥̺d95 x 85 cmd1596
փᔴf triumphs with utmost ϋЪdНᖯࡐᔜढിধߕஔ᎜ᔛf೥̸ࠦɨԉމ
ৢଧdၾৢग़˓ʕٙৢ؎޴խᏐf؈ᆵʕٙ໧ൃ
စᖫ࿁͛ݺᔮߕٙซ൥
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