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　　文/陳沛岑

　　奈良美智（b.1959）

　　女孩與潛水艇

　　一九九二年作

　　壓克力彩 畫布

　　100×150cm

　　I believe that Yoshitomo Nara is one of the world's leading artists.

　　— Takashi Murakami

　　The Japanese artist Yoshitomo Nara is one of the greatest stars of the post-war art world, both in Asia and the rest of the globe. Using vivid and succinct language, he conveys various sentiments through the protagonists in his paintings, such as kindness, rebellion, loneliness, and malice. In 2012, his personal exhibition at the Yokohama Museum of Art was visited 100,000 times — a figure that is unmatched by even another popular Japanese artists, Takashi Murakami.

　　Yoshitomo Nara once stated that all of his creations prior to 2001 are recollections of his childhood; for him, the creative process is a series of minute, yet important dialogues with the self. In 1988, he was accepted into the Kunstakademie Düsseldorf, and he remained in Germany long after his studies, spending a total of 12 years there. "In Germany, I was a foreigner who didn't speak the language. I felt alienated, much like I did when I was growing up in Aomori — a place that is relatively distant from the rest of Japan. These experiences made me reflect upon my identity and rediscover myself." Nara's creative process is a form of self-interrogation and reflection; his works overflow with youthful vigour, libertine spirit, and personal nostalgia. It is fair to say that anyone of any age and nationality can relate to and communicate with his work. Completed in 1991, Submarines in Girl is a typical example of his early artistic experimentation.

　　The Significant Change: from Meticulously Narrate His Mind to Speak His Heart

　　With this landscape painting, Yoshitomo Nara departs from his prior attempts to tell complicated narratives in realistic detail. The background of Submarines in Girl is free of any contextual particularities; the detailed houses and scenery included in his earlier works are nowhere to be found. In their place is a combination of yellow-green, blue, and pink hues that come together to form an innocent, minimalist space. The face of the little girl featured in the painting has been stretched to take up almost the entire canvas. It is almost as though her features have been pressed flat. The viewer's gaze is immediately drawn to her two widely spaced, staring eyes as well as her lips, which are curled into a smile as if mocking something or someone. The artist has stuck a red flag on the top of the protagonist's head, right in the middle of her hair, making her head appear like a sports field or a world map, and three submarines shuttle back and forth on this flat surface, instantly linking together reality and fantasy. The work demonstrates self-confidence, maturity, and rich imagination that were not present to the same degree in Nara's earlier works.

　　A Unique Perspective Inspired by Music

　　Music continually nourished Yoshitomo Nara's imagination as he developed from a child into an adult. Thanks to music, he learned how to represent the figments of his imagination in "ways that transcend language", and what is art if not a process of lending form to what was once visible only in one's own mind? In this sense, music played a crucial role in teaching Nara the fundamental skills of artistic expression. The artist had relatively eclectic tastes spanning rock, folk, and pop, and he was well-versed in the discographies of the Ramones and the 60s star group The Beatles. Submarines in Girl is therefore inevitably reminiscent of the lyrics to The Beatles' 1966 hit Yellow Submarine and the animated movie of the same name released two years later. "In the town where I was born lived a man who sailed to sea/And he told us of his life in the land of submarines/So we sailed up to the sun till we found the sea of green/And we lived beneath the waves in our yellow submarine." Many people of today's world no doubt share memories of the animated film, which tells the story of The Beatles taking a submarine to a far-off land. Nara himself surely heard this song and saw the film, so it is really not much of a stretch to see how Submarines in Girl may have, to a certain degree, stemmed from such experience.

　　Submarines in Girl was completed in 1992 — Nara's fourth year in Germany. By that time, his German had greatly improved, while his creative process had transitioned from earlier exploration and experimentation to a more established, self-confident style. Having matured as an artist, Nara was now able to create works that resonated and communicated with people. This was confirmed in 1990 when he was invited to hold his first ever solo show at the Galerie d'Eendt in Amsterdam, which was highly praised. As a result, he was invited back to hold other exhibitions in 1992 and 1994. 1992 was therefore Nara's breakthrough year as an artist. The young girl who stares at us with a smile on her face in Submarines in Girl perhaps represents the artist's state of mind at that time. That year, he said goodbye to loneliness and disillusionment, embarking upon on a journey of unimpeded artistic creation not unlike the journey depicted in Yellow Submarine. It is almost as though he has found a new self — "a man who sailed to sea" — who is unafraid to brave the unknown and embrace the outer world with open arms. This is perhaps what Nara is attempting to convey through this work.

    現(xiàn)年59歲的日本藝術(shù)家奈良美智，不論在亞洲，或是放眼世界，無非是二戰(zhàn)后殿堂級的明星藝術(shù)家。他以鮮活、純粹的語匯，借著畫中主角流露各種或溫暖，或反叛，或寂寞，或邪惡的性格真切地?fù)铽@了眾人的目光，并走進(jìn)了觀者的心底。在1995至2010年間，他的作品曾九次登上日本《美術(shù)手帖》封面；2012年他在橫濱美術(shù)館的個展，吸引了高達(dá)十萬人次前來觀展，此高人氣曾令另一日本知名藝術(shù)家村上隆都開玩笑的自嘆不如并流露羨慕之情，足見他無與倫比的魅力。而其作品除受廣大私人藏家喜愛外，并為許多國際級的美術(shù)館收藏，如紐約現(xiàn)代藝術(shù)博物館、倫敦大英博物館、東京都現(xiàn)代美術(shù)館、芝加哥當(dāng)代藝術(shù)博物館等均有其藏品。

　　奈良美智曾表示，在2001年以前，他所有的創(chuàng)作都是對于自我童年生活的回憶、是“與自己的內(nèi)在，雖小卻重要的自我，一邊對話，一邊創(chuàng)作”。因此，早年作為鑰匙兒童中于農(nóng)村成長，學(xué)習(xí)與自己獨(dú)處，和鄰居養(yǎng)的動物玩耍、聽音樂、看繪本、文學(xué)著作的經(jīng)驗(yàn)，與自1988年出發(fā)到德國杜賽道夫藝術(shù)學(xué)院求學(xué)，展開長達(dá)12年留德生涯中的點(diǎn)滴感觸，都被他化為創(chuàng)作的靈感，“在德國，我是個語言不通的外國人，我感到被孤立，就像在青森長大時一樣，該處遠(yuǎn)離日本其他地方，令我反思自己的身份，讓我重新發(fā)掘自我。”其創(chuàng)作如同對自己的詰問、關(guān)照和一次次的審視，作品則成為他的青春、追求自由的反抗精神，與回憶的結(jié)晶體，當(dāng)中流泄的是超越國界、不分年齡都可觸知的情感、能進(jìn)而產(chǎn)生共感與對話的想象空間。此亦顯示了他富個人特色、創(chuàng)新的現(xiàn)代視覺語言。完成于1992年的《女孩與潛水艇》即為其早年創(chuàng)作經(jīng)典的個中代表。作品除被收錄在《奈良美智全集》外，亦被藝術(shù)家本人特別挑選放入僅收錄一百余件于2015年出版的《奈良美智自選集》中，作為橫跨30年創(chuàng)作期的代表作之一，重要性不喻自言。

　　奈良美智《云上的人》（People on The Cloud)，1989年作，壓克力彩畫布。在藝術(shù)家的早期創(chuàng)作中，背景仍見對于具體空間與房舍景物的描寫，但自1991年開始，奈良開始由繁化簡，創(chuàng)作進(jìn)入另一進(jìn)層

　　飛躍的大爆發(fā):由繁入簡，筆隨心生

　　在此偌大的橫幅畫布上，我們可見奈良美智揮別了繁復(fù)的敘事方式，對比于1985至1990年代初期的創(chuàng)作，如與《精神錯亂》（Case of Insanity，1985年）、《云上的人》（People on the Cloud，1989年)相較，《女孩與潛水艇》展現(xiàn)了藝術(shù)家的躍進(jìn)與成熟，他在此將帶有時、地、物的背景空間描述進(jìn)行減法的功夫，那些早年畫中具象的房子與土地消失了，他僅以相近黃綠、藍(lán)、粉的色彩變化、相互交融，以簡馭繁地創(chuàng)造出一個單純的背景空間，而人物在此被放大，主角的地位明確地被提升——一個小女孩的大臉，占滿整個畫幅，像被變形而壓縮成寬扁的臉龐上，兩只如娃娃魚般分得很開的眼眸正與我們對望，咧嘴而笑，透露出莫名的滑稽感，瞬間攫取了觀者的注意力，而藝術(shù)家特別在女孩頭頂橘色的發(fā)間正中心安插一只紅旗，巧妙地把頂上天地轉(zhuǎn)換成球場，或世界地圖上的圖景，而三艘潛水艇在一旁來回逡巡，一下子把現(xiàn)實(shí)與想象的疆界連接了起來。展現(xiàn)了奈良在創(chuàng)作上的自信、純熟與天馬行空的奇想。

　　而此以簡化繁的構(gòu)圖與平面化的敘事方式、以墨黑的粗體輪廓線勾勒主體人物，無疑是奈良美智提取日本傳統(tǒng)浮世繪與現(xiàn)代西方藝術(shù)繪畫表現(xiàn)的精華，揉合自我的觀察與表現(xiàn)而成就的個人特色。如德國藝評家特里沙（Stephan Trescher）所指出：“空無一物的背景上的全身人物，人物與平面、圖像與周邊空白的關(guān)系，印刷和繪畫之間界限的模糊——這一切都出現(xiàn)在奈良美智和十八、十九世紀(jì)歌川廣重、葛飾北齋和喜多川歌麿等浮世繪畫師的創(chuàng)作中。”我們可感知，奈良美智無疑是站立在前人的肩膀上，在傳統(tǒng)與現(xiàn)代、東方與西方之間，以自我獨(dú)特的理解與表現(xiàn)，既傳承又引領(lǐng)著時代的浪潮。而此《女孩與潛水艇》一作，不啻可被視為其創(chuàng)作關(guān)鍵轉(zhuǎn)折期的重要表征，其藝術(shù)由此進(jìn)入一場飛躍的大爆發(fā)！

　　音樂的啟迪，特殊的視角

　　“高中時代，我的房里沒有畫冊，但有藝術(shù)。我是從手邊的唱片封面上，認(rèn)識了藝術(shù)。那些剛從國外飄洋過海來的新唱片，是一窺新藝術(shù)的寶庫。我聽著從揚(yáng)聲器中流瀉出來的音樂，讓想象力盡情地奔馳在唱片的封面上。我想這教會了我如何將心底涌出的形象以超越語言的方式轉(zhuǎn)化為視覺?！?/P>

　　—— 奈良美智

　　1990年，時年30歲的奈良美智于其德國的工作室。當(dāng)中可見他所搜集的許多各類唱片，以及吉他。而音樂的浸潤，也開啟了他如何將無形的精神想象世界或心中的圖景化為現(xiàn)實(shí)創(chuàng)作的能力。

　　從青春期至成年，音樂一直滋養(yǎng)著奈良美智。如其所言，在早年住在鄉(xiāng)村、刺激相對匱乏的高中時代，他是透過唱片封面上的繪圖來認(rèn)識藝術(shù)，并通過音樂與自我的想象，將形象“以超越語言的方式化為視覺”。而藝術(shù)無非就是將無形化為有形的過程，此能力對創(chuàng)作表現(xiàn)來說，極其關(guān)鍵。奈良所接觸的音樂類型相當(dāng)廣泛，從搖滾、民謠到流行樂都有涉獵，如雷蒙斯樂隊（Ramones）、鮑伯?迪倫（Bob Dylon）、或是風(fēng)靡60年代的披頭四（The Beatles），對他來說都如數(shù)家珍?！杜⑴c潛水艇》一作，令人不禁聯(lián)想到披頭四在1966年所發(fā)行的《黃色潛水艇》的歌詞，與1968年其參與制作的同名動畫電影的情節(jié)。歌詞是這么寫的:

　　“在我出生的那個小鎮(zhèn)，有個男人會航海，他告訴我，他的人生是怎么在潛水艇上度過，他帶我去太陽下航行，直到我們找到一片綠色的海洋，我們在浪里謀生，住在黃色的潛水艇里……”

　　樂曲配合輕快的節(jié)奏令人朗朗上口，而動畫則描述披頭四樂團(tuán)成員搭乘潛水艇在奇幻世界里探險的故事，相信是很多人的共同記憶。而奈良必然亦曾聽過、看過，并讓他創(chuàng)生了《女孩與潛水艇》一作。

　　由于披頭四的《黃色潛水艇》的爆紅，1968年加拿大導(dǎo)演唐寧（George Dunning）以歌詞內(nèi)容改編拍攝了同名動畫短片，描述披頭四搭乘潛水艇展開的冒險。圖為《黃色潛水艇》電影海報封面

　　回顧創(chuàng)作時的1992年，是他到德國的第四年，當(dāng)時他的德語已比較進(jìn)步，在創(chuàng)作上也從早期的摸索嘗試，轉(zhuǎn)為明晰自信，并能夠透過創(chuàng)作和外界溝通，進(jìn)而引起共鳴。如在1990年，他受邀在阿姆斯特丹的Galerie d'Eendt舉辦人生中的首次個展，展覽大獲好評，并開啟了和該畫廊后續(xù)于1992與1994年個展的合作，無非是其創(chuàng)作生涯中首度有了明確的成果與被肯定。《女孩與潛水艇》畫中正面與觀者對視，讓人不得不直視她的微笑小女孩，或正如藝術(shù)家當(dāng)時當(dāng)刻的狀態(tài)，揮別了寂寥與孤獨(dú)的哀傷，優(yōu)游在藝術(shù)創(chuàng)作中，幻想著搭乘潛水艇和披頭四，或歌曲中那個會航海的男人，或甚至是擁抱現(xiàn)實(shí)中的自我——展開對于世界、對于未知、對于未來的種種探索，勇而無懼地?fù)肀澜?，這或許就是奈良想透過作品，告訴我們的事。