Takahiro Iwasaki 鏡面的世界

最新 05-21

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DESIGN CONCEPT

岩崎貴宏（Takahiro Iwasaki）被認為是日本新一代年輕藝術家的代表之一。近年來，他的作品分別於台灣美術館、巴黎東京宮、香港藝術中心、紐約C24畫廊、東京森美術館展出。Iwasaki非常注重工藝、視覺傳達及哲學，他創作了複雜精細的模型，重新詮釋了標誌性的歷史建築和當代城市景觀。

Takahiro Iwasaki is recognised as one of the leaders of Japan』s new generation of young artists. In recent years he has exhibited at the National Taiwan Museum of Fine Arts, Taichung; Palais De Tokyo, Paris; Hong Kong Arts Centre; Gallery C24, New York; and at the Mori Art Museum, Tokyo. Paying great attention to craftsmanship, visual presentation and philosophical content, Iwasaki creates intricately detailed models that reinterpret iconic historical buildings and contemporary cityscapes.

岩崎貴宏 /Takahiro Iwasaki

Iwasaki最受歡迎的作品是雕刻出日本傳統建築的模型及其倒影。以這種引人注目的視覺關係為例，Iwasaki 構建了一個精確的三維模型，它以一種將建築與虛幻的反射相結合的方式，來創建一個完整的形式。受維多利亞國家美術館的委託，《反射模型》系列的第三部、也是其最大的作品，以在日本內海灘涂上的神社為主題真實呈現。

His most acclaimed works are from the Reflection Model series that focuses on Japanese sacred buildings and the reflections they cast in water that surrounds them. Playing with this striking visual relationship, Iwasaki constructs precise three-dimensional models that are suspended in a way that combines the building with its illusionary reflection to create a single, complete form. Commissioned by the National Gallery of Victoria, the third and largest work in the Reflection Model series takes as its subject the Shinto shrine of Itsukushima, located on the tidal flats of Japan』s Inland Sea.

嚴島神社是日本最受尊崇、最具靈性的景點之一。這座神社是在公元593年建立的，由 Taira Kiyomori (12世紀的軍事統治者)在1168年重建並擴展到其目前的規模。所有的宮殿包括它的許多走廊，能劇舞台都是在潮汐平原上建造的，隨著潮水上升，整個建築群倒映著，似乎漂浮在水面上。以奢華的金色屏風和版畫為主題。在16世紀，它被地稱為日本的「日本三基」(日本最著名的三景之一)。在2013-14的反思模型（Itsukushima）中，Iwasaki 向這些歷史傳統致敬，挑戰了對三維藝術和雕塑的傳統認知。在外觀上的規模和超現實感令人驚嘆，更加註重表現的細節和準確性。

Itsukushima Shrine and its famed Torii gateway is one of Japan』s most revered and spiritual sights. The shrine complex was established in the year 593 and rebuilt and expanded into its current configuration by Taira Kiyomori (a twelfth-century military ruler) in 1168. All of the shrine, including its many corridors, sacred buildings and historic Noh theatre, are constructed over tidal flats, and as the tide rises the entire complex is reflected on the water』s surface and appears to float. During the sixteenth century Itsukushima became widely known as one of Japan』s Nihon Sankei (three most celebrated sights) and was the subject of luxurious painted golden screens and woodblock prints. With Reflection model (Itsukushima), 2013–14, Iwasaki pays homage to these historical traditions and challenges our traditional perceptions of three-dimensional art and sculpture. The sculpture, overwhelming in scale and surreal in appearance, is astounding in its attention to detail and accuracy of representation.

嚴島神社 / 主要祭奉的日本古傳說中的三位海洋女神。

嚴島神社 / 著名的日本三景之一，以莊嚴華麗的建築風格而著稱。

《反射模型》系列的圖紙

在日本青森當代藝術中心工作駐留的期間，岩崎和一位助手以及一小群志願者製作了反射模型（嚴島）。雕塑由14個互鎖部分組成，主要由日本柏樹木的傳統建築材料和更現代的日本椴木板構成。在日本建築傳統中，岩崎保留了木材的自然光潔度，不使用任何處理劑或塗料，從而使木材的顏色和表面隨著時間逐漸轉變。

Iwasaki, along with a skilled assistant and a small group of volunteers, produced Reflection model (Itsukushima) over an eight-month artist-in-residence period at the Aomori Contemporary Art Centre, Japan. The sculpture, comprising fourteen interlocking parts, is primarily constructed from the traditional building material of Japanese cypress wood and the more contemporary Japanese basswood ply. In the tradition of Japanese architecture, Iwasaki has maintained the timber』s natural finish, using no treatment or coatings, thus leaving the colour and surface of the wood to gradually mature with age.

真實的的神社是一個複合體，由眾多的部分例如平台、屋頂、走廊組成，供奉神聖物品，連接儀式和表演。岩崎的模型分成十四個不同部分不僅承擔神殿各個部分的特定功能，而且還注重其獨特的設計。為了應對尺寸，穩固性和強度等結構性工程挑戰，岩崎將日本古老的「柔韌耐久性」概念融入日本，這是成為抗震建築的關鍵。當懸掛在位時，十四個部件彼此嵌套，並且沒有將它們牢固地鎖定在槽和榫槽系統。就道教哲學而言，靈活性創造了力量，這樣做可以使八米寬的模型再移動的過程中不易收到破壞。

The actual shrine complex of Itsukushima consists of numerous buildings, platforms and roofed corridors that serve to enshrine sacred objects, facilitate ceremonies and performances and to connect its various sections. The fourteen different parts of Iwasaki』s model not only acknowledge the specific functions of sections of the shrine, but also pay attention to their unique design features. To meet the structural engineering challenges of size, fragility and strength, Iwasaki incorporated the age-old Japanese concept of 『durability found in flexibility』 that has been a key to creating earthquake-resistant buildings in Japan. When suspended in position, the fourteen individual parts nestle into each other with a slot and tenon system that does not lock them firmly in place. This, in the vein of Taoist philosophy, creates strength through flexibility and in doing so allows the eight-metre-wide model, with its fragile and delicate components, to move without causing stress points and breakage.

藝術家熱情地表達了他與反思模型 Itsukushima 的情感聯繫及其對他個人的重要性。 Itsukushima神社位於廣島縣，岩崎是出生和成長的地方，正如他解釋的那樣，是他的精神家園：「我一直在等待一段時間，當我的藝術過程成熟並熟化到合適的水平之後，才開始這樣一個龐大而重要的項目"

The artist passionately expresses his emotional connection to Reflection Model (Itsukushima) and its importance to him personally. Itsukushima shrine is located in Hiroshima Prefecture, where Iwasaki was born and raised and, as he explains, is his spiritual home: 『I have been waiting for a time when my artistic process had matured and ripened to a suitable level before embarking on such a massive and important project』.

《Out of Disorder（山與海）》

《Reflection Model（Rashomon Effect）》

在日本中世紀，神道和佛教的宗教提供了一個超越正常世界的空間。這個理想主義的領域在佛教信仰中被稱為涅或天堂。進入這個世界的人將從慾望，妄想，折磨和與現在的所有關係中解脫出來。人們將涅視為從重力範圍釋放出來的浮動世界。考慮到這個想法，建築師們採用了一種巧妙的概念，將實際的建築物和其反射的圖像融合在一起，形成一個巨大的三維物體。像飛船一樣，這座寺廟或神殿似乎來自另一個世界;這個物體在藍天下或夜晚的黑暗中無聲無息地漂浮著，被月亮柔和地照亮。岩崎的反射模型系列使用這一原則來表達對這些歷史悠久的建築傑作的敬意，並為失重和天堂創造新的三維夢幻般的體驗。

During the Japanese middle ages the religions of Shinto and Buddhism offered the promise of a world existing in a dimension beyond normal experience. This idealistic realm is known in the Buddhist faith as Nirvana, or paradise. Those entering this world would be released from desire, delusion, torment and all ties to the present. People interpreted Nirvana as a floating world released from the confines of gravity. With this idea in mind, architects worked on an ingenious concept whereby actual buildings and their reflected image fused together to create a huge three-dimensional object. Like a spaceship, the temple or shrine appeared to be from another world; an object that defied gravity and floated in silence under the blue sky or in the darkness of night, softly illuminated by the moon. Iwasaki』s Reflection Model series uses this principle both to pay homage to these historical architectural masterpieces and to create a new three-dimensional dreamlike experience of weightlessness and paradise.

在平安時期（794-1185），日本最重要的建築都建在首都京都附近。為爭奪日本控制權，泰拉氏族的成員在廣島附近的內陸西部地區建立了據點。在這裡，他們嚮往首都精緻的建築結構，比如Byōdō-in寺廟以及它周圍池塘中的壯麗景觀。 Taira將軍選擇了一個理想的地點，建造嚴島神社，屋頂、走廊和祈禱大廳，展現了他的高超和超凡的想像力。與京都的小型花園的結構不同，清森的天堂建立在內陸海域的廣闊水域上。

During the Heian period (794―1185) the most important buildings in Japan were built in and around the country』s capital city, Kyoto. The cultivated members of the powerful Taira Clan, who were vying for control of Japan, had established their stronghold in the western region of the Inland Sea near Hiroshima. Here they would yearn for the refined architectural structures of the capital, such as Byōdō-in Temple and its magnificent reflections cast in ponds that surrounded it. The famed Taira general Kiyomori displayed his sophistication and great imagination by selecting the idealistic location of an existing shrine on Miyajima Island to construct Itsukushima Shrine, his masterpiece of platforms, roofed corridors and prayer halls. Unlike similar structures in Kyoto created within the restricted confines of a small garden, Kiyomori』s paradisiacal vision was built over the expansive waters of the Inland Sea.

無論潮漲潮落被精細計算過的結構總能達到最完美的狀態。Iwasaki說:乘船穿過牌坊是獨一無二的體驗，讓我對Kiyomori的偉大創造力感到敬畏。雖然許多藝術家離開廣島在大城市和國外尋求發展，但我卻在這裡找到最偉大的靈感來源。

Itsukushima Shrine』s structures are calculated to attain their most perfect form when tide levels are just below the complex』s pier platforms, during the high tide of the autumn full moon. As Iwasaki says:The experience of approaching the shine by boat through its Torii gateway cannot be matched anywhere and leaves me in awe of Kiyomori』s great creativity. While many artists have left Hiroshima in search of ideas in larger cities and foreign countries, I personally find my greatest inspiration here in the place of my origin.

在他的雕塑作品中，Iwasaki對它的細節和工藝表現出了極大的關注。由於神社的位置不受保護，且易受惡劣天氣的影響，它經常受到颱風的襲擊，並在許多場合曾遭到破壞。這樣的情況下，當地的漁民會收集漂流的碎片，而那些專門從事神殿建設的木匠將其許多部件恢復到原來的形狀。這一破壞和重建的過程一直是它的歷史長河中經常發生的事情，並導致了高度發達的神祠建築技藝代代相傳。Iwasaki可以被看作是這些古老技能的實踐者和保管人，同時也是一位藝術家，帶領我們踏上了超凡的旅程。

In his sculpture, Iwasaki displays great attention to the detail and craftsmanship for which Itsukushima is renowned. Due to the shrine』s unprotected location and vulnerability to severe weather conditions, it is regularly battered by typhoons and has been destroyed on many occasions. After each such occasion local fishermen collect the pieces that have drifted away and carpenters that specialise in shrine construction restore its many components back into their original form. This process of destruction and reconstruction has been a regular occurrence throughout Itsukushima』s long history and has resulted in highly developed skills of shrine construction being handed down from generation to generation. Iwasaki can beseen as a present-day practitioner and custodian of these ancient skills, as well as an artist that takes us on a journey beyond our everyday experiences.

DINZ 藝術專題回顧