For anyone who enjoys the sight of old-fashioned Japanese houses and the rich culture that flourished in the early 1900s, the Nezu residential district of central Tokyo is a wonderful place for a stroll. The joint Takehisa Yumeji and Yayoi Museums are located in two adjacent buildings in a side street near the Tokyo University. Takumi Kano, a Japanese lawyer, established the Yayoi museum in honor of the painter Takahata Kasho. Six years later, the Takehisa Yumeji Museum followed. 东京大学弥生门旁,是一条清幽的小径。我沿著东京大学围墙信步而往,不久便抵达竹久梦二美术馆。 竹久梦二美术馆与弥生美术馆优雅静謐地矗立在小道上,红砖的洋房,翠绿的竹林,幽秘的小池塘。竹久梦二美术馆和弥生美术馆由两幢小洋楼组成,两个美术馆由走廊连接在一起,只需要一张票就可以参观两个美术馆。两个美术馆彼此相邻相通,展览空间却是各自独立的美术馆。竹久梦二美术馆是以竹久梦二为主题的,所以展品都是与竹久梦二相关的内容,是东京都内能欣赏到梦二作品的唯一场所。 基本上左侧三层都是弥生馆,右侧两层是梦二馆。 入口左手处,是被叫做“港屋”的咖啡店,里面有咖啡和套餐出售,在参观者中小有人气。 美术馆外面既有东方式的庭院景致,又有西洋的雕塑,非常有东西结合的特色。就好像带人回到东西方文化开始相融的大正时期一样。 正式进入美术馆之后,扑面而来的,便是大正的建筑气息,结构趋于洋调,巴洛克式的色调,在馆内,很有一种忧郁神秘的气氛。因为美术馆是旧 式旅馆改造的,所以构造与普通的美术馆,有着很大的区别。又因与弥生馆共处一馆,未免有些局促,但游览顺序井然有序,并不影响参观。陈旧的黑色木制楼梯, 房间,洋式吊灯和玻璃窗,鹅黄色的灯光,使得展馆内部越发地沉静深邃了起来。 Many people associate Japan with Anime and Manga, especially all the school girls anime are very popular. As a fan of those cute school uniform, the ongoing exhibition at the Yayoi Art Museum when i visited was about sailor style school uniforms. You can see many different kinds of sailor school uniform from different generations. From British style navy blue uniforms from the 20th century to current ones. There are also many very old paintings and fashion magazines from 20th century. It is very interesting to see so many different sailor school uniform styles. You can also buy postcards of those pictures at the entrance of the museum. 为了让更多的人了解日本女生校服的魅力,所以弥生美术馆一层和二层那时展出的是“日本制服百年史——女生校服成为了流行文化” 为主轴,展出日本多种多样的女生校服的设计与款式,并介绍各式各样制服的设计以及穿法等资料。除了实物展示之外,还有热爱女生校服的艺术家们创作的内容。 竹久梦二美术馆的入口,位于弥生美术馆二楼的一侧,参观者可从弥生美术馆二楼沿著指标转入另一栋建筑竹久梦二美术馆的入口,而竹久梦二的展便是从二楼展场开始,再顺著导引至一楼展场。 Takehisa Yumeji 竹久 夢二 was a Japanese poet and painter. He never studied drawing neither in any painting school nor under any teacher formally. His drawings, mostly of Japanese beauties, were regarded as unorthodox and were disregarded in the painting circles of his day. Takehisa’s works did acquire great popularity among ordinary people and to this day have many ardent fans in Japan and abroad. At an earlier stage in his life he intended to become a poet, but knowing he could not make a living as a poet, he began drawing pictures. 竹久梦二美术馆的藏品除了梦二的日本画,油画,书,素描,原画,版画,设计作品,著书,装帧本,杂志之外,还有能让人了解梦二性格特点的信和遗物等等共计3300件以上。参观的人们,在不经意间,漫步融入了梦二的精神世界。馆内展示了竹久梦二大量的诗画创作,展现了独特的天分和视角。他的作品大多颜色艳丽单纯,线条简略,画作与诗歌,同样只是寥寥数语,便勾勒出一幅大正的寂寞,再一次让参观者贴近了这位匠人。 展品中还有很多黑白的,甚至已经泛黄的照片资料。据说竹久夢二在大正时代早期,便开始使用当时流行的柯达公司制小型照相机,并进行热情持续地拍摄,被保留下 来的照片也超越着2600张。同时这些资料照片也就是所说的”也梦二式”构图至今也都是非常贵重的资料。穿透他的照片,生活在现代的我们,仍旧可以清晰地看到大正时代鲜活的生活场景和特有的风物。 Takehisa’s works are said to epitomize the lyricism of the Taisho Era. The era is often described as Japan’s good old days, as most of it was a time of peace between two world wars and the culture was being enriched by the influence of Western culture and free ideologies. The collection changes every three months to study Takeshisa's work from different perspectives. The museum, the exterior of which resembles the Hotel Kikufuji that once stood nearby, is next to the time-honored brick buildings of the University of Tokyo and stands amid old-fashioned, wooden houses dotting the district.
有趣的是,竹久梦二在华人世界裡知名度甚高,许多人都是为了一睹风靡一世的梦二式美人而来,弥生美术馆彷彿只是配角。其实,竹久梦二与弥生美术馆所纪念的高畠华宵是同代人,他们两人都不是漫画家,但两人都以少女为主题绘製书刊封面、小说插画、广告海报与明信片等等,他们所塑造的少女形象不但是大正浪漫的写照,更成为日后少女漫画的参考模板。
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