HISASHI TENMYOUYA
天明屋尚

日本精神 14號機

細節
天明屋尚
日本精神 14號機
壓克力 金箔 木板
2002年作
簽名:天明屋尚
藝術家鈐印

來源
2008年5月25日 佳士得香港 編號 387
現藏者購自上述拍賣

展覽
2002年6月「新日本畫作」DEPOT東京 東京 日本
2002年7月「河鍋曉齋及天明屋尚展」 河鍋曉齋紀念美術館 琦玉 日本
2002年10月「常規下的全球一體化︰街頭文化與當代藝術」Walker Art Centre 明尼蘇達州 美國
2004年7月「常規下的全球一體化︰街頭文化與當代藝術」斯貝爾曼學院藝術館 亞特蘭大 美國
2004年7月「常規下的全球一體化︰街頭文化與當代藝術」維拉斯托克美術館 慕尼黑 德國


出版
2003年《天明屋尚作品集「大和魂」》學習研究社 東京 日本 (圖版,第23及25頁;圖版為展覽場景,第77頁)
2004年9月《傾奇者 天明屋尚》PARCO出版社 東京 日本 (圖版,第42-43及44頁;圖版為展覽場景,第81頁)
2006年《天明屋尚》株式會社河出書房新社 東京 日本 (圖版,第36-37頁;黑白圖版,第140及154頁)


2010年日本當代藝術家天明屋尚首次在日本策劃名為「BASARA」的藝術展覽。「BASARA」在日語可解作「婆娑羅」,是戰國時代下級貴族的一種僭越行為,他們不避諱自己的身份高低而穿着華貴的衣服,在言行舉止上故做風雅,逾越本分。天明屋尚在展覽圖錄中提出:「現在我借用『婆娑羅』一詞來形容日本傳統美學,這樣的形容其實是採納並延續岡本太郎對[日本]『繩文文化』藝術的個人理解,根據岡本太郎,日本藝術是如此美麗卻充滿反叛之感。」天明屋尚策展「BASARA」展覽,從日本繩文文化,穿梭戰國時代、桃山時代,跨進日本當代社會,充份呈現天明屋尚跨越古今的傳統與當代藝術對話,表現日本美學中「奢華」、「破格」、「霸氣」的本質。

天明屋尚所指的「奢華」是視覺上的裝飾美,而「霸氣」就是情感上對抗權力或主流文化的反叛力量。《日本精神14號機》(Lot 1360)、《蹴球之圖》(Lot 1361)及《思念遊戲》(Lot 1362)展示了天明屋尚以不同的切入點、象徵符號,呈現此清晰而獨特的藝術概念。

三幅作品均以金箔著色為背景,再現日本桃山時代幕府城堡中狩野派屏風的華麗之感。事實上從戰國時代到桃山時代是一個僭權、稱霸的年代,幕府將軍的城堡,從外在建築以至室內的裝潢,在視覺上都帶有展示權力的含義。因此,從武士階層興起的狩野派金碧輝煌、豪華壯美、充滿著建功立業英雄感的繪畫深受幕府將軍喜愛,當中以金箔著色為背景的屏風更成為此一時代的象徵符號。天明屋尚採納了金箔背景,表面上是傳統日本藝術的象徵,華美耀眼,可是內中卻流露出此一時代的「爭霸」、「反叛」、「破格」的本質,與天明屋尚想要表達的藝術概念遙呼相應。

除了金箔背景的運用,三幅作品想要表達的都是與戰鬥相關的主題,蘊含濃烈的對抗本質。《蹴球之圖》乃特別為2006年世界盃足球賽海報所創作的作品,畫中描繪兩位穿上全副武裝的武士踢足球的場景,又或是說兩位穿上傳統武士服的球員化身成日本武士。天明屋尚成功地把球賽和戰場相似的對抗本質呈現,又將武士對將軍的效忠比喻成球隊的團隊精神,而團結與忠誠也就是比賽和戰爭取得勝利的關鍵。畫作以傳統的筆法呈現桃山時代的武士服裝、護甲、大鎧的細節,同時保留了足球球衣上代表球員的號碼。這個號碼彷彿把人的個體性消滅,球場上或是戰場上的參與者只是球隊或是軍隊中的一份子,上演的並非一場個人的表演。天明屋尚成功把日本傳統的武士精神,與當代生活化的題材接軌,喚醒了人們幾乎遺忘的歷史深層意義。

在《日本精神14號機》中,天明屋尚以創意創造了一架結合傳統與現代,外型奇異的不知名機器,機中坐著一名裸體武士,畫作充滿超現實主義色彩。天明屋尚認為日本傳統剌青是「BASARA」文化中的精髓,表示的不單是接受紋身時肉體上的痛苦,更代表人的內在「意志」、「決心」。傳統刺青圖案如老虎、龍紋表現的就是人對於突破極限的追尋。畫中武士雖然一絲不掛但卻全然無懼,皆因胸膛上的刺青。畫中的機器擁有類似人的肢體,彷彿延續了武士的身軀。看起來像手臂、大腿的機器支幹同樣紋有刺青。仔細觀察刺青圖案,原來就是著名的江戶時代浮世繪。天明屋尚再現歌川國芳創作《通俗水滸伝豪百八人之一個》中威風英勇的武士。機器上貼滿了日語標籤,令人意外的是機器上的街頭塗鴉。可見,天明屋尚注意到傳統書畫的筆法與當代塗鴉藝術的相似之處。此外,機器繫著神道儀式中用於淨化的「注連繩」,與武士永恆不滅的精神結合,共同對抗邪惡。天明屋尚創作的《日本精神14號機》就是一部擁有傳統「大和魂」的超級機器,不休不止的向前推進,不但跨越傳統與現代,更積極邁向未來。

相比《蹴球之圖》及《日本精神14號機》所表現的戰鬥,《思念遊戯》中表現的是一種內心世界的鬥爭。兩位男子手執武士刀互相對抗,身上的剌青延續了天明屋尚認為代表「意志」、「決心」的藝術概念。依據日本傳統「武士道」,武士專用的「武士刀」與武士本身同為一體,就像是武士的靈魂。躺在地上的男子雙臂紋上章魚爪紋,這些爪從剌青圖案伸延出來,甚至成為了人的肢體的延續,協助躺在地上的男子進行反撃,抓住日本文化中代表邪惡的蝙蝠。天明屋尚以豐富的想像力,再現葛飾北齋的名作《漁夫妻子的夢》中與女子歡愉的章魚。站著的男子身上的剌青圖案是恬淡静美的菊花,也就是日本皇室的家徽,與殺戮的殘酷形成強烈的對比,表現內心的矛盾。雖然作品描繪兩位男子的身軀,卻巧妙地描畫了一個人的正面,與躺在地上看不見面貌的人。天明屋尚想要表達的並不是兩個獨立個體的鬥爭,而是把人內心深處正、邪對抗以具體的形象表現。《思念遊戯》成功地把藝術家「反叛」、「破格」的藝術概念,從肉眼看到的戰爭,昇華至無形的靈魂鬥爭。天明屋尚刻意在畫作外框加上神道教祭祀時的裝飾如紅繩、紙垂,賦予作品一份神性的內涵。《思念遊戯》曾展出於藝術家策劃的「BASARA」展覽,也是展覽圖錄的封面。2009年東京藝術出版社《 藝術手帖》也曾以《思念遊戯》為雜誌封面,可見當代日本藝術界對天明屋尚的創作的認同和肯定。
來源
Christie's Hong Kong, 25 May 2008, Lot 387
Acquired from the above by the present owner
出版
Ashiki Hori, Gakken Col., Ltd., Works of Tenmyouya Hisashi "Japanese Spirit", Tokyo, Japan, 2003 (illustrated, pp. 23, 25; exhibition view illustrated, p. 77).
Parco Co. Ltd., Kabuki-mono Tenmyouya Hisashi, Tokyo, Japan, September 2004 (illustrated, pp. 4 2-43 & 44; exhibition view illustrated, p.81).
Kawade Shobo Shinsha Publishers, Tenmyouya Hisashi, Tokyo, Japan, 2006 (illustrated, pp. 36-37; illustrated in black and white, pp. 140 & 154).
展覽
Tokyo, Japan, DEPOT Tokyo, Neo Japanese Painting, June 2002.
Saitama, Japan, Kawanabe Kyosai Memorial Museum, Kyosai plus one: Kawanabe Kyosai And Tenmyouya Hisashi, July 2002.
Minneapolis, USA, Walker Art Center, One Planet under a Groove: Hip Hop and Contemporary Art, October 2002.
Altanta, USA, Spelman College Museum of Fine Art, One Planet under a Groove: Hip Hop and Contemporary Art, July 2004.
Munich, Germany, Museum Villa Stuck, One Planet under a Groove: Hip Hop and Contemporary Art, July 2004.

拍品專文

In 2010, an art exhibition named BASARA was brought about by the Japanese contemporary artist Hisashi Tenmyouya firstly in Japan. BASARA, interpreted in Japanese culture as a rebellious behaviour of lower-class aristocracy during the Warring States Period to deny authority in pursuit of an ideal lifestyle by dressing in magnificent and luxurious costumes and acting in free will, did not match their social class identities. Tenmyouya noted in the exhibition catalogue: "Here I would like to use the term "BASARA" to refer to a Japanese family of beauty that is an adopted and developed version of Taro [Okamoto]'s concept of "Jomon'like" art, which is excessive in beauty yet rebellious." The BASARA exhibition fully presented a series of talks between traditional and contemporary Japanese art, spanning from Jomon period, Warring States period, Momoyama period to modern Japan, illuminating the essence of concepts such as "luxury", "breakthrough" and "hegemony" embedded in Japanese aesthetics.

Tenmyouya used the term "luxury" to refer to the visual beauty in design, and the term "hegemony" refers to the emotionally rebellious power against authority and mainstream culture. Japanese Spirit No. 14 (Lot 1360), Football (Lot 1361) and Intertwining Thoughts (Lot 1362) all illustrated this clear and unique art idea established by Tenmyouya upon different perspectives and symbols.

The three paintings are all set in gold-leaf background, reviving the magnificent and luxurious style of Kano School panels in the Momoyama period. It was an era full of tyrants and hegemony stemming from the Warring States period to Momoyama period; castles of Shoguns were decorated with significant symbols representing power and authority throughout the architecture and interior design. The Kano School paintings stem from samurais, in their splendid, magnificent style depicting the heroic spirit of the samurai spirit. They were immensely popular among Bakufu Shogun, among them the brilliant and eye-catching golden panels was highly appreciated by Bakufu Shogun. Kano School golden panel then become the symbol of this warring era. The bright and elaborate golden background adopted by Tenmyouya in his works suggests an attribution to the traditional Japanese aesthetic symbols in form, and speak more for the inner spirit of "hegemony" "rebellion" and "breakthrough" of past era, in accordance with Tenmyouya's consistent art appeal.

In addition to the use of gold leaf, all three paintings are related with the theme of fight. Football (Lot 1361) was chosen to be used as the poster for the 2006 FIFA World Cup, which depicted two samurais in full armor playing football, or viewed in other way, two football players in traditional Japanese combat gear. In this work, Tenmyouya successfully addresses the competitive nature of football and battle, and catches the likeness between the loyalty of samurai to Shogun and the team spirit of football players, both of which are essential to secure a win. Delicate details on the samurai's shirts, shields and O-Yoroi (great armor) are depicted with traditional painting skills. Yet the highlighted jersey numbers diminish the existence of the individual, and emphasize the role of team playing in both battles and games, emphasizing that one is not in it alone. The traditional samurai spirit subtly integrates with the modern life subject in the painting, reminding viewers of the almost forgotten historical significance of samurai culture and traditional painterly styles.

An unknown oddly shaped machine combining traditional and modern elements is depicted in Tenmyouya's Japanese Spirit No. 14 (Lot 1360), driven by a naked samurai. This is a painting of surrealism. Tenmyouya regards the traditional Japanese tattoo as the essence of BASARA culture, which represents not only the courage to bear bodily pains when tattooing, but also the inner strength of will and decision of people. Traditional tattoo design such as tigers, dragons are symbols of seeking to break past barriers, therefore, though the samurai in the painting is naked and without armor protection, he demonstrates fearlessness and heroic spirit largely because of the tattoo he bears on his arm and chest. The machine in the painting has parts resembling human limbs as though an extension of the samurai's body. Tattoos are also found on these "arms" and "thighs". Upon close inspection, these are a replication of the powerful and masculine samurais from Utagawa Kuniyoshi's renowned One Hundred and Eight Heroes of the Popular Suikoden All Told Ukiyo-e of the Edo period. The Japanese labels plastered over the machine are surprisingly graffiti, evident of the similarities between graffiti art and traditional calligraphy skills and thus is adopted by Tenmyouya in the work. The machine also has a "Shimenawa", an elaborately tied rope used for ritual purification in the Shinto religion, the samurai's imperishable energy was bordered in the Shimenawa to fight together against evil. Japanese Spirit No. 14 was in fact the machine of Yamato-Damshii- forwarding without stop, bridging the past and present, and forging ahead into the future.

Different from the outwardly competition presented in Football and Japanese Spirit No. 14, Intertwining Thoughts displays the more internal, mental fight between two figures. Two men holding katana fight against one another, the tattoos on their bodies again assert the idea of "strength of will" and "decision" as emphasized by the artist. According to the Bushido, the katana and samurai are united with the former being the soul of the latter. The tattoo on the lying man's arm are octopi, whose legs extend from the tattoo and forged to the man's body to fight against the attack from the flying bats, which were viewed as evils in Japanese culture. The image of octopi here stem from Katsushika Hokusai's famous work The Dream of the Fisherman's Wife, which depict a young ama diver entwined sexually with a pair of octopi. While the tattoo on the standing man are beautifully blooming chrysanthemums- indicative of the imperial throne of Japan- creating an atmosphere strongly contradictor to the competitive dynamic between the two men. Though there are two bodies presented in the painting, one of the man's face is not visible. Here Tenmyouya does not plan to directly depict a fight between the two individuals, rather, he wants to describe the struggle of good and evil within one person's mind. That is why we can only see the face of the standing men.

Intertwining Thoughts successfully interprets the artist's conceptions of "rebellion" and "breakthrough" to another level - beyond the physical battles, they engage in a psychological fight.
Other interesting details are intentionally added on the frame by the artist, such as the red rope, paper pendants which are usually used as decoration in Shinto rituals, to strengthen the divinity of the work. This painting was displayed in the artist's BASARA exhibition, and was used as the cover for the exhibition catalogue. The work has also won favorable comments and recognition of Japanese contemporary art circle, that it was published as the cover of Bijutsu Techo by Bijutsu Shuppan-sha Co. in Tokyo in 2009.

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