日本"侘寂"美學(xué)受追捧

“Take heed of the humble; be what you are bybirthright; there is no room for arrogance,” wroteSoetsu Yanagi in The Unknown Craftsman, publishedduring Japan’s folk craft movement in the 1920s.According to Yanagi, the craftsman should beanonymous, and his wares produced by hand,inexpensive and used by ordinary people ineveryday life. In an age when the stamp of thedesigner is often the most desired facet of anobject, it is refreshing to find that the hallmarks ofJapanese design, anonymity and quality, are nowenjoying fresh appreciation.

“注意要謙虛謹(jǐn)慎、做你與生俱來(lái)的自己、沒有傲慢自大的余地，”柳宗悅(Soetsu Yanagi)在1920年代日本民間工藝運(yùn)動(dòng)期間出版的《未知的工匠》(The Unknown Craftsman)著作里寫到。根據(jù)柳宗悅的說(shuō)法，工匠應(yīng)當(dāng)隱姓埋名，產(chǎn)品應(yīng)當(dāng)手工制造、物美價(jià)廉且供普通人在日常生活中使用。設(shè)計(jì)師的標(biāo)記往往是一件物品最受喜愛的特征;在這樣一個(gè)時(shí)代，可以令人振奮地發(fā)現(xiàn)日本設(shè)計(jì)的特點(diǎn)--匿名性和高質(zhì)量--現(xiàn)在，它們正受到越來(lái)越多的新的青睞。

 

 

Japanese design has long been admired in Europe and a recent flush of shop openings anddesign collaborations suggests a growing hunger for traditionally crafted, sustainable objects.

日本設(shè)計(jì)長(zhǎng)久以來(lái)一直都在歐洲受到仰慕。最近一陣的開店熱潮和設(shè)計(jì)合作則顯示了對(duì)傳統(tǒng)制作、耐用物品越來(lái)越多的渴望。

“A new generation of Japanese designers from Tokyo and Kyoto are migrating back to makingthings in a more traditional manner,” says Sam Hecht, who co-founded the London-baseddesign office Industrial Facility and has designed for Muji, the Japanese lifestyle store, since2002.

“新一代從東京和京都來(lái)的日本設(shè)計(jì)師紛紛回歸到從前傳統(tǒng)制造方式，”薩姆•海奇特(Sam Hecht)說(shuō)道。他在倫敦與人共同成立了名為工業(yè)設(shè)施(Industrial Facility)的設(shè)計(jì)室，該公司從2002年開始為日本生活品商店無(wú)印良品(Muji)做設(shè)計(jì)。

“Japanese designers don’t make a distinction between things that are meant to be looked atand things that are meant to be used,” adds Hecht. “There is not simply a visual appreciationof craft, but a much deeper relationship with objects. Objects are often left slightlyunfinished. For example, a dish might be glazed only in part, but this is important because itmeans that it’s not complete. The person using it, eating from it and cleaning it completes it.It’s not about perfection, it’s about function.”

“日本設(shè)計(jì)師不對(duì)東西的外觀和實(shí)用性作區(qū)別，”海奇特補(bǔ)充道。“不只是簡(jiǎn)單地在視覺上欣賞工藝品，而是與其有更深一層的關(guān)系。作品往往留在略未完成的階段。例如，一個(gè)盤子可能只會(huì)在某些部分上釉，但這是很重要的，因?yàn)檫@意味著它并不完整。那些使用它、用它吃飯和清洗它的人才能使它變得完整。重點(diǎn)不是在于完美，而是在于功能。”

Many of the designers who are adopting a traditional Japanese style have called upon theaesthetic philosophy of wabi-sabi, a nebulous term derived from centuries of Japanesespiritualism and culture. Leonard Koren, a design and aesthetics theorist, explains the conceptas “a beauty of things imperfect, impermanent and incomplete.”

許多采用日本傳統(tǒng)風(fēng)格的設(shè)計(jì)師都遵循“侘寂”(wabi-sabi)的審美哲學(xué)，一個(gè)來(lái)自幾個(gè)世紀(jì)以來(lái)的日本精神和文化的朦朧術(shù)語(yǔ)。設(shè)計(jì)和美學(xué)理論家倫納德•科倫(Leonard Koren)解釋說(shuō)，這種概念是“東西有瑕疵、無(wú)常和不完整的美。”

This focus on utility has been picked up by Native & Co, a new shop in Notting Hill, westLondon. Co-founders Sharon Hung and Chris Yoshiro Green import exquisitely craftedproducts from Japan, propagating the streamlined aesthetic and lack of embellishment forwhich Japanese design is famous.

在倫敦西部諾丁山(Notting Hill)新開的Native & Co已經(jīng)學(xué)會(huì)了這種把焦點(diǎn)集中于功用的作法。共同創(chuàng)始人洪沙倫(Sharon Hung)和克里斯四郎•格林(Chris Yoshiro Green)從日本進(jìn)口制作精美的產(chǎn)品，宣傳日本以其流線型的美學(xué)和缺乏裝飾而聞名的設(shè)計(jì)。

“The project started by us sourcing products from Japanese workshops that have been makingthings in the same way for hundreds of years, ” says Hung. Included in their range are earthyceramics by Katsuhiko Ogino and wooden products by Oji Masanori.

“這個(gè)項(xiàng)目的供貨方是數(shù)百年來(lái)一直以同樣的方式制造作品的日本工坊，”洪說(shuō)道。荻野克彥(KatsuhikoOgino)的土制陶瓷和大治將典(Oji Masanori)的木制品都包括在他們的采購(gòu)范圍內(nèi)。

Elsewhere in Europe, designers are also drawing on Japanese design as inspiration. Architect-turned-product designer Thomas Griem released a new collection of rugs earlier this month,which have taken Japanese woodcuts as their starting point. “I was looking at ukiyo-e, at thegeometry and the motif of the tree which kept appearing throughout the imagery. It has anelegance and an opulence that I liked,” he says.

在歐洲其它地方,設(shè)計(jì)師也從日本設(shè)計(jì)得到靈感。原來(lái)是建筑師的產(chǎn)品設(shè)計(jì)師托馬斯•格里姆(Thomas Griem)前段時(shí)間發(fā)布了一個(gè)新系列的地毯，起點(diǎn)來(lái)自于日本的木刻版畫。“我看著一幅浮世繪(ukiyo-e)、看著幾何形狀和充滿了以樹為主題的圖案。我喜歡那幅畫的優(yōu)雅和豐富。”他說(shuō)。

Inspired by the trend for Japanese style, paint and wallpaper specialist Farrow & Ballrecently released four new wallpaper designs inspired by traditional Japanese craftsmanship.

從著迷于日本風(fēng)格得到靈感，繪畫和壁紙專家Farrow & Ball最近推出了四種受到日本傳統(tǒng)工藝啟發(fā)的壁紙?jiān)O(shè)計(jì)。

Textile designer Jennifer Shorto based her most recent designs on a book of swatches of early20th-century men’s kimono fabrics. Inspired by Jun’ichiro Tanizaki’s 1933 essay on aesthetics, “In Praise of Shadows”, Shorto worked to maintain the element of wabi-sabithat sheencountered in the originals. “I enlarged the designs and painted them on to the cloth to makethem more dramatic,” she says, “but I chose to use raw linen to keep the humbleness of thecloth.”

紡織品設(shè)計(jì)師詹尼弗•肖托(Jennifer Shorto)根據(jù)一本20世紀(jì)早期男性和服面料的色板書設(shè)計(jì)了她最新的作品。從谷崎潤(rùn)一郎(Junichiro Tanizaki)1933年的一篇美學(xué)文章《陰翳禮贊》(In Praise of Shadows)受到啟發(fā)，肖托在她使用的原物料中努力保持侘寂的元素。“我放大了圖案，將它們畫在布料上使它們看起來(lái)更生動(dòng)，”她說(shuō)，“但我選擇使用原始的亞麻布來(lái)保留布料的謙遜。”

This idea of the “humble” quality of materials can also be seen in Freyja Sewell’s designs.Sewell, who lives in Japan, has designed lighting and furniture that reflects the urban lifestyle —her Hush chair is a response to finding peace and solitude in the Japanese capsule livingculture. “Traditional Japanese culture has an ingrained respect for materials and objects, andperhaps the recent rise in the popularity of Japanese design is down to consumers desiringreal value and sustainability from their purchases,” she says.

這種“謙虛”材質(zhì)的想法也可以在弗蕾婭•休厄爾(Freyja Sewell)的設(shè)計(jì)里看到。居住在日本的休厄爾設(shè)計(jì)出反映城市生活方式的照明和家具——她的“噓!”座椅是對(duì)日本膠囊生活文化里尋找和平和孤獨(dú)的響應(yīng)。“日本傳統(tǒng)文化對(duì)材料和物品有種根深蒂固的尊重，也許最近流行起來(lái)的日本設(shè)計(jì)是因?yàn)橄M(fèi)者渴望買到真正有價(jià)值和可持續(xù)的商品。”她說(shuō)。

Working from her pottery in Stoke-on-Trent, Anglo-Japanese ceramic designer Reiko Kanekofuses Japanese principles with centuries of British expertise in the production of porcelain.Kaneko recognises the power of collaboration in sharing and interpreting ideas, and hasrecently set up the Japan Store on her website, which sells ceramics made in Japaneseworkshops.

在斯托克城(Stoke-on-Trent)的陶器廠，英籍日本人金子玲子(Reiko Kaneko)將日本元素與英國(guó)幾個(gè)世紀(jì)以來(lái)在生產(chǎn)瓷器方面的專長(zhǎng)相融合。金子意識(shí)到一起分享和詮釋理念的力量，最近也在她的網(wǎng)站上設(shè)置了日本商店來(lái)銷售制造于日本工場(chǎng)的陶瓷。

“There is a phrase in Japanese which is mono-zukuri no nakama, which means the way makerslook out for each other,” she says. “It is up to us to support smaller workshops.”

“有一個(gè)日本短語(yǔ)叫‘產(chǎn)品制造的伙伴’(mono-zukuri no nakama)，意思是制造商彼此互相照顧,”她說(shuō)。“該由我們來(lái)支持小型工場(chǎng)。

London-based Emma Peascod has integrated Japanese craftsmanship into her decorativefinishes for interior and architecture projects. In 2009 she spent a year learning how to makewashi (Japanese paper) from master craftsmen in the city of Mino, central Japan.

公司在倫敦的愛瑪•皮斯克(Emma Peascod)將日本工藝融入到她室內(nèi)和建筑裝飾的項(xiàng)目里。2009年，她花了一年的時(shí)間在日本中部的美濃市(Mino)向工匠大師學(xué)習(xí)如何制作和紙(washi)。

Peascod combines the washi with the traditional gilding technique of verre églomisé to createshimmering finishes decorated with gold leaf, which can then be used for anything fromtabletops to wall coverings.

皮斯克將和紙與傳統(tǒng)鍍金技術(shù)鏡像反繪(verre eglomise)結(jié)合，創(chuàng)造出裝飾著金色葉子的閃亮拋光，可以用于從桌面到墻紙等任何表面。

“One thing I noticed about the experience of working in Japan is how simple a workshop can be.The paper I use is made using an aluminium water trough, a silk screen, and a hose pipe with ahomemade nozzle.”

“我在日本工作時(shí)注意到的一個(gè)經(jīng)驗(yàn)就是，一個(gè)工作室可以多么純樸。我使用的紙是由一個(gè)鋁制水槽、一個(gè)絲網(wǎng)和一條帶有自制噴口的軟管制作而成。”