Takahiro Iwasaki丨镜面的世界
DESIGN CONCEPT
岩崎贵宏（Takahiro Iwasaki）被认为是日本新一代年轻艺术家的代表之一。近年来，他的作品分别于台湾美术馆、巴黎东京宫、香港艺术中心、纽约C24画廊、东京森美术馆展出。Iwasaki 非常注重工艺、视觉传达及哲学，他创作了复杂精细的模型，重新诠释了标志性的历史建筑和当代城市景观。
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.
岩崎贵宏 / Takahiro Iwasaki
Iwasaki 最受欢迎的作品是雕刻出日本传统建筑的模型及其倒影。以这种引人注目的视觉关系为例，Iwasaki 构建了一个精确的三维模型，它以一种将建筑与虚幻的反射相结合的方式，来创建一个完整的形式。受维多利亚国家美术馆的委托，《反射模型》系列的第三部、也是其最大的作品，以在日本内海滩涂上的神社为主题真实呈现。
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.
严岛神社是日本最受尊崇、最具灵性的景点之一。这座神社是在公元593年建立的，由 Taira Kiyomori (12世纪的军事统治者)在1168年重建并扩展到其目前的规模。所有的宫殿包括它的许多走廊，能剧舞台都是在潮汐平原上建造的，随着潮水上升，整个建筑群倒映着，似乎漂浮在水面上。以奢华的金色屏风和版画为主题。在16世纪，它被地称为日本的“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 向这些历史传统致敬，挑战了对三维艺术和雕塑的传统认知。在外观上的规模和超现实感令人惊叹，更加注重表现的细节和准确性。
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.
严岛神社 / 主要祭奉的日本古传说中的三位海洋女神。
严岛神社 / 著名的日本三景之一，以庄严华丽的建筑风格而著称。
《反射模型》系列的图纸
在日本青森当代艺术中心工作驻留的期间，岩崎和一位助手以及一小群志愿者制作了反射模型（严岛）。 雕塑由14个互锁部分组成，主要由日本柏树木的传统建筑材料和更现代的日本椴木板构成。 在日本建筑传统中，岩崎保留了木材的自然光洁度，不使用任何处理剂或涂料，从而使木材的颜色和表面随着时间逐渐转变。
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.
真实的的神社是一个复合体，由众多的部分例如平台、屋顶、走廊组成，供奉神圣物品，连接仪式和表演。岩崎的模型分成十四个不同部分不仅承担神殿各个部分的特定功能，而且还注重其独特的设计。为了应对尺寸，稳固性和强度等结构性工程挑战，岩崎将日本古老的“柔韧耐久性”概念融入日本，这是成为抗震建筑的关键。当悬挂在位时，十四个部件彼此嵌套，并且没有将它们牢固地锁定在槽和榫槽系统。就道教哲学而言，灵活性创造了力量，这样做可以使八米宽的模型再移动的过程中不易收到破坏。
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.
艺术家热情地表达了他与反思模型 Itsukushima 的情感联系及其对他个人的重要性。 Itsukushima神社位于广岛县，岩崎是出生和成长的地方，正如他解释的那样，是他的精神家园：“我一直在等待一段时间，当我的艺术过程成熟并熟化到合适的水平之后，才开始这样一个庞大而重要的项目'
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（山与海）》
《Reflection Model（Rashomon Effect）》
在日本中世纪，神道和佛教的宗教提供了一个超越正常世界的空间。这个理想主义的领域在佛教信仰中被称为涅或天堂。进入这个世界的人将从欲望，妄想，折磨和与现在的所有关系中解脱出来。人们将涅视为从重力范围释放出来的浮动世界。考虑到这个想法，建筑师们采用了一种巧妙的概念，将实际的建筑物和其反射的图像融合在一起，形成一个巨大的三维物体。像飞船一样，这座寺庙或神殿似乎来自另一个世界;这个物体在蓝天下或夜晚的黑暗中无声无息地漂浮着，被月亮柔和地照亮。岩崎的反射模型系列使用这一原则来表达对这些历史悠久的建筑杰作的敬意，并为失重和天堂创造新的三维梦幻般的体验。
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.
在平安时期（794-1185），日本最重要的建筑都建在首都京都附近。为争夺日本控制权，泰拉氏族的成员在广岛附近的内陆西部地区建立了据点。 在这里，他们向往首都精致的建筑结构，比如Byōdō-in寺庙以及它周围池塘中的壮丽景观。 Taira将军选择了一个理想的地点，建造严岛神社，屋顶、走廊和祈祷大厅，展现了他的高超和超凡的想象力。 与京都的小型花园的结构不同，清森的天堂建立在内陆海域的广阔水域上。
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.
无论潮涨潮落被精细计算过的结构总能达到最完美的状态。Iwasaki说:乘船穿过牌坊是独一无二的体验，让我对Kiyomori的伟大创造力感到敬畏。虽然许多艺术家离开广岛在大城市和国外寻求发展，但我却在这里找到最伟大的灵感来源。
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对它的细节和工艺表现出了极大的关注。由于神社的位置不受保护，且易受恶劣天气的影响，它经常受到台风的袭击，并在许多场合曾遭到破坏。这样的情况下，当地的渔民会收集漂流的碎片，而那些专门从事神殿建设的木匠将其许多部件恢复到原来的形状。这一破坏和重建的过程一直是它的历史长河中经常发生的事情，并导致了高度发达的神祠建筑技艺代代相传。Iwasaki可以被看作是这些古老技能的实践者和保管人，同时也是一位艺术家，带领我们踏上了超凡的旅程。
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 be seen 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.
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