Collage as an Artistic Medium拼貼：一種藝術(shù)

伊莎貝拉·邁耶/文　謝紅/譯

Viewed under the guise of mixed media， Collage Art typically explored the highs and lows that encompassed the elements of formal art.

披著混合介質(zhì)的外衣，拼貼藝術(shù)通常所探究的高雅和低俗含有大量正統(tǒng)藝術(shù)元素。

A collage is a piece of art that incorpor- ates a variety of materials. Derived from the French verb coller， meaning “to glue，” collage （pronounced ko·laje） is a work of art made by gluing things to the surface. It is similar to découpage， a 17th-century French practice of decorating furniture with pictures.

拼貼畫(huà)是一種包括多種材料的藝術(shù)品。拼貼（collage，發(fā)音為ko·laje）一詞源自法語(yǔ)動(dòng)詞coller，義為“黏合”，是將物體粘貼到某種表面而創(chuàng)作出的藝術(shù)品。它類(lèi)似于17世紀(jì)法國(guó)的剪貼畫(huà)（découpage）——用圖片裝飾家具的做法。

Collage within art was first coined by Cubist artists Georges Braque and Pablo Picasso. Existing as the first two artists who worked with different mediums in an attempt to make art， Braque and Picasso began their cutting-edge assemblages around 1910.

拼貼作為一種藝術(shù)形式，最早是由立體派畫(huà)家喬治·布拉克和巴勃羅·畢加索確立的。作為最早嘗試用不同材料進(jìn)行藝術(shù)創(chuàng)作的藝術(shù)家，布拉克和畢加索于1910年左右開(kāi)始創(chuàng)作前衛(wèi)的拼合藝術(shù)品。

The first example of Collage Art appeared within Braque’s 1912 artwork titled Fruit Dish and Glass， where he glued down imitation wood-grained wallpaper. Following in Braque’s footsteps， Picasso began to add newsprint to his oil paintings which made reference to the current events that were taking place， as well as gluing rope around the edge of some canvases. Pioneers of the Collage Art movement， both Braque and Picasso composed their works from glued bits of colored paper， newspaper， and found objects.

第一件含有拼貼元素的藝術(shù)品是布拉克1912年的《水果盤(pán)和玻璃杯》，他將仿木紋的墻紙貼到了畫(huà)布上。緊跟布拉克的步伐，畢加索將報(bào)紙融進(jìn)了他的油畫(huà)，使畫(huà)作得以與當(dāng)時(shí)的時(shí)事產(chǎn)生某種關(guān)聯(lián)，他還在一些畫(huà)布的邊緣粘上了繩子。作為拼貼藝術(shù)運(yùn)動(dòng)的先驅(qū)，布拉克和畢加索兩人在創(chuàng)作過(guò)程中都使用彩紙、報(bào)紙和隨手得來(lái)的物品。

A variety of materials， such as paper， cloth， paint， found objects， magazine and newspaper clippings， and sections of other artworks and text were incorpor-ated together before being glued onto a canvas or board to create an entirely new composition. This style essentially brought forth the production of a different form of art， which allowed new types of artworks to be created. These materials were considered to be such a bold intermingling of artistic elements that the return of the collage medium was thought to revolutionize modern art.

各種各樣的材料，比如紙張、布片、顏料、拾得物、報(bào)刊剪報(bào)、其他藝術(shù)品和文字的片段，組合在一起貼到畫(huà)布或木板上，成為全新的作品。這種創(chuàng)作方法催生出新的藝術(shù)形式，創(chuàng)造出新型的藝術(shù)品。這些材料被認(rèn)為是各種藝術(shù)元素的大膽混合，以至拼貼技法的回歸被視為現(xiàn)代藝術(shù)的革命。

Collage Art has been referred to as one form of mixed media art. The process of collage was viewed as a mixture of both elevated and diminished elements that existed within formal art， with this mixture referring to the traditional definition of art as well as art that was produced for mass consumption and commercial use.

拼貼藝術(shù)已被看做混合介質(zhì)藝術(shù)的一種。拼貼的過(guò)程被視為傳統(tǒng)藝術(shù)中高雅與通俗元素的融合。這種融合既符合藝術(shù)的傳統(tǒng)定義，也滿足大眾消費(fèi)和商業(yè)用途的需求。

Collage Art allowed artists to experiment with existing materials such as newsprint， magazines， tickets， propaganda， and photographs in order to create new works of art.

拼貼藝術(shù)允許藝術(shù)家們嘗試用現(xiàn)成的材料如報(bào)紙、雜志、票券、傳單和照片等創(chuàng)作新的藝術(shù)作品。

The incorporation of a variety of materials allowed collage artwork to frankly question society’s tendency to detach fine art from ordinary objects through juxtaposing elements of high and low culture within works. Whether these compositions were purposeful or random， the comparison created by the contrast of different elements has long captivated the attention of artists.

多種材質(zhì)的組合，高雅與低俗的并置，讓拼貼作品可以直白地質(zhì)疑社會(huì)中將藝術(shù)與日常生活相隔離的傾向。不管這些作品是有心還是無(wú)意，不同元素間的對(duì)比所形成的反差一直吸引著藝術(shù)家們的注意力。

Since images have the ability to take on new meanings within different contexts， the art of collage was able to easily overturn traditional meanings that were typically associated with art， as well as imply multiple meanings simultaneously. In doing so， Collage Art created works that did not simply fit into a single and rigid analysis. The style of collage held much artistic potential， which in turn made the movement incredibly accessible for all types of artists.

由于圖像在不同的語(yǔ)境中可以有不同的解讀，拼貼藝術(shù)不僅能輕易顛覆外界賦予藝術(shù)的傳統(tǒng)意義，而且能同時(shí)承載多重含義。在這種情況下，拼貼藝術(shù)作品不適合進(jìn)行單一且刻板的鑒賞和分析。拼貼藝術(shù)風(fēng)格包含巨大的藝術(shù)潛力，而這也不可思議地使所有類(lèi)型的藝術(shù)家都能從這場(chǎng)運(yùn)動(dòng)中有所借鑒。

Many innovative artists ranging from the modernism and contemporary era have made use of collage to query the supposedly traditional duty of the artist within the works they created. Through using found and mass-produced objects， images， and materials that were not made by the artists themselves， Collage Art was able to undermine the customary importance that was placed on an artist’s hand in the making of their original work.

通常認(rèn)為，藝術(shù)家的所謂傳統(tǒng)責(zé)任應(yīng)該在他的作品中有所體現(xiàn)，但許多富于革新精神的現(xiàn)代主義和當(dāng)代藝術(shù)家利用拼貼藝術(shù)對(duì)這一點(diǎn)提出質(zhì)疑。通過(guò)使用現(xiàn)成的和大批量生產(chǎn)的物品、圖像、并非出自藝術(shù)家自己之手的素材，拼貼藝術(shù)得以削弱傳統(tǒng)上認(rèn)為藝術(shù)家本身技能對(duì)于原創(chuàng)作品的重要性。

Collage Art influences and style

拼貼藝術(shù)的影響和形式

The style of collage differs depending on the techniques and materials that an artist uses. For example， photomontage1 made exclusive use of photos in their artworks; decoupage involved gluing cut colored paper or images onto an object; assemblage referred to a three-dimensional collection of objects， and papiers collés described collages that were made only from bits of paper.

拼貼藝術(shù)的形式取決于藝術(shù)家使用的技巧和材料。比如，蒙太奇攝影作品只拿照片做素材；剪貼工藝是將裁切的彩紙或圖像裝飾到其他物品上；集合藝術(shù)是三維空間的元素組合；而紙貼畫(huà)（papiers collés）則是完全用紙片創(chuàng)作的拼貼作品。

Collage as commentary

拼貼作為評(píng)論載體

What collage offers artists that cannot be found in flat work alone is the opportunity to add commentary through familiar imagery and objects. It adds to the dimension of the pieces and can further illustrate a point. We have seen this often in contemporary art.

相比于平面作品，拼貼為藝術(shù)家提供了通過(guò)熟悉的影像或物品發(fā)表評(píng)論的機(jī)會(huì)。它增加了作品的維度，可以更進(jìn)一步闡述某種觀點(diǎn)。這在當(dāng)代藝術(shù)中已屢見(jiàn)不鮮。

Many artists find that magazine and newspaper clippings， photographs， printed words， and even rusty metal or dirtied cloth are great vehicles for conveying a message. This may not be possible with paint alone. A flattened pack of cigarettes glued onto a canvas， for instance， has a higher impact than simply painting a cigarette.

許多藝術(shù)家發(fā)現(xiàn)，報(bào)紙雜志的剪報(bào)、照片、印刷的文字、甚至銹跡斑斑的金屬或臟污的布片都是信息傳遞的極佳載體，而僅靠顏料可能無(wú)法做到這一點(diǎn)。比如，將一盒壓扁的香煙粘在畫(huà)布上，遠(yuǎn)比簡(jiǎn)單地畫(huà)根香煙上去更有沖擊力。

The possibilities of using collage to address a variety of issues are endless. Quite often， the artist will leave clues within the elements of a piece to allude to anything from social and political to personal and global concerns. The message may not be blatant， but can often be found within the context.

利用拼貼作品來(lái)探討各種事務(wù)的可能性是無(wú)窮盡的。藝術(shù)家們時(shí)常在作品中留下線索指向從社會(huì)和政治事務(wù)到個(gè)人和全球關(guān)注的方方面面。其中寓意可能并非一目了然，但常常在作品場(chǎng)景中找到。

（譯者為“《英語(yǔ)世界》杯”翻譯大賽獲獎(jiǎng)?wù)撸?/p>