Exploring the Evolution of Collage Art拼貼藝術(shù)演變史

凱莉·里奇曼–阿卜杜/文　施慧靜/譯

Throughout the 20th century， creatives across many movements， mediums， and styles began to explore the practice of collage art. The inventive and innovative approach to art attracted artists due to its one-of-a-kind aesthetic and unique， pieced-together process.

縱觀整個(gè)20世紀(jì)，各路藝術(shù)家紛紛開始探索拼貼藝術(shù)——他們隸屬多項(xiàng)藝術(shù)運(yùn)動，創(chuàng)作媒介和藝術(shù)風(fēng)格也多種多樣。讓他們著迷的正是拼貼獨(dú)一無二的美感和與眾不同的拼制過程帶來的藝術(shù)創(chuàng)造性和創(chuàng)新性。

Beginning in the modernist period and continuing into the contemporary art world， the collage art form has undergone a series of changes as more and more artists opt to explore it. Here， we look at the cutting-edge history and ever-changing evolution of the craft， paying particular attention to the movements and artists that have shaped it.

隨著越來越多的藝術(shù)家探索拼貼藝術(shù)，這門藝術(shù)從現(xiàn)代主義時(shí)期萌芽，一路發(fā)展到當(dāng)代藝術(shù)的世界，經(jīng)歷了一系列的變化。在這里，讓我們一起了解拼貼藝術(shù)的先鋒歲月，跟隨它日新月異的演變，重點(diǎn)關(guān)注影響拼貼藝術(shù)的流派和藝術(shù)家。

Collages can be created from a range of materials， though most are made of paper or wood and often feature cut-and-pasted photographs， painted forms， or even 3-dimensional objects. As more and more modern artists began exploring the practice throughout the 20th century， these mediums became more varied and increasingly experimental.

制作拼貼畫的材料多樣，但通常都是用紙張、木頭來制作，以剪貼的照片、繪畫，甚至三維立體的物品為主體。整個(gè)20世紀(jì)涌現(xiàn)出一大批探索這門藝術(shù)的現(xiàn)代藝術(shù)家，他們使用的媒介也變得更為多樣，激發(fā)出更多實(shí)驗(yàn)精神。

History of collage art

拼貼藝術(shù)史

Precursors of Collage Art

拼貼藝術(shù)的先驅(qū)

The techniques associated with Collage Art were first used in China around 200 BC when paper was invented. The initial style of collage began to slowly come into fashion within 10th century Japan when calligraphers started to utilize glued paper and texts on surfaces when writing poetry.

紙張發(fā)明于公元前200年左右，早在那個(gè)時(shí)候，中國就已經(jīng)出現(xiàn)了與拼貼藝術(shù)相關(guān)的技藝。最早的拼貼畫風(fēng)格在10世紀(jì)的日本逐漸流行起來，那里的書法家在寫詩時(shí)，用涂上膠水的紙寫字，貼到不同的地方。

Chinese pulp mills quickly spread to other parts of Asia， Africa， the Middle East and had arrived in Europe by the 11th century. Early adhesives such as Arabic skin glue were made from plant resins， animal bones， hides， and skins. The artistic technique of gluing to create images appeared in the 13th century medieval. The image of St. Dorothea （c. 1450—1500 CE） shows that the trees， border， and St. Dorothea’s dress were decorated with crystals and tinsel.

中國的紙漿廠很快傳遍亞洲、非洲和中東地區(qū)，在11世紀(jì)傳到歐洲。早期的膠水，比如阿拉伯皮膠，是由植物樹脂、動物骨頭、獸皮制成的。中世紀(jì)13世紀(jì)出現(xiàn)了利用膠水粘貼制作圖像的技藝。在圣女多羅德（公元1450—1500年）的畫像中，樹木、飾邊，還有圣女的衣裙都用水晶和金屬箔點(diǎn)綴。

By the 15th and 16th centuries， religious images in manuscripts， gothic cathedrals， and noble Coats of Arms were commonly adorned with gold leaf， gemstones， and other precious items. Paper collage art forms such as silhouette became popular in the 19th century as domestic novelties that would have been affordable and accessible to a wider range of people.

到了15至16世紀(jì)，手抄本中的宗教圖像、哥德式大教堂和貴族盾徽常常以金葉、寶石和其他貴重物件裝飾。剪影一類的紙制拼畫在19世紀(jì)成為流行的家居裝飾，更多的人買得起、會制作。

Collage was also seen as a method of art undertaken by hobbyists for a period of time， as this style was used in items of memorabilia， such as photo albums， and books within the 19th century. However， many institutions have attributed the history of collage and its official beginning within the art sphere to be dated around 1912， when both Picasso and Braque began to experiment with this style in their artworks.

拼貼畫有一段時(shí)期也被視作業(yè)余愛好者的一門藝術(shù)：在19世紀(jì)，拼貼被用于制作相冊或書籍一類的紀(jì)念物。不過，各個(gè)藝術(shù)機(jī)構(gòu)將拼貼歷史及其最初正式歸入藝術(shù)領(lǐng)域的時(shí)間定為1912年左右，因?yàn)樵谶@一年，畢加索和布拉克不約而同在作品中嘗試拼貼。

Cubism

立體主義

In the early 20th century， collage came to the forefront of modern art. It solidified its place in fine art around 1912 when it coalesced with art movements such as Cubism， Constructivism， and Futurism. While Cubism is most often associated with painting， its founding figures， Georges Braque and Pablo Picasso， also created collages in this style. Defined by fractured forms and deconstructed subject matter， Cubism paired perfectly with the collage approach， as it enabled artists to literally piece together a picture from dissimilar components.

到20世紀(jì)初，拼貼畫逐漸走到了現(xiàn)代藝術(shù)的前沿。1912年左右，拼貼畫與立體主義、構(gòu)成主義以及未來主義融合，從而在高雅藝術(shù)領(lǐng)域取得一席之地。盡管立體主義主要以繪畫為表現(xiàn)形式，但立體主義的奠基人喬治·布拉克和巴勃羅·畢加索都創(chuàng)作過立體主義的拼貼作品。立體主義本身就靠破碎的圖形和解構(gòu)內(nèi)容來定義，因此與拼貼藝術(shù)相得益彰，它讓藝術(shù)家通過剪貼截然不同的構(gòu)件完成畫作。

Additionally， unlike painting， collages did not risk appearing flat. This fact， according to esteemed art critic Clement Greenberg， was appealing to artists like Picasso and Braque， who focused on evoking dimensionality in their work. “Flatness had not only invaded but was threatening to swamp the Cubist picture，” Greenberg explained in a 1958 issue of Art and Culture.

而且，拼貼畫也不像繪畫那樣囿于平面。知名藝術(shù)評論家克萊門特·格林伯格認(rèn)為，拼貼深深吸引了像畢加索和布拉克這樣的藝術(shù)家，是因?yàn)樗麄兊淖髌分匾暳Ⅲw感?！捌矫娓胁恢皇菍αⅢw主義的侵犯，甚至可能讓立體主義的陣地淪陷?！备窳植窠忉屨f，此話刊載于1958年的《藝術(shù)與文化》。

In addition to painted paper cut-outs， newsprint， and patterned paper were often employed by Cubists， as evident in Picasso’s Bottle of Vieux Marc， Glass， Guitar and Newspaper， and Braque’s Violin and Pipe.

除了繪畫剪紙之外，立體主義畫家還曾使用新聞紙和印有花樣的紙張，以畢加索的作品《酒瓶、玻璃杯、吉他和報(bào)紙》和布拉克的作品《小提琴和煙斗》為代表。

Dada

達(dá)達(dá)主義

Dada， which began in 1916 in Zürich， Switzerland， was especially suited to the collage art form. Unlike the Cubists， who favored still-life arrangements， the Dadaists created collages that incorporated a wide array of iconography， from reinterpreted portraits to figures rooted in fantasy.

達(dá)達(dá)主義運(yùn)動在1916年始于瑞士蘇黎世，與拼貼藝術(shù)是絕配。達(dá)達(dá)主義有別于偏愛靜物排列的立體主義，利用各式各樣的圖像材料創(chuàng)作拼貼畫，從重新詮釋的畫像到幻想人物，應(yīng)有盡有。

Dada artists also creatively incorpor- ated more materials into their collages than their Cubist counterparts. Members of the movement are particularly renowned for their innovative use of seemingly worthless or often overlooked items like tickets， magazine and newspaper clippings， candy wrappers， and even 3-dimensional trinkets1. By transforming ephemera2 into polished pieces， the Dadaists challenged traditional perceptions of art.

比起立體主義的同行來，達(dá)達(dá)主義的藝術(shù)家更富創(chuàng)意，他們把更多材料活用到拼貼畫中。達(dá)達(dá)主義流派擅長利用日常遭到忽視，甚至人們棄若敝屣的物件創(chuàng)作，比如車票、雜志報(bào)紙的剪報(bào)、糖紙，還有三維的小裝飾品。達(dá)達(dá)主義藝術(shù)家就是讓短時(shí)效物品搖身變成精美藝術(shù)品，挑戰(zhàn)了傳統(tǒng)的藝術(shù)觀念。

Surrealism

超現(xiàn)實(shí)主義

On the heels of Dada， Surrealists adopted and adapted this cut-and-paste technique. Much like their “automatic” approach to painting， these artists relied on the subconscious to produce one-of-a-kind assemblages made of photographs， illustrations， pieces of paper， and paint.

緊隨達(dá)達(dá)主義腳步而來的是超現(xiàn)實(shí)主義畫派，他們采用并改良了拼貼技藝。藝術(shù)家把“無意識”的繪畫方式沿用到了拼貼上，發(fā)掘自己的潛意識，利用照片、插圖、紙張和顏料制作獨(dú)一無二的拼合藝術(shù)品。

Abandoning the Cubists’ focus on still life， they embraced and expanded upon the Dadaists’ move toward strange subject matter to create pieces evocative3 of a dream. This focus is exceptionally evident in the work of Joseph Cornell and André Breton， who both used the method as a means to conjure up cohesive yet entirely made-up scenes.

超現(xiàn)實(shí)主義藝術(shù)家摒棄了立體主義對于靜物的專注，接受并拓展了達(dá)達(dá)主義對稀奇古怪素材的追求，創(chuàng)作出幻夢色彩的作品。其中的佼佼者有約瑟夫·康奈爾與安德烈·布雷頓，他們的作品用拼貼手法，像魔術(shù)師一樣變幻出緊密銜接卻純屬拼湊起來的場景。

Abstract Expressionism

抽象表現(xiàn)主義

Like the early modern artists that preceded them， Abstract Expressionists challenged conventional ideas about art. In order to take this avant-garde stance a step further， they rejected figurative subject matter and worked entirely in the abstract. This approach， however， was not limited to their more well-known drip， color field， and soak stain paintings; it is also evident in their collages.

抽象表現(xiàn)派藝術(shù)家與早先的現(xiàn)代派藝術(shù)家一樣，勇于挑戰(zhàn)傳統(tǒng)的藝術(shù)觀念。他們脫離具象題材，全然投身于抽象作品的創(chuàng)作，把這一先鋒態(tài)度推到了新的境界。抽象表現(xiàn)主義不僅用于他們更著名的墨跡點(diǎn)滴、色域繪畫和浸泡染色作品，在他們的拼貼畫中也顯而易見。

Like their paintings， Abstract Expressionists’ collages showcase an emphasis on color， composition， and emotion. Through simplified silhouettes， blocks of cut-and-glued color， and free-floating painted lines， the artists added （literal） layers of dimensionality to their already-famous aesthetic.

抽象表現(xiàn)主義的拼貼畫和繪畫作品一樣，濃墨重彩地展示色彩、構(gòu)圖和情緒。透過簡單勾勒的剪影、大塊的色彩剪貼、自由的色彩線條，藝術(shù)家在大眾熟知的藝術(shù)美感中加入（實(shí)實(shí)在在的）一層層立體感。

Pop Art

波普藝術(shù)

In 1956， British artist Richard Hamilton ushered in the Pop Art movement with his eye-catching collage， Just what is it that makes today’s homes so different， so appealing？ Featuring carefully-selected clippings from American magazines， this piece incorporates several contemporaneous4， pop culture-related everyday motifs， including “Man， Woman， Food， History， Newspapers， Cinema， Domestic Appliances， Cars， Space， Comics， TV， Telephone， Information.”

1956年，英國藝術(shù)家理查德·漢密爾頓首開波普藝術(shù)的先河，他推出備受矚目的拼貼畫《到底是什么讓今天的家如此不同，如此吸引人？》。作品采用了精心摘選的美國雜志剪報(bào)，納入若干在當(dāng)時(shí)與流行文化相關(guān)的日常主題，包括“男人、女人、食物、歷史、報(bào)紙、電影、家電、汽車、太空、連環(huán)畫、電視、電話和信息”。

In addition to setting the scene5 for Pop Art in terms of subject matter， this piece also inspired other members of the movement to explore collage art.

該作品不但為波普藝術(shù)選擇主題創(chuàng)造了條件，也啟發(fā)了其他波普藝術(shù)家探索拼貼藝術(shù)。

（譯者為“《英語世界》杯”翻譯大賽獲獎?wù)?；單位：上海工程技術(shù)大學(xué)）