譯/愛(ài)藝

阿爾豐斯·穆夏（1860—1939）是捷克“新藝術(shù)運(yùn)動(dòng)”畫(huà)家和裝飾藝術(shù)家，以其獨(dú)特的藝術(shù)風(fēng)格聞名于世。

[2]穆夏出生于摩洛維亞小鎮(zhèn)伊梵尼切（在現(xiàn)捷克共和國(guó)境內(nèi)），成長(zhǎng)過(guò)程中深受兩大文化影響：一個(gè)是天主教，另一個(gè)就是斯拉夫民族擺脫奧地利帝國(guó)統(tǒng)治、實(shí)現(xiàn)民族獨(dú)立的渴望。鎮(zhèn)上教堂一處巴洛克風(fēng)格的壁畫(huà)激起了穆夏的藝術(shù)興趣，后來(lái)他搬至維也納做了一名舞臺(tái)布景畫(huà)師，開(kāi)始學(xué)徒生涯。他以幫人畫(huà)肖像維持生計(jì)。這份活計(jì)讓他結(jié)識(shí)了重要的資助人庫(kù)恩-貝拉希伯爵，伯爵雇請(qǐng)他為艾瑪霍夫古堡繪制壁畫(huà)。1894年，穆夏為歌舞劇《吉斯蒙達(dá)》制作海報(bào)，由此一炮而紅。該劇主演莎拉·伯恩哈特是國(guó)際知名女演員，正是因?yàn)檎J(rèn)識(shí)了她，穆夏也迅速成名。伯恩哈特與他簽下一紙合約，他按約為伯恩哈特制作了多幅推廣海報(bào)，還負(fù)責(zé)設(shè)計(jì)服裝和舞臺(tái)布景。

[3]穆夏不僅創(chuàng)作了一系列畫(huà)作、海報(bào)、廣告招貼畫(huà)和圖書(shū)插圖，還設(shè)計(jì)過(guò)珠寶首飾、地毯、壁紙和舞臺(tái)劇布景，作品呈現(xiàn)的風(fēng)格最初稱(chēng)為“穆夏風(fēng)格”，后來(lái)人稱(chēng)“新藝術(shù)運(yùn)動(dòng)”。穆夏的作品常?？坍?huà)美麗健康的年輕女子，她們身著略呈新古典主義樣式的飄逸長(zhǎng)袍，經(jīng)常置身繁茂的花叢中，有時(shí)頭后飾以花環(huán)。穆夏借鑒了拉斐爾前派、漢斯·馬卡特和日本木刻藝術(shù)，形成了自己獨(dú)特的風(fēng)格。他的畫(huà)風(fēng)自然而華麗，優(yōu)雅而靈動(dòng)，線(xiàn)條彎曲流暢，還配有拜占庭式的邊飾、題字和畫(huà)框。他的新藝術(shù)風(fēng)格被世人競(jìng)相模仿。

[4]這幅令人印象深刻的招貼畫(huà)《“喬布”卷煙紙》（彩色平版印刷，66.7厘米×46.4厘米，1896年）是為卷煙紙制造公司約瑟夫·巴爾杜公司所做的廣告招貼。一個(gè)手持燃煙的美麗女子占據(jù)了畫(huà)面中央，裊裊升起的煙氣與女子那拉斐爾前派風(fēng)格的卷發(fā)和商標(biāo)JOB交織在一起。招貼畫(huà)金色鋸齒狀邊飾的靈感來(lái)自拜占庭鑲嵌畫(huà)，加之盤(pán)旋的煙氣和厚重的紫色背景，營(yíng)造出一種奢華而性感的氛圍。在鋸齒狀畫(huà)框富有韻律的線(xiàn)條映襯下，女子秀發(fā)與升煙的彎曲線(xiàn)條顯得格外突出。毫無(wú)疑問(wèn)，這個(gè)女子在吸煙，更別提多少還帶有情色的意味，這樣的行為為人不齒，因?yàn)槟莻€(gè)時(shí)代的正派女子不會(huì)在公開(kāi)場(chǎng)合吸煙。此外，她的長(zhǎng)發(fā)瀑布般披散著，性感而大膽，那時(shí)的正派女子則都會(huì)把頭發(fā)扎起。

[5]這些離經(jīng)叛道的重要細(xì)節(jié)暗示，吸煙的女子或許輕浮放蕩。她迷失于享樂(lè)中——很可能一絲不掛，微閉雙眼，半帶笑容，一副陶醉的樣子。穆夏以圣徒般的喜悅之心描繪這個(gè)女子，目的是為一種日常用品做廣告，這也顯示出他完美融合藝術(shù)與商業(yè)的高超畫(huà)技。他將凡常之物提升至具有神秘之美的境界。

[6]這也許是穆夏最知名的廣告招貼畫(huà)之一，其后更以各種形式印制了無(wú)數(shù)版推往國(guó)際市場(chǎng)。這幅招貼畫(huà)確立了“穆夏女性”的代表形象——擁有一頭格外濃密的大波浪卷發(fā)?！?/p>

Alphonse Mucha (1860–1939) was a Czech Art Nouveau painter and decorative artist, known best for his distinct style.

[2] Muncha was born in the town of Ivancice, Moravia, and raised in the shadow of two powerful cultural forces:The Catholic Church and the Slav’s desire for independence from the Austrian Empire. A baroque fresco in his local church piqued his interest in art, and he moved to Vienna, where he took an apprenticeship as a stage set painter. To make a living he executed portrait commissions. This led him to an important mentor, Count Khuen-Belasi, who hired him to paint murals in Emmahof Castle.Mucha shot to fame in 1894 with his theatre poster for Gismonda. The leading actress, Sarah Bernhardt was an internationally famous, and by association with her, Mucha quickly became famous as well. Bernhardt put him under contract, and Mucha created many promotional posters for her, as well as costumes and stage sets.

[3] Mucha produced a flurry of paintings, posters, advertisements, and book illustrations, as well as designs for jewellery, carpets, wallpaper, and theatre sets in what was initially called the Mucha Style but became known as Art Nouveau. Mucha’s works frequently featured beautiful healthy young women in flowing vaguely Neoclassical looking robes, often surrounded by lush flowers which sometimes formed haloes behind the women’s heads. Drawing from the influences of the Pre-Raphaelites,Hans Makart1漢斯·馬卡特（1840—1884），19世紀(jì)奧地利學(xué)院派歷史畫(huà)家、設(shè)計(jì)師，對(duì)奧地利后代畫(huà)家影響深遠(yuǎn)。, and Japanese wood cuts,Mucha developed his unique style. His style was organic and ornate, graceful and dynamic, with curving, swooping lines and Byzantine borders, lettering,and frames. His Art Nouveau style was often imitated.

[4] This striking poster, “Job” Cigarette Paper (Colour lithograph, 66.7 cm × 46.4 cm, 1896), was created as an advertisement for the Joseph Bardou Company, the manufacturer of cigarette papers. A beautiful woman with a lighted cigarette dominates Mucha’s poster, the rising smoke intertwining with her swirling, Pre-Raphaelite hair and the logo—the trademark “JOB”.The poster’s golden zigzag border, in-spired by Byzantine mosaics, combines with the twirling smoke and the rich purple background to create a luxurious and sensual mood. The curving lines of the woman’s hair and rising smoke stand out against the rhythmic lines of the zigzag frame. The very fact that this woman is smoking—let alone that she is somewhat eroticized—was scandalous,since no respectable woman of the time would smoke in public. Furthermore,her sensual tangle of cascading hair was daring, because respectable women of the era wore their hair tied up.

[5] These significant breaks from tradition suggest that the smoker may be wanton and wild. She is lost in pleasure—quite possibly in the nude, her closed eyes and half smile suggesting ecstasy. Mucha depicts his smoking woman in the manner of a rapturous saint to advertise an everyday product, thereby revealing his great skill at blending art and commerce. He elevates the ordinary to a realm of mysterious beauty.

[6] This is perhaps one of Mucha’s best-known advertising posters, with numerous editions subsequently published in a variety of formats for international markets. This poster established the iconic image of the “Mucha woman” with her swirls of exaggeratedly abundant hair. ■