{{sindex}}/{{bigImglist.length}}

【线上展厅第四期】第六届上海铜版画展——国际美柔汀特展艺术家解读

{{newsData.publisher_name}} {{newsData.update_time}} 浏览：{{newsData.view_count}}

来源 | {{newsData.source}} 作者 | {{newsData.author}}

线上展厅

第四期

自2009年以来，在上海市美术家协会的指导下，徐汇艺术馆已经成功举办了五届上海铜版画展，2020年第六届“上海铜版画展”为美柔汀特展，意在让中国观众有机会近距离地接触和感受这门独特的艺术，也希望通过交流，增进各国艺术家之间的了解，并推动美柔汀铜版画创作在国内、在上海的发展。

展览有国际国内21位艺术家参展，参展作品近百余幅作品，我们将通过线上展厅的形式，为大家带来每位参展艺术家的详细介绍、独家创作视频以及部分未展出的精彩作品，让观众更加深入了解铜版画，感受美柔汀的艺术魅力。

第四期艺术家

【线上展厅第四期】第六届上海铜版画展——国际美柔汀特展艺术家解读视频资讯上海徐汇艺术馆崇真艺客

鹿取武司/ 日本

Takeshi Katori/ Japan

1949年出生于东京

1978年东京学艺大学（研究生院毕业）

1978-2010年文化女子大学（教授）

1949 Born in Tokyo

1978 Tokyo Gakugei University (Graduate school completion)

1978-2010 Bunka Women’s University (Professor)

参展与获奖

2019 意大利特雷维索《日本意大利现代版画展》

（贝纳通基金会/学习与研究）

2018 中国常州武进藏书票博物馆《美柔汀研讨会》

2017 意大利帕多瓦《日本现代版画展》（帕多瓦大警卫厅）

2016 中国石家庄河北师范大学美术学院《美柔汀研讨会》

2015 中国北京《日本国际版画协会展》（北京服装学院美术馆）

意大利阿巴诺《日本现代版画展》（阿巴诺艺术玻璃与温泉博物馆）

2013 俄罗斯莫斯科国际美柔汀节

2012 中国哈尔滨《黑龙江美术馆建馆50周年国际藏书票邀请展》

2011 中国北京《798国际版画博览会》

中国太原山西大学美术学院《美柔汀研讨会》

中国北京清华大学美术学院《美柔汀培训展》

2010 中国武汉华中师范大学美术学院《美柔汀研讨会》

2007 中国深圳《日本当代版画展》（关山月美术馆）

2006 中国深圳《日本现代版画展：美柔汀工作室》（关山月美术馆）

2005 中国北京《美柔汀研讨会》（北京服装与艺术设计学院）

2004 中国上海《日中国际交流版画展》（上海半岛美术馆）

Exhibitions & Awards

2019 Japan-Italy Modern Printmaking Exhibition, Fondazione Benetton Studi Ricerche, Treviso, Italy

2018 Wujin Exlibris Museum, Mezzotint Seminar, Changzhou, China

2017 Modern Japanese Printmaking Exhibition , Sala della Gran Guardia, Padova, Italy

2016 Hebei Normal University Academy of Fine Arts, Mezzotint Seminar, Shijiazhuang, China

2015 Japan International Printmaking Association Exhibition, Beijing Institute of Fashion Art Museum, Beijing, China

Modern Japanese Printmaking Exhibition, Museo del vetro d'arte edelle terme, Abano，Italy

2013 International Mezzotint Festival, Moscow, Russia

2012 Heilongjiang Art Museum 50 Years International Exlibris Invitation Exhibition, Harbin, China

2011 798 International Printmaking Expo, Beijing, China

2011 School of Fine Arts, Shanxi University, Mezztint Seminar, Taiyuan, China

2011 Tsinghua University School of Fine Arts, Mezzotint training, exhibition, Beijing, China

2010 Huazhong Normal University School of Fine Arts, Mezzotint Seminar, Wuhan, China

2007 Contemporary Japanese print exhibition, Guanshanyue Art Museum, China

2006 Modern Printmaking Exhibition in Japan, Mezzotint Workshop, Guanshanyue Art Museum, Shenzhen, China

2005 Beijing Institute of Fashion and Art Design, Mezzotint Seminar, Beijing, China

2004 Japan-China International Exchange Print Exhibition, Shanghai Peninsular Art Museum, Shanghai, China

艺术家

个人作品解读

偶然的一次机会，在神田一家旧书店我留意到一幅从来没有见过的版画。在黑色背景中浮现在桌上的鸽子静物。后来才知道这是长谷川清先生的题名为《墨西哥的鸽子》的作品，从那时起我开始沉迷于美柔汀技法。此前我大概制作了30余幅腐蚀技法的作品，然后转向美柔汀技法，并在1975年完成了第一幅美柔汀作品。

1977年，我去拜访了旅居巴黎的长谷川清先生。记得当时我带了几幅作品请他指点，他说，这样硬的纸，倒还印得不错。我用的是一种三菱纸业生产的画纸叫Leo baruky（现在已绝版）。当时我的作品以中小型的静物为主，因为那时我对其他任何主题都不感兴趣。然而，随着时光流转，除了静物我开始创作人体为主题的作品，那是我坠入爱河的时候，开始创作了一系列大型的人体作品和静物画作品。因为使用摇点刀制作底版需要花费大量的时间和劳力，所以那时候开始自己研制电动的制作底版的工具。这是一台用马达驱动摇点刀，不需要手工作业即可进行底版制作的机器。前后经过5台的改良，最终我特别订制了36厘米宽的大型摇点刀和圆形摇点刀，大大缩短了底版制作的时间。使用此设备，我制作了一系列大型（60 X 45cm）的以人体为主题的作品，当然在静物作品的创作中也发挥了作用。桌上静物的系列也开始大型化，并有了许多构图更复杂，题材丰富，强化明暗节奏的作品。我感觉通过这台机器让美柔汀版画家从制作底版的工作中解放出来。我在制作第一幅作品的六年后举办了首次个展。在80年代美柔汀还是非常少见的技法，所以被报纸和杂志刊登并引起了人们的关注。

我的制作过程是，将实际要描绘的静物对象在桌上摆放构图，并进行素描。然后将底稿与铜版的尺寸进行匹配，用复写纸将其转画到已完成底版的铜版上，然后只使用刮刀进行雕刻制版。尽量将试印控制在4～5次，并在铜版磨损之前将其电镀后底版制作才算完成。但是，在藏书票制作时我更多是使用压刀。

我从1985年开始制作四版套色美柔汀，还有手工着色的美柔汀作品。我敬仰的大师长谷川清先生说过，黑与白才是美柔汀的本质，而滨口阳三先生却主张有没有颜色是自由的选择。

当站在俄罗斯辽阔的大地上，一眼望不到边的地平线和流动的白云和吹来的风使我感触良多，之后我又开始了以风景为主题的创作。许多在旅途中留下深刻印象的风景成为我的创作题材，如法国，意大利，西班牙，北美，中国和日本等，当地的特征性建筑和风景的作品。如今，任何感兴趣的东西无论题材都成为我的版画主题。

In an old bookstore in Kanda I came across a print never seen before. It was a still life of pigeon on table emerging from a black background. Later I got to know that it was a work titled "Mexico Pigeon" by Mr. Hasegawa Kiyoshi. I became obsessed with the mezzotint technique from then on. Up to that time I had produced about 30 works by etching techniques and then turned to mezzotint. In the year of 1975 I completed my first mezzotint creation.

In 1977 I visited Mr. Hasegawa Kiyoshi who was living in Paris. I remember that I brought some works and asked him for advice. The drawing paper I used was of brand Leo baruky (no longer in production) by Mitsubishi Paper. He was amazed that the prints on such hard paper could come out not so bad. At that time I mainly worked on still life of small and medium dimensions. I was not interested in any other themes. As time went by, however, I started the drawings of human body when I fell in love. I started to create a series of large-scale human figures besides still life. Since it took too much time and labor in the process of plate preparation with a mezzotint rocker, I started to develop my own electric tools, an electrical rocker driven by motor that may shake off all manual work related. After five rounds of improvements, a large rocker of 36 cm width and a circular rocker were finally customized and they greatly shortened the time of master plate making. With the equipment I created a series of largeworks (60 X 45cm) of human figure and of course the same equipment played also an important role in the still life creations. My series of still life on table began to have bigger dimensions and there followed many works with more complex composition, richer theme and stronger rhythm of light and shade. I found that such machine made the mezzotint printmaker free from the manual work of base preparation. My first solo exhibition took place six years after I created my first mezzotint work. In the 1980s mezzotint was still a technique quite rarely talked about. My works were published by newspapers and magazines and attracted the public attention.

I am used to put the object on the table for still life composition and sketch. Then I will match the drawing with the size of the copper plate and by carbons I will reproduce the drawing on the copper platewhose background preparation is already done. The plate will be engraved only by scraper with trial printing controlled for 4 or 5 times. The master’s process will be completed with the step of electroplating before wearing out. However, with Exlibris I would use presser more than scraper.

From 1985 I started to work on the mezzotint four-color and/or hand-color process. The master I admire Mr. Hasegawa Kiyoshi said black and white were the essence of mezzotint while Mr. Hamaguchi Yozobelieved that with color or not it was only a question of choice.

One day when I came to stand on the vast land of Russia, I was so touched by the endless line of horizon and the flowing white clouds with the breeze. I started then the creation of landscapes. A lot of spectacular scenery that impressed me during the trips became subjects of my creations, for example the works on the characteristic local architectures and landscapes of France, Italy, Spain, North America, China and Japan. Today, regardless of theme, everything I am interested in can bethe subject of my prints.

标题/ Title：《恋人之梦》/ Dream of Amati

技法/Techniques：美柔汀+手上彩/ Mezzotint+hand color

规格/ Dimension (CM)：35.7 X 59.1

创作年代/Creation YEAR：1987

标题/ Title：《星期四的早上》/ On Tuesday morning

技法/Techniques：美柔汀四色套印/ Colir mezzotint (4plates)

规格/ Dimension (CM)：59.0 X 27.2

创作年代/Creation YEAR：1988

标题/ Title：《牡丹与果篮》/ Peony and Fruit Basket

技法/Techniques：美柔汀/ Mezzotint

规格/ Dimension (CM)：59.5 X 44.6

创作年代/Creation YEAR：1990

标题/ Title：《苏兹达尔的卡门卡山》/ Kamenka hill on Suzdal

技法/Techniques：美柔汀/ Mezzotint

规格/ Dimension (CM)：33.5 x 35.5

创作年代/Creation YEAR：1994

标题/ Title：《里昂漫步》/ Promenade in Lyons

技法/Techniques：美柔汀+手上彩/ Mezzotint+hand color

规格/ Dimension (CM)：35.5 x48.5

创作年代/Creation YEAR：1994

标题/ Title：《弗拉基米尔教堂的内部》/ Interior of the Church on Vladimir

技法/Techniques：美柔汀+手上彩 / Mezzotint+hand color

规格/ Dimension (CM)：47.7 x 25.2

创作年代/Creation YEAR：1994

鹿取武司与学生庄漫传授美柔汀技术（2004年上海）

庄漫 / 中国

Zhuang Man / China

生于1972 年

中国美术家协会藏书票研究会会员

日本美术家协会会员

日本版画协会会员

日本藏书票协会会员

Born in 1972.

Member of the Exlibris Society of Chinese Artists Association

Member of the Japan Artista Association Inc

Member of the Japan Print Association

Member of the Nippon Exlibris Association

参展与获奖

2019 日本版画协会版画展

2013 中国观澜国际版画双年展收藏

2011 中国观澜国际版画双年展收藏

日本高知国际版画三年展

2009 韩国首尔市第15 届《空间》国际版画双年展 / 买上奖

意大利阿奎泰尔梅市第9 届《阿奎奖》国际版画双年展 / 一等奖

2008 日本高知国际版画三年展

Exhibitions & Awards

2019 Exhibition of Japan Printing Association, Japan

2013 Guanlan International Print Biennial, China

2011 Guanlan International Print Biennial, China

KOCHI International Triennial Exhibition of Prints, Japan

2009 Purchase Prize, the 15th SPACE International Biennial, Seoul, Korea

Grand Prize, PREMIO ACQUI International Biennial of Engraving, Acqui Terme, Italy

2008 KOCHI International Triennial Exhibition of Prints, Japan

艺术家自述

有一天我会跨入风景……

我时常被人误以为男性。获得阿奎大奖时，我收到一封来自意大利写给Mr. Man Zhuang（Man庄先生）的通知。我的名字确实有点“男性化”。不过，我是优雅女性。

当我还在上海生活和工作的时候，我是一名牙医。成为终身牙医并不是我喜欢的念头。我决定再尝试些什么，就搬去了日本。我在文化女子大学读书时偶遇版画制作，明白了自己下面该做点啥。

我从2006年开始从事艺术工作。多年来，我一直致力于美柔汀技术的风景画创作。我喜爱跟着记忆里的中国村庄和寺庙去做风景，而跟着柔和、渐进的美柔汀，我希望有一天，自己会变得很小，跨入我的风景。

One day I will enter the scenery……

I am often mistaken for a man. When I won the Gran Premio Acqui I received a notice from Italy addressed to Mr. Man Zhuang. My name is indeed a bit “masculine” but I am a fair lady.

I was a dentist when I was living and working in Shanghai. I was not fond of the idea of being a lifelong dentist. I decided to try something more and moved to Japan. I was studying in Bunka Women’s University where I came across Printmaking and understood what to do next.

I started my artist activities since 2006. For many years I have been always working on the landscapes by mezzotint technique. I love creating landscapes based on the memory of Chinese villages and temples, but following the soft and gradual characteristics of mezzotint I wish one day I would become smaller and get into the scenery of my drawing.