日文原文: SEIKO CORPORATION

日譯英：flowerbossa

英譯漢：yudi829

我30歲那年, 被請去修復目黑雅敘園里一張使用了60年的精致的螺鈿飯桌，那時的我對修復古舊的東西不感興趣, 但我相信這將會是個很好的經驗, 于是決定接受這一請求，那是我第一次和東京目黑雅敘園扯上了關系。六年之后, 我接手負責一個修復和制作數(shù)量多達5000件藝術品的項目, 在隨后的三年里, 為了管理好我從韓國帶來的300個漆藝工匠以及適應國外的生活, 我經歷了種種磨難. 但讓我們先賢留下的這一璀燦的藝術煥發(fā)新生的責任感, 促使我在這個項目上傾盡全力.

電梯上的裝飾, 高達23米的作品, 布滿漆器裝飾的墻壁……目黑雅敘園的一切都是超大比例的。 我知道, 為了達到完美的效果, 必須對所使用的材料有廣泛的知識和深刻的了解. 為此, 我對傳統(tǒng)的日本漆器工藝以及漆器的特質進行了無數(shù)次的研究和試驗.

通過這些努力, 我意識到漆器有著尚未被人盡知的神秘特質. 我感到漆器以新的面目呈現(xiàn)于世的可能性就在眼前。

我應對了制作諸如鋼琴, 小提琴和大提琴等精致樂器的挑戰(zhàn). 漆器的特質由此顯現(xiàn), 由漆器工藝制作的樂器不僅外觀美麗, 而且能夠發(fā)出清澈美妙的聲音. 我認為探求漆器新的表現(xiàn)方式是非常值得的嘗試.

如今, 除了每天制作家具和裝飾墻壁的藝術品外, 我著迷于“手表”---- 那是與我們很貼近又可以時時看到的東西. 我可以想象當藝術和精密制作的東西相結合時所產生的那種不可言喻的美. 隨著光線和角度的變化, 天然材料的表現(xiàn)多樣, 貝殼的華麗之中蘊含著一種動感. 當藝術品和齒輪指針發(fā)生共鳴, 我們應當會對生命更有感悟. 我的新的創(chuàng)造活動開始了.

到目前為止, 我生命中有三件事讓我引以為自豪.

第一是我傾盡全部心智和能力完成目黑雅敘園文化遺產(被稱為昭和時代的藝術殿堂)的修復和創(chuàng)作.

第二是十五年之后, 我使巖山漆藝美術館重獲新生, 成為漆藝文化的一個基地.

第三個就是向制作手表發(fā)起挑戰(zhàn)了.

2007年我參觀了巴塞爾世界鐘表珠寶展, 我強烈地意識到這一創(chuàng)造活動的最終產品不應該是象我原來想像的那樣僅僅是個藝術品. 與之相反, 我的目標必須是制作一個完美的手表. 歷經種種困難最終可以將這一產品呈現(xiàn)給世人, 我必須說這是在我作為藝術家的整個一生中讓我吃苦最多, 但回報也最豐盛的一個項目.

日本是一個漆藝之國, 它從別國學來這一藝術, 并使其成為自身文化的一部分. 居住在自然環(huán)境險惡的土地, 地震頻繁, 漆藝早已被用來作為木制建筑的一種保護, 并延續(xù)至今. 在這里你最有可能發(fā)現(xiàn)日本人豐富的知識和勞作.

因為我是個和漆藝打交道的藝術家, 而漆藝是日本的一個標志, 由此我經歷了日本文化的一大部分, 并認識到它的深厚, 不過可惜的是, 似乎少有日本人能深層次地理解自己的文化.

日本文化中的許多東西足以讓日本人自豪地將其展現(xiàn)給世界. 我希望日本人民能盡快醒來意識到自身所擁有之物的美妙, 并為之感到自豪. 在接近西方文化這么久之后,現(xiàn)在也許到了日本人回歸自我的時候了.

傳統(tǒng)是歷史的守望者, 同時它又必須讓現(xiàn)世自行發(fā)展 (and at the same time, it must leave the present age itself). 讓日本人民對漆藝文化了解更多并珍惜它是我的愿望, 我希望我的工作能促進其實現(xiàn).

我相信將擁有10,000年悠久歷史的漆器藝術與機械表結合的努力, 給了我一個機會來表達對機械表歷史作出貢獻的瑞士人民的尊敬. 我愿意為這一項目貢獻我全部的經驗和技藝.

即使是在一個微小到毫米的世界里, 如果那是能感動人心靈的東西, 就值得一個人獻出他的一生.

Interview with Lacquer Artist Jeon Yongbok 1/3

When I was 30 years old, I was asked to repair a zen (a table for meals) with exquisite raden (mother- of- pearl inlay ) which had been used at Meguro Gajoen for 60 years.At the time, I was not interested in reparing things made in the past, but I decided to accept the request believing that it would be a good experience. That was my first encounter with Tokyo Meguro Gajoen.Six years later, I became responsible for a project which consisted of restoring and creating art works amounting to 5000 pieces, and in the 3 years that followed, I experienced various hardships in managing the 300 lacquer craftsman I had brought with me from Korea and the difficulties of living abroad. But as I was filled with a sense of duty to revivify the art works of the highest class left by our forerunners, I put in everything I had into this project.

The decorations on the elevators, works which were large as 23 m in height, walls which were totally covered with lacquer work etc ... everything at Gajoen were of unprecedented scale, and in order to finish it with perfection, I knew that it was necessary to have deep knowledge and understanding of the materials. Thus, I went through countless research and experiments on the traditional Japanese lacquer techniques and the qualities of lacquer.

Through these efforts, I realized that lacquer possessed mysterious qualities which are not yet generally known. I felt that new possibilities laid ahead in the expression with lacquer.

I took on the challenges of creating delicate musical instruments such as the piano, violin, and cello. Bringing out the qualities of lacquer, I was able to create a clear and beautiful sound. Not only were they beautiful on the outside, I think it was a worthwhile challenge to pursue the new possibilities of lacquer.

And now, coming out of my usual work of creating furniture and artworks for decorating walls, I have become interested in "watches" - something very close to us and capable of seeing at all times. I imagined the inexpressible beauty that will come out when art is added to something made with precision. Natural materials create various expressions according to light and angles. The splendor of a shell possesses movement. When the artwork resonates with the gear and hands, we should be able to feel a bigger sense of life. My new creative activity had begun.

Up to this present day, I have three things I am proud of in my life.

First, for completing the restoration and creation of the cultural assets of Meguro Gajoen (called the "hall of arts" of the early Showa era) by giving everything I had in terms of ideas and ability.

Secondly, 15 years from then, I revived the Iwayama Lacquer Art Museum as a museum serving as a base for the culture of lacquer.

And the third is for taking on the new challenge of creating watches.

In 2007, I made a visit to Baselworld and strongly felt that the product of this creative activity should not be an artwork merely based on my original views , rather I must aim for perfection as a watch. Being finally able to present this product after overcoming many obstacles, I must say this was a project I suffered from the most and at the same time found the most rewarding in all my life as an artist.

Japan is the "country of japan (lacquer)". It took in the art of lacquer from abroad, and has established it as a part its own culture. In a land with a harsh natural environment frequented by earthquakes, lacquer has been used as a kind of paint to preserve wooden architecture, and passed on steadily to the present. Here, you can most certainly find bountiful knowledge and work of the Japanese people.

Because I am an artist who deals with lacquer, a symbol of Japan, I have experienced much of its culture and acknowledge its greatness, but unfortunately few Japanese seem to understand his own culture in depth.

There is much in the culture of Japan that one can proudly present to the world. I hope the Japanese people would soon wake up to the wonders of the things close at hand, and feel proud of them. Perhaps it is time that the Japanese who have been in contact with western culture for a long time will revive its sense of nostalgia.

Tradition is something that preserves history, and at the same time, it must leave the present age itself. It is my desire to have the Japanese people know more about the culture of lacquer and treasure it. I hope my work will serve as a catalyst.

Expressing my respect to the Swiss people who contributed to the history of mechanical watches, I believe that this collaboration with lacquer with its 10,000 year old history has gained an opportunity to make a contribution. I would like to offer all of my experience and craftsmanship for this project.

Even in the world of a millimeter, if it is something that touches a soul, it is worth giving one's life to it.