艺术果酱｜平成时代最伟大艺术家：村上隆
#太阳花
The visual vocabulary of Japanese artist and designer Takashi Murakami is one of the most recognizable styles in modern times. His household “Superflat” style blends elements of anime, Japanese painting, and pop art satire, breathing life into two-dimensional works. In his flat world, frequently appearing smiling flowers, squid-like eyes, and his other persona “DOB” within his works are characters born from a fusion of classical and pop art tropes.
日本艺术家暨设计师村上隆的视觉语汇是近代最具辨识度的风格之一。他家喻户晓的「超扁平」风格糅合了动漫、日本画和普普艺术嘲讽的元素，为平面画作注入生命力。在他的扁平世界中，常常出现的微笑小花、水母眼睛和他在作品中的另一个人格「Dob君」，都是融汇古典艺术和普普艺术典故而成的人物。
Murakami also combines his designs with the amalgamation concept of popular otaku culture to create a series of works closely related to the daily life and interests of Japanese otakus. Filled with distinct Japanese manga elements, the flattened colors and gorgeous flowers, the strange yet amusing KaiKai and KiKi are highly recognizable and overwhelm the senses with a sense of childishness.
村上隆还结合流行御宅文化的结合理念，创作出一系列贴近日本御宅一族的日常生活和喜好的作品。充满着满满的日本漫画元素，扁平化色彩艳丽的花朵，怪诞而有趣的 KaiKai 和 KiKi。满屏的童稚感却也能强力冲击人们的视觉，具有超高的辨识度。
花花亲子 – 东京六本木新城新地标
Regardless of external noise, Murakami balances a wild exterior and inner peace, actively engaging in social topics while exploring art boundaries in his own way. With a more avant-garde perspective, he awakens the sleeping dreamers in the traditional world to embark on a grand artistic adventure.
无论外界的声音如何，游走在癫狂外表与内心平和两极的村上隆，一直都在积极参与社会话题的过程中，以自己的方式探索艺术的边界；同时以更超前的视角唤醒在传统世界中沉睡的蠢蠢欲动者，共赴一场更宏大的艺术探险。
多啦A梦
Murakami has simply summarized his artistic style with phrases like “Superflat” and “youthful energy”. With utmost honesty, Murakami takes the manga, video games, and cartoon animations loved by Japanese otakus, alongside Japan’s unique sensual culture, boldly amplifying and merchandising them. Murakami has mentioned more than once that the entire Japanese society is “Superflat.”
村上隆先后以“超扁平”、“幼稚力”等字眼，简单概括了自己的作品风格。村上隆很诚实的把日本御宅族热爱的漫画、电玩和卡通动画和日本特有的情色文化不羞涩的将它放大与贩卖，而且村上隆不只一次提到，日本整个社会就是“超扁平”。
#Takashi + Murakami
Murakami’s diverse works encompass sculptures, prints, paintings, NFTs, and collectibles featuring characters he created. Behind the vibrant colors and iconic pop art patterns, the artist actually delves into various acute issues, including Japan’s post-war decline and the expanding influence of Western culture. Regardless of the medium he chooses, Murakami’s works cleverly reflect a globalized world, finding a hint of familiarity amidst the strangeness.
村上隆的作品丰富多样，囊括雕塑、版画、画作、NFT 和他所创角色的周边收藏品。在这些缤纷灿烂的色彩和普普艺术标志性图案背后，艺术家其实在探讨多个尖锐议题，包括战后日本的衰退，以及西方文化逐步扩大的影响。不论他以哪种媒介创作，村上隆的作品亦能巧妙反映全球化下的世界，恰到好处的反乌托邦氛围让人在怪异中找到一丝熟悉的感觉。
Early on, Murakami recognized that the merit of art itself is meaningful only when it intervenes in society, and that integration with society is the way forward for contemporary art.
村上隆很早就意识到，艺术本身的好坏要通过介入社会才产生意义，与社会契合才是当代艺术的出路。
He practiced the successful art factory operational model validated by contemporary Western art stars like Andy Warhol and Jeff Koons. In 2001, Murakami established his own art company, Kaikai Kiki, implementing his long-standing belief that, like the animation, film, and idol industries, art should also be capable of mass-producing talents.
通过实践安迪·沃霍尔和杰夫·昆斯（Jeff Koons）等当代西方艺术红人验证成功的艺术工厂运营模式。2001年，村上隆组建了自己的艺术公司，Kaikai Kiki（中文译名为：奇奇怪怪），实践他一直以来的主张：艺术跟动漫画、电影与偶像等产业一样，应该可以批量培养。
Murakami’s works have a flat visual style that looks like a mix between toy models and dolls, combining cuteness and extreme violence with a rich palette of cartoon colors while reflecting Japanese cultural connotations. As artworks, they blur the line with commercial paintings; they are both modern and traceable to traditional roots, with styles occasionally evocative of ukiyo-e and Rinpa school. They are accessible and appreciated by all. The seemingly playful, cartoonish images satirize an increasingly superficial and shallow popular culture, one that is flat and lacks depth. It is the seriousness and critique behind this whimsical humor that has made him one of the most popular, yet controversial artists on the international stage.
村上隆的作品形象扁平，从外表看起来既像玩具模型，又像玩偶，集合可爱与极端暴力于一身，带有浓厚的卡通漫画色彩，却同时在影射日本文化内涵。作为艺术品，它们又很难跟商业画清界线，既现代又能追溯传统根源，时有浮世绘及琳派的风格，并且人人都能亲近欣赏。可爱诡异的漫画式图像其实在嘲讽越来越肤浅浮面的大众文化，扁平而且欠缺深度，也就是这样玩味戏谑背后的严肃和批判，让他成为目前国际上最热门、也最具有争议的艺术家之一。
