田中一光：传统与未来的超链接
生于日本奈良商业世家的田中一光，自幼喜欢文字、电影和剧场，日常沉迷于摆弄剪报、拼贴游戏。日本京都美术学校图案科毕业的他，从美国大兵丢弃的烟盒中看到了下一个时代。年轻时因受吉原良治、早川良雄等人的影响，他意识到自己不应该成为图案家而应该成为一名设计师。
Born in a business family in Nara, Ikko Tanaka was a massive lover of characters, films and operas, enjoying cutting images or characters from newspapers and magazines to play collage games. When studying graphic design in Kyoto School of Fine Arts (now is the Kyoto University of Arts), he came across the hope of next generation of Japanese design from a cigarette box thrown by a US soldier. Influenced by Jiro Yoshihara and Yoshio Hayakawa, he started to realize that he should become a designer instead of a graphic master.
展览户外视觉
田中一光的多元与不确定让他有别于所有日本战后平面设计师，他始终拒绝将自己安置在单一、辨识度高的风格里 ，他统揽戏剧、音乐、展览、科技、商业等不同主题，驰骋于海报、书籍、字体、形象、空间设计等领域之间，他参与大量的商业机构、设计组织、设计协会的管理与运营，龟仓雄策评价他是一位设计和组织能力兼备的奇才。
With characteristics of uncertainty and diversity, he distinguished himself from other post-war Japanese graphic designers. Ikko Tanaka refused to constrain himself in a single, recognizable style. His design covered many topics including drama, music, science, technology, exhibition, and business, switching briskly among different design types like posters, books, fonts, images or even space. Being an active participant in operation and management of numerous business institutions, design organizations and associations, he was praised by Yusaku Kamekura as “a great talent who can combine his artistic talents with management gifts.”
田中一光的设计犹如一本巨著，旁征博引，引经据典，他将那些大家熟知的符号、图形，诸如能剧、日本歌舞伎、浮世绘、 琳派绘画、中国艺术、小袖、药典图谱、建筑样式等文化符号转换成全新的信息和语言，所有的元素经田中之手摆布后，便演绎出了全新、丰富的日本表情，他的作品呈现出一种丰富多彩的素洁之美。
Tanaka’s design is like a great book. He extensively collected elements from different areas in his creation, transforming well-known symbols and images of Noh, Japanese Geisha, Ukiyoe, Rimpa Painting, Chinese arts, Kosodo, pictures in pharmacopoeia, and architecture styles to brand new forms of information and languages. With his design, all elements show new and rich expression in Japanese style and his works conveyed the beauty of simplicity in different forms.
田中一光以个体的自我觉醒带动了日本设计界的整体觉醒，安藤忠雄撰文：“田中一光先生不断思索如何让日本的传统文化存活于现代社会，通过自己的作品，追求日本精神性的美的传统，一路摸索新文化与未來设计的可能性，超越平面设计的分野，不断质疑丰富的生活的真谛到底是什么，其作品就是解答。”
Tanaka led to the wakening of Japanese design consciousness through individual self-wakening. Tadao Ando wrote: “ Mr. Ikko Tanaka kept thinking how to let Japanese culture survive in the modern society. Through his design, he pursued the Japanese tradition of spiritual beauty. Breaking the boundary of graphic design, he persistently explored the possibility of new culture and future design. What’s more, he kept asking what is the essence of rich life, and his works were all the answers.”
福田繁雄：超越平面的阴谋家
Shigeo Fukuda: Visual Schemer without the Limits of Graphics
福田繁雄是一个独特、无可复制的人。儿时喜欢手工及画画的福田繁雄，成为漫画家的梦想没能如愿，但是他却成功地将漫画语言的透明质朴、漫画思维的深刻幽默两个特性延续到平面作品当中。
Shigeo Fukuda was a person “too unique to copy”. Obsessed with origami and paintings at childhood, he did not become a cartoonist. But still, he successfully transformed cartoon’s straightforward and simple languages as well as the profound and humorous thinking into his graphic design.
福田繁雄是一位不折不扣的视觉阴谋家，他的作品挑战一切人所具有的常识认知，通过选择性观看这一视觉心理学原理，将矛盾二者异质并构，最终以一种不能解决问题的视觉方式解决了问题。他对环境、暴力、政治等社会问题，从不同社会广度、思考深度、文化差异等层面给予思辨的、直接的、脑洞大开的视觉回答，一丝不苟地抖出一个又一个包袱，而观众们总会在一头雾水之后茅塞顿开。福田的创造如同日本的俳句，由观众自己来画上结尾的句号。
As a complete visual schemer, Shigeo Fukuda’s works go beyond people’s expectation, challenging audience’s existing cognition. Being an excellent mastermind of visual psychology, Fukuda intelligently integrated various contradictory factors, presenting his artworks in an “impossible” visual method. In terms of topics of environment, violence, politics and other topics, he delivered bold, straightforward, unimaginable and dialectical visual illusion to audience from different angles such as society, the depth of thinking and culture differences. His creations throw tricks to audience one after another. Audience will burst into laughter after they figure out his “scheme”. Some commentators compare his creation as Japanese baiku in which the ending is always finished by the audience themselves.
福田繁雄与我们所了解的很多日本平面、产品、建筑设计师都很不一样，你都无法轻易给他贴上日本平面设计师的身份标签。他刻意把自己从狭隘的民族情愫中剥离出来，“我的设计不仅是对于日本人，或者是对于哪个地区的人，我希望世界上每个国家的人，看了我的设计，都能够明白，都能够知道，都能够感到有乐趣”。他也有意识地把自己从平面纬度里跨出来，他不仅从事书籍、海报、月历、插图、标志等平面设计范畴的工作，还广泛涉猎装置、雕塑、空间壁画、公共艺术、景观、玩具等领域，他是视觉艺术家。所以，当我们开始广泛地讨论“跨界”一词时，福田繁雄一开始就抛弃了民族和专业的门户之见。我们不能称他为日本平面设计师，因为他的创作核心已超越了平面的维度。福田繁雄的作品没有陈词滥调，作为一个有趣的灵魂，他早已摆脱了地球的万有引力。
Unlike other Japanese graphic, product or architecture designers, Shigeo Fukuda can hardly be labeled as a Japanese graphic designer in terms of visual style or thinking perspectives. Fukuda had detached himself from the narrow national sentiment. He said: “ My design is not only targeted to Japanese or people in certain regions. It belongs to all the people in the world. I hope everyone on this planet can see it, can understand it and gain pleasure from it.” Fukuda’ works go beyond the boundaries of graphic design, covering not only designs of books, posters, calendars, illustrations or symbols, but also installation, sculptures, wall paintings, public arts, landscape and toys. He was a visual artist. When we started to discuss the word “cross-boundary”, he already discarded prejudice brought about by nationalist sentiment and major at the very beginning. As a result, we cannot call him “a Japanese graphic designer” because the key elements of his creation has gone beyond graphic design. There is no platitudes in his works. With an interesting soul, Fukuda had already got rid of constraints on the planet.
（策展人袁由敏导览）
由衷感谢提供收藏信息的缪哲教授！也感谢田中海报及文献的保管者——田中生前共事人及弟子太田彻也先生！最后感谢整理海报、文献，不辞劳苦的正木博先生！
We deeply thank Professor Miao Zhe for offering collection information. We also thank Mr.Tetsuya Ota, Tanaka’s partner who kept these objects. Appreciation goes to Mr. Masaki who spent great efforts in sorting out these posters and documents!
感谢台湾设计联盟理事长林磐耸教授的引领，感谢台湾东方设计大学前校长吴淑明教授！也感谢福田繁雄设计艺术馆同仁的全力支持！
We would like to express our thanks to Professor Apex Lin, President of Taiwan Design Alliance, for his great support. We would like to thank Professor Wu Shu-Ming, the former President of TungFang Design University at that time. Appreciation also goes to all colleagues of Shigeo Fukuda Design Museum for great support!
（中国美术学院中国国际设计博物馆 执行馆长 袁由敏 教授）
来源：袁由敏 中国国际设计博物馆CDM
摄影：孟庆伟 吴若峥
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