在艺术史上，有些艺术家举足轻重甚或促成时代巨变，谈起日本前卫艺术家，人们通常会立刻想起具体派，而今井俊满正是其中之一。他的油画作品备受推崇并不断引入新鲜的创作元素，更与1950年代后期向同行和艺评人介绍“不定形艺术”，从而改变了战后日本前卫艺术运动的轨道。In the history of art, some artists play an important role or even contribute to the great changes of the times. When it comes to Japanese avant-garde artists, people usually think of the concrete school immediately, and now Toshimitsu Imai is one of them. His oil painting works are highly respected and continue to introduce new creative elements, and also introduced “amorphous art” to colleagues and art critics in the late 1950s, thus changing the track of the avant-garde art movement in Japan after the war.
今井俊满
Toshimitsu Imai
1928——2002
出生于日本京都，1948年完成学业后，他在东京艺术学院接受训练。
1952年他获得第十五届新制作协会沙龙的最佳新秀奖，并于同年前往巴黎，就读于大茅屋工作室，并在索邦（巴黎大学旧称）修习中世纪历史与哲学。
1953年今井俊满受邀参加圣保罗双年展。
1955年受到艺评家达皮埃的影响，使他的创作转向抽象风格。
1956年回到日本举办群展。
1960年于威尼斯双年展展出。
1962年获颁第五届日本东京当代艺术展奖项，在日本受到高度瞩目。但今井不愿自我局限，并开始象征性绘画的实验。
1970年后他更将文字与日本文化元素融入绘画。
In 1953, Jin Jingman was invited to participate in the Saint Paul Biennale.
In 1955, influenced by the art critic DaPier, his creation turned to abstract style.
In 1956, he returned to Japan to hold group exhibitions.
Exhibition at the Venice Biennale, 1960.
In 1962, he was awarded the 5th Tokyo Contemporary Art Exhibition in Japan, which attracted great attention in Japan. But Imai is reluctant to self-limit, and began a symbolic painting experiment.
After 1970, he incorporated words and Japanese cultural elements into his paintings.
Imai moved to Paris in the 1950s to live and work overseas. It was the importance of his Japanese identity that allowed him to create unique works of art with the interplay of East and West.
Imai’s early works can be traced back to the Fauvism style, which is known for its ultra-complex structure, strong colors and strong brush strokes. Later, he changed from “shapeless” to “wind and moon of flowers and birds”. He specially described the beauty of nature and thus revealed the delicate and emotional side.
Throughout his life, the artist’s precise color sense, especially the fluidity, he refused to use the established shape and image, and decided to give up the technical and compositional details. It can be said that specific groups can communicate with European sister art movements, Imai in which the impact is very great.
The art originally created in Paris has evolved into an image of reflecting on the depth of human existence. Nowadays, his art tends to be the origin, dating back to the original elements of Japanese art, which makes the ancient Japanese masterpiece of art perfectly realize the unity of symbol and material. In addition, the focus on the human situation extends to the attention to the relationship between man and nature, and can even be seen as a kind of compassion for the earth and fire in ancient Japanese pottery. It is undeniable that during 1962, the series of works can touch a certain three-dimensional sense and picture rich drama, splashed on the canvas with thick paint, as if such as vines, or as if to capture the light itself, the mass use of red is also exciting, immediately reminiscent of the important fire and red earth in Japanese pottery.
However, the use of pigments in his subsequent works is no longer rugged, but more pure, and the color contrast is becoming more and more distinct. However, the sense of organic explosion constructed on the canvas has not decreased at all, but it emits a more fascinating sense of depth and symmetry, harmony and disaster. The works portray energy in a near-sculpture way to symbolize the crimson of spring and record their own wanton creative methods with burst colors. In his later works, his creation gradually turned to deal with the theme of Japanese invasion of China and World War II. This kind of work is more like a metaphor to the world, and he implies the real world in a hidden but powerful way.
《夜之骑士》Chevalier De La Nuit Knight of The Night | 1973
