6th Sokol Festival

［圖見封底］

By the 1890s posters had taken centre stage in the visual culture of the French capital. Thanks to the advancement of printing technology,the standard of colour lithography was improving and the material opulence of Belle époque1〈法語〉美好時期，指從普法戰爭結束到第一次世界大戰爆發前的一段時期，以法國社會百業繁榮及巴黎上流社會歌舞升平的生活為特征。Paris provided talented artists with great opportunities to design advertising posters. With his innovative design for Gismonda, Alphonse Mucha (1860-1939) arrived on Parisian street art scene at an opportune moment. As Mucha later wrote, his poster was ‘a breath of fresh air’ which the public had been looking for. The majority of Mucha’s Parisian posters were produced with the Parisian company F.Champenois Imprimeur-Editeur and it is this body of work for which he is best known and internationally recognised.

[2] Mucha’s posters reflect the rich texture of modern life in fin-de-siècle2〈法語〉世紀末的（尤指文學、藝術等方面具有19世紀末期特征的）；頹廢的。Paris. The subjects range from cultural events and railway services to diverse consumer products such as perfume,cigarette paper, beer, champagne, chocolate and biscuits, as well as bicycles. For these posters Mucha developed a new style from the Gismonda prototype, featuring a single figure or the head of a seductive woman against a halo-like disk,which is arranged harmoniously with flowers and other decorative motifs.

到1890年代，海報已占據法國首都巴黎視覺文化的中心位置。印刷技術的發展使彩色平版印刷的水平逐漸提高，歌舞升平的巴黎物質豐裕，為頗具天賦的藝術家提供了設計廣告海報的絕好機會。阿爾豐斯·穆夏（1860—1939）憑借他為歌劇《吉斯蒙達》設計的新穎海報，踏入巴黎的街頭藝術圈，可謂恰逢其時。正如穆夏后來記述的，他設計的海報“令人耳目一新”，公眾對此尋覓已久。穆夏在巴黎創作的大多數海報都由巴黎的F.尚普努瓦印刷-出版公司出品。穆夏最為知名的正是這些海報作品，他也因此蜚聲國際。

[2]穆夏的海報作品反映了19世紀末巴黎現代生活的和諧之美。海報主題從文化活動和鐵路服務到多種多樣的消費品，應有盡有，消費品中不僅包括自行車，還有香水、卷煙紙、啤酒、香檳、巧克力和餅干。創作這些海報時，穆夏在《吉斯蒙達》海報樣板的基礎上發展出了一種新風格，突出單個人物或某迷人女子的頭部，頭后飾以盤狀光暈，畫中還配有鮮花及其他裝飾性圖案，和諧悅目。

[3] Under the Hapsburg rule, the Czechs were forbidden to organise politically. The gymnastic association Sokol (‘falcon’ in Czech) was ostensibly provided athletics training for young people and organised national sporting competitions, hoping to arouse the nationalist spirit and withstand germanisation. By producing posters for the organisation, Mucha clearly allied himself with the group’s patriotic cause.

[4] In this poster (colour lithograph,168.5 cm × 82.5 cm, 1912), Mucha combines realistic and symbolic elements.The young girl in a red cloak, a Sokol colour, is a personification of Prague;her crown recalls the city walls, her staff bears the emblem of Prague and she holds garlands made from branches of the national tree, the linden tree. In the background a shadowy young woman,representing the spirit of the early Slavs,carries a falcon and a spiked sun circle symbolising hope for the future. ■

[3]在哈布斯堡王朝統治下，捷克人被禁止舉行政治集會。體育協會索科爾（捷克語“獵鷹”的意思）為年輕人提供體育訓練并組織國家體育比賽，希望通過不懈的努力激發民族精神，抵制德國化。穆夏為該組織制作海報，由此表明了自己的立場——支持該團體的愛國事業。

[4]在這幅海報（彩色平版印刷，168.5厘米×82.5厘米，1912年）中，穆夏將現實元素與象征性元素相結合。身披紅色披風的女孩是布拉格的化身，紅色是索科爾的標志色；冠冕讓人想起布拉格的城墻，權杖則帶有布拉格的徽章，手持的若干花環由國樹歐椴樹的枝條做成。背景隱現一年輕女子，代表早期斯拉夫人的精神；她一手持鷹，一手握太陽狀帶刺圓環，圓環象征未來的希望。□