Noda Tetsuya’s Diary of Contemporary Japanese Prints 野田哲也的日本當代版畫日記

Influenced by his upbringing in post-war Japan, and the ideological, social, economic and artistic transformations of the era, Noda Tetsuya started to build a diary of prints in the 1960s, recording his daily life and mastering the challenge of documenting the reality around him in both true and artistic fashion. Works presented in this publication offer unparalleled insights into the artist’s hand skills and color palette, as well as his intense personal feelings and trademark humility. Few printmakers are quite as exploratory in terms of their technique and so precise in their choice of depicted subjects. Noda Tetsuya’s Diary of Contemporary Japanese Prints represents the long-accumulated knowledge of a well-practiced artform by one of Japan’s bestestablished artists, while also documenting—in true diary fashion—events that have shaped his personal life, while also standing for the collective experience of Noda’s generation and the societal change witnessed over the last several decades.

野田哲也的成長階段正值日本戰後意識形態、社會、經濟和藝術經歷劇變的時代，受此影響，他在 1960 年代開始創作版畫日記，記錄其日常生活，憑著精湛的技術、以寫實精巧的形態把現實呈現出來。是次出版的作品有助讀者深入了解這位藝術家非凡手藝和色彩搭配，以及其情感豐富和謙和不矜的個性。甚少版畫家在技術方面會如此探奧索隱，亦鮮有在選題上如此明確。野田氏是當今日本藝壇最傑出的藝術家之一，「野田哲也的日本當代版畫日記」代表其對這項歷久彌新的藝術形式所長期積累的豐富知識及經驗，同時以真實的日記方式記錄每一件塑造其生活的事件，亦象徵野田氏同代人的集體經歷和見證過去幾十年的社會變遷。

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Kuldip K. Singh was a researcher at the University Museum and Art Gallery, HKU, specializing in East Asian art and material culture.

星家恩曾於香港大學美術博物館擔任研究員，專門研究東亞藝術和物質文化。