《小鹿斑比》的華裔美術(shù)設(shè)計(jì)師黃齊耀逝世

Tyrus Wong, ‘Bambi’ Artist Thwarted by Racial Bias,Dies at 106

《小鹿斑比》的華裔美術(shù)設(shè)計(jì)師黃齊耀逝世

When Walt Disney’s “Bambi” opened in 1942, criticspraised its spare, haunting visual style, vastlydifferent from anything Disney had done before.

1942年，華特迪士尼(Walt Disney)的《小鹿斑比》(Bambi)上映時(shí)，評(píng)論家稱(chēng)贊了它令人難忘的簡(jiǎn)潔視覺(jué)風(fēng)格，與迪士尼之前的所有作品都大為不同。

But what they did not know was that the film’sstriking appearance had been created by a Chineseimmigrant artist, who took as his inspiration the landscape paintings of the Song dynasty.The full extent of his contribution to “Bambi,” which remains a high-water mark for filmanimation, would not be widely known for decades.

但他們當(dāng)時(shí)不知道的是，這部電影驚人的畫(huà)面出自一位華裔移民藝術(shù)家之手，他的靈感來(lái)自宋代的山水畫(huà)。他對(duì)《小鹿班比》的完整貢獻(xiàn)在之后的幾十年里并不廣為人知。直到現(xiàn)在，《小鹿斑比》依然稱(chēng)得上一部高水準(zhǔn)的動(dòng)畫(huà)影片。

Like the film’s title character, the artist, Tyrus Wong, weathered irrevocable separation fromhis mother — and, in the hope of making a life in the United States, incarceration, isolation andrigorous interrogation — all when he was still a child.

和該片的主人公一樣，藝術(shù)家黃齊耀在很小的時(shí)候就經(jīng)歷了與母親徹底的分離，為了獲得在美國(guó)生活的機(jī)會(huì)，他還曾在童年時(shí)遭受監(jiān)禁、隔離和嚴(yán)酷的審訊。

 

 

In the years that followed, he endured poverty, discrimination and chronic lack ofrecognition, not only for his work at Disney but also for his fine art, before finding acclaim inhis 90s.

在之后的很多年里，他承受著貧窮和歧視，他在迪士尼的作品以及自己的美術(shù)作品長(zhǎng)期得不到認(rèn)可，直到他90多歲時(shí)才獲得贊譽(yù)。

Wong died Friday at 106. A Hollywood studio artist, painter, printmaker, calligrapher, greeting-card illustrator and, in later years, maker of fantastical kites, he was one of the mostcelebrated Chinese-American artists of the 20th century.

黃齊耀于上周五去世，享年106歲。他是一名好萊塢電影藝術(shù)家、畫(huà)家、版畫(huà)家、書(shū)法家和賀卡插畫(huà)師，晚年還做了很多美妙絕倫的風(fēng)箏，他是20世紀(jì)最著名的華裔美國(guó)藝術(shù)家之一。

But because of the marginalization to which Asian-Americans were long subject, he passedmuch of his career unknown to the general public.

但是，由于華裔美國(guó)人長(zhǎng)期遭受邊緣化，在他事業(yè)的大部分時(shí)間，他并不為公眾所知。

Artistic recognition, when Wong did find it, was all the more noteworthy for the fact thatamong Chinese immigrant men of his generation, professional prospects were largely limitedto menial jobs like houseboy and laundryman.

黃齊耀的藝術(shù)作品最終獲得的認(rèn)可尤為可貴，因?yàn)樗且淮行匀A裔移民的職業(yè)前景大多僅限于做男仆或洗衣工等體力活。

Trained as a painter, Wong was a leading figure in the modernist movement that flourished inCalifornia between the wars. In 1932 and again in 1934, his work was included in group showsat the Art Institute of Chicago that also featured Picasso, Matisse and Paul Klee.

作為專(zhuān)業(yè)出身的畫(huà)家，黃齊耀是兩次世界大戰(zhàn)之間在加利福尼亞興盛的現(xiàn)代主義運(yùn)動(dòng)的一位領(lǐng)軍人物。在1932年和1934年，他的作品曾在芝加哥藝術(shù)學(xué)院參加群展，同時(shí)展出的還有畢加索(Picasso)，馬蒂斯(Matisse)和保羅·克利(Paul Klee)的作品。

As a staff artist for Hollywood studios from the 1930s to the 1960s, he drew storyboards andmade vibrant paintings, as detailed as any architectural illustrations, that helped the directorenvision each scene before it was shot.

1930年代到1960年代在好萊塢制片公司擔(dān)任美術(shù)人員期間，他繪制分鏡，創(chuàng)作充精彩的繪畫(huà)，它們像建筑圖紙一樣詳盡，幫助導(dǎo)演在拍攝前預(yù)見(jiàn)所有場(chǎng)景。

Over the years his work informed the look of animated pictures for Disney and live-actionfilms for Warner Bros. and other studios, among them “The Sands of Iwo Jima” (1949), “RebelWithout a Cause” (1955) and “The Wild Bunch” (1969).

多年來(lái)，他的作品為迪士尼(Disney)的動(dòng)畫(huà)與華納兄弟(Warner Bros)和其他制片公司的電影賦予特色，其中包括1949年的《硫磺島浴血戰(zhàn)》(1949年)，1955年的《無(wú)因的反叛》和1969年的《日落黃沙》(TheWild Bunch)。

But of the dozens of films on which he worked, it was for “Bambi” that Wong was — belatedly— most renowned.

但在他參與的幾十部電影里，是《小鹿斑比》(Bambi)為黃齊耀帶來(lái)了最大的聲譽(yù)，雖說(shuō)來(lái)得有些遲。

“He was truly involved with every phase of production,” John Canemaker, an Oscar-winninganimator and a historian of animation at New York University, said in an interview for thisobituary in March. “He created an art direction that had really never been seen before inanimation.”

“他確實(shí)參與了制片的每一個(gè)階段，”奧斯卡獲獎(jiǎng)動(dòng)畫(huà)師，紐約大學(xué)動(dòng)畫(huà)歷史學(xué)家約翰·卡內(nèi)梅克(JohnCanemaker)在今年3月為這個(gè)訃告接受采訪時(shí)說(shuō)。“他創(chuàng)造了一個(gè)藝術(shù)方向，在以前的動(dòng)畫(huà)中從未出現(xiàn)過(guò)。”

In 2013 and 2014, Wong was the subject of “Water to Paper, Paint to Sky,” a majorretrospective at the Disney Family Museum in San Francisco.

2013年和2014年，舊金山的迪斯尼家庭博物館(Disney Family Museum)為黃齊耀舉辦了“水天一色”(Waterto Paper, Paint to Sky)主題回顧展。

From the museum’s windows, which overlook San Francisco Bay, he could contemplate AngelIsland, where more than nine decades earlier, as a lone 10-year-old, he had sought to gainadmission to a country that adamantly did not want him.

從博物館的窗戶(hù)可以俯瞰舊金山灣，在這里，黃齊耀可能會(huì)想到天使島，90多年前的他，一個(gè)孤獨(dú)的10歲孩子，曾在那個(gè)地方試圖獲得許可，進(jìn)入一個(gè)堅(jiān)決不想要他的國(guó)家。

Wong Gen Yeo (the name is sometimes Romanized Wong Gaing Yoo) was born on Oct. 25, 1910, in a farming village in Guangdong province. As a young child, he exhibited a love ofdrawing and was encouraged by his father.

黃齊耀(Wong Gen Yeo，這個(gè)名字有時(shí)也寫(xiě)作Wong Gaing Yoo)于1910年10月25日出生在廣東省的一個(gè)農(nóng)村。他從小就表現(xiàn)出對(duì)繪畫(huà)的愛(ài)好，并受到父親的鼓勵(lì)。

In 1920, seeking better economic prospects, Gen Yeo and his father embarked for the UnitedStates, leaving his mother and sister behind. Gen Yeo would never see his mother again.

1920年，為尋求更好的經(jīng)濟(jì)前景，黃齊耀隨父前往美國(guó)，留下他的母親和姊妹在家鄉(xiāng)。后來(lái)，黃齊耀再也沒(méi)有見(jiàn)到過(guò)母親。

On Dec. 30, 1920, after a month at sea, the Wongs landed at Angel Island Immigration Station.The elder Wong was traveling as a merchant named Look Get; his son as Look Tai Yow.

1920年12月30日，經(jīng)過(guò)一個(gè)月的海上航行后，黃家父子登陸天使島移民站。黃齊耀的父親化名為一個(gè)名叫陸吉(Look Get)的旅行商人;他的兒子化名為陸泰佑(Look Tai Yow，音)。

“Angel Island is considered to be the Ellis Island of the West Coast,” Lisa See, author of “OnGold Mountain” (1995), a nonfiction chronicle of her Chinese-American family, said in aninterview this year. However, she continued:

“天使島被認(rèn)為是西海岸的埃利斯島”，《百年金山》(On Gold Mountain，1995)一書(shū)的作者鄺麗莎(LisaSee)在今年接受采訪時(shí)說(shuō)，該書(shū)是一本非虛構(gòu)類(lèi)書(shū)籍，講述她的華裔美國(guó)人家庭史。然而，她還說(shuō)：

“The goal was really very different than Ellis Island, which was supposed to be so welcoming.Angel Island opened very specifically to keep the Chinese out.”

“天使島的目標(biāo)與埃利斯島非常不同，埃利斯島應(yīng)該是非常歡迎移民的。而天使島是專(zhuān)門(mén)用來(lái)把中國(guó)人拒之門(mén)外的。”

Because Wong’s father had previously lived in the United States as Look Get, he was able toclear Immigration quickly. But as a new arrival, Gen Yeo was detained on the island for nearly amonth, the only child among the immigrants being held there.

因?yàn)辄S齊耀的父親以前曾以陸吉為名在美國(guó)居住過(guò)，他很快就離開(kāi)了移民局。但是作為新來(lái)者，黃齊耀在島上被拘留了近一個(gè)月，是被關(guān)押在那里的移民當(dāng)中唯一的孩子。

“I was scared half to death; I just cried,” Wong recalled in “Tyrus,” an award-winningdocumentary directed by Pamela Tom, which premiered in 2015. “Every day is just miserable— miserable. I hated that place.”

“我嚇得半死;一個(gè)勁地哭，”黃齊耀在獲獎(jiǎng)紀(jì)錄片《黃齊耀》(Tyrus)中說(shuō)，該片由帕梅拉·湯姆(PamelaTom)導(dǎo)演，于2015年首映。“每天都很悲慘——悲慘。我討厭那個(gè)地方。”

On Jan. 27, 1921, in the presence of an interpreter and a stenographer, young Gen Yeo,posing as Look Tai Yow, was interrogated by three inspectors. His father had already beenquestioned.

1921年1月27日，在一名口譯員和一名速記員的陪同下，年輕的黃齊耀以陸泰佑的身份，被三名檢查員詢(xún)問(wèn)。他的父親已經(jīng)接受了詢(xún)問(wèn)。

Gen Yeo was well prepared and answered without error. In Sacramento, where he joined hisfather, a schoolteacher Americanized “Tai Yow” to “Tyrus,” and he was known as Tyrus Wongever after.

黃齊耀準(zhǔn)備充分，沒(méi)有答錯(cuò)。在薩克拉門(mén)托，他與父親重聚，一個(gè)學(xué)校教師把“Tai Yow”美國(guó)化為“Tyrus”，之后他就被稱(chēng)為“Tyrus Wong”。

From 1936-38, Wong was an artist for the Works Progress Administration, creating paintingsfor libraries and other public spaces.

從1936年至1938年，黃齊耀在公共事業(yè)振興署(Works Progress Administration)擔(dān)任藝術(shù)家，為圖書(shū)館和其他公共空間創(chuàng)作繪畫(huà)。

With friends, including Japanese-American artist Benji Okubo, he founded the Oriental Artists’Group of Los Angeles, which organized exhibitions of members’ work — an unheard-of level ofexposure for Asian artists at the time.

他和包括日裔美國(guó)藝術(shù)家大久保勉二(Benji Okubo，音)在內(nèi)的一些朋友創(chuàng)立了洛杉磯東方藝術(shù)家小組(Oriental Artists’ Group of Los Angeles)，為其成員組織作品展——當(dāng)時(shí)為亞洲藝術(shù)家提供了前所未有的公眾曝光度。

Wong, newly married and needing steady work, joined Disney in 1938 as an “in-betweener,”creating the thousands of intermediate drawings that bring animated sequences to life.

新婚的黃齊耀需要穩(wěn)定的工作，1938年他作為“中間畫(huà)師”加入迪士尼，創(chuàng)作了成千上萬(wàn)張的中間圖紙，為動(dòng)畫(huà)系列鏡頭帶來(lái)生命。

Asians were then a novelty at Hollywood studios, and Wong was made keenly aware of thefact, first at Disney and later at Warner Bros. One co-worker flung a racial epithet at him.Another assumed on sight that he worked in the company cafeteria.

在當(dāng)時(shí)的好萊塢制片公司，亞洲人是一個(gè)新鮮事物，先是在迪士尼，后來(lái)在華納兄弟，黃齊耀敏銳地意識(shí)到了這個(gè)事實(shí)。一個(gè)同事對(duì)他說(shuō)過(guò)帶有種族歧視性質(zhì)的詞語(yǔ)。另一個(gè)同事第一次看到他時(shí)，以為他是在公司食堂工作。

Then there was the affront of the in-betweener’s job: Painstaking, repetitive and for Wongquickly soul-numbing, it is the assembly-line work of animation — “a terrible use of his talentsas a landscape artist and a painter,” Canemaker said.

此外還有中間畫(huà)師工作帶來(lái)的羞恥：它是痛苦的、重復(fù)的，對(duì)于黃齊耀來(lái)說(shuō)，這種動(dòng)畫(huà)領(lǐng)域的流水線工作會(huì)很快地讓靈魂麻木——“他是一個(gè)風(fēng)景藝術(shù)家和畫(huà)家，這對(duì)他的才華來(lái)說(shuō)是種浪費(fèi)，”，卡內(nèi)梅克說(shuō)。

A reprieve came in the late 1930s, when Wong learned that Disney was adapting “Bambi, a Lifein the Woods,” the 1923 novel by Austrian writer Felix Salten about a fawn whose mother iskilled by a hunter.

1930年代后期，黃齊耀得到了一個(gè)暫時(shí)獲得解脫的機(jī)會(huì)，當(dāng)時(shí)他得知迪士尼正在改編奧地利作家費(fèi)利克斯·薩爾騰(Felix Salten)1923年的小說(shuō)《斑比：叢林生靈》(Bambi, a Life in the Woods) ，小說(shuō)講述一只母親被獵人殺死的小鹿。

In trying to animate the book, Disney had reached an impasse. The studio had enjoyed greatsuccess in 1937 with its animated film “Snow White and the Seven Dwarfs,” a baroqueproduction in which every detail of the backgrounds — every petal on every flower, every leafon every tree — was meticulously represented.

在把這本書(shū)改編為動(dòng)畫(huà)時(shí)，迪士尼陷入了僵局。公司在1937年憑著動(dòng)畫(huà)電影《白雪公主和七個(gè)小矮人》(Snow White and the Seven Dwarfs)大獲成功，在這部綺麗的片子里，每個(gè)背景的細(xì)節(jié)都被精心呈現(xiàn)，包括每朵花的每個(gè)花瓣、每棵樹(shù)上的每片葉子。

In an attempt to use a similar style for “Bambi,” it found that the ornate backgroundscamouflaged the deer and other forest creatures on which the narrative centered.

迪士尼試圖在《小鹿斑比》中使用類(lèi)似的風(fēng)格，結(jié)果它發(fā)現(xiàn)，華麗的背景掩蓋了作為敘事中心的小鹿和其他森林生物。

Wong spied his chance.

黃齊耀感覺(jué)他的機(jī)會(huì)來(lái)了。

“I said, ‘Gee, this is all outdoor scenery,'” he recalled in a video interview years afterward,adding: “I said, ‘Gee, I’m a landscape painter!'”

“我說(shuō)，‘嘿，這些都是戶(hù)外風(fēng)景，’”“他在若干年后的視頻采訪中回憶，并補(bǔ)充說(shuō)：“我說(shuō)，‘嘿，我是風(fēng)景畫(huà)家!’”

Invoking the exquisite landscape paintings of the Song dynasty (A.D. 960–1279), herendered in watercolors and pastels a series of nature scenes that were moody, lyrical andatmospheric — at once lush and spare — with backgrounds subtly suggested by a stroke ortwo of the brush.

借鑒了宋代(公元960-1279)精致的山水畫(huà)風(fēng)格，他用水彩與蠟筆呈現(xiàn)了一系列自然場(chǎng)景，它們傷感、抒情、有很強(qiáng)烈的氛圍感，既華麗又簡(jiǎn)約，只需筆刷畫(huà)下一兩筆便可以微妙地暗示出背景。

“Walt Disney went crazy over them,” said Canemaker, who wrote about Wong in his book“Before the Animation Begins: The Art and Lives of Disney Inspirational Sketch Artists” (1996). “He said, ‘I love this indefinite quality, the mysterious quality of the forest.'”

“沃爾特·迪士尼被它們迷住了，”卡內(nèi)梅克在他1996年的著作《在動(dòng)畫(huà)開(kāi)始之前：迪斯尼靈感草圖藝術(shù)家的藝術(shù)與生活》(Before the Animation Begins: The Art and Lives of Disney Inspirational SketchArtists)一書(shū)中寫(xiě)道。 “他說(shuō)，我喜歡這種不確定的質(zhì)感，森林的神秘質(zhì)感。”

Wong was unofficially promoted to inspirational sketch artist.

黃齊耀被非正式晉升為靈感草圖藝術(shù)家。

“But he was more than that,” Canemaker explained. “He was the designer; he was the personthey went to when they had questions about the color, about how to lay something out. Heeven influenced the music and the special effects: Just by the look of the drawings, he inspiredpeople.”

“但他的工作不僅于此，”卡內(nèi)梅克解釋道。“他也是設(shè)計(jì)師;他們有任何關(guān)于色彩、關(guān)于布局的問(wèn)題就會(huì)去找他。他甚至影響了音樂(lè)和特效：他通過(guò)草圖的樣子啟發(fā)了人們。”

Wong spent two years painting the illustrations that would inform every aspect of “Bambi.”Throughout the finished film — lent a brooding quality by its stark landscapes; misty,desaturated palette; and figures often seen in silhouette — his influence is unmistakable.

黃齊耀花了兩年時(shí)間繪制表現(xiàn)《小鹿斑比》各個(gè)方面的圖畫(huà)。成品電影中，冷峻的風(fēng)景、迷霧籠罩般的不飽和色彩，以及經(jīng)常以剪影出現(xiàn)的角色形象為影片賦予了一種沉思般的質(zhì)感，毫無(wú)疑問(wèn)，他的影響貫穿全片。

But in 1941, in the wake of a bitter employees’ strike that year, Disney fired Wong. Though hehad chosen not to strike — he felt the studio had been good to him, Canemaker said — he waslet go amid the lingering climate of post-strike resentments.

但是，1941年，一場(chǎng)激烈的雇員罷工后，迪士尼解雇了黃齊耀。雖然他沒(méi)有參加罷工——他覺(jué)得公司對(duì)他很好，卡內(nèi)梅克說(shuō)——但他在罷工后殘余的怨恨氣氛中被解雇了。

On “Bambi,” Wong’s name appears, quite far down in the credits, as a mere “background”artist.

在《小鹿斑比》中，黃齊耀的名字出現(xiàn)在演職人員字幕相當(dāng)靠后的位置，僅僅作為“背景”藝術(shù)家出現(xiàn)。

Wong joined Warner Bros. in 1942, working there — and lent out on occasion to other studios— until his retirement in 1968.

1942年，黃齊耀加入華納兄弟公司，在那里工作，有時(shí)也被借給其他制片公司，直到1968年退休。

The indignities he endured were not confined to the studios. Trying to buy a house, he and hiswife, the former Ruth Kim, were told that each property they inquired about had just beensold. “Then in a month you’d go back there and the sign was still there,” Wong recalled in“Tyrus.”

)每一次都被告知，他們?cè)儐?wèn)的不動(dòng)產(chǎn)剛剛被出售。“一個(gè)月后你回到那里，出售的標(biāo)志仍然還在，”黃齊耀在《黃齊耀》中回憶。

Wong, who became a U.S. citizen in 1946, also designed Christmas cards for Hallmark andpainted elegant Asian-inflected designs on dinnerware, now sought after by collectors.

黃齊耀于1946年成為美國(guó)公民，還曾為賀曼公司(Hallmark)設(shè)計(jì)圣誕賀卡，在餐具上繪制優(yōu)雅的亞洲風(fēng)格圖案，這些餐具現(xiàn)在備受收藏家追捧。

A longtime resident of Sunland, California, he became, in retirement, a renowned kitemaker,designing, building and hand coloring astonishing, airworthy creations — butterflies, swallows,whole flocks of owls, centipedes more than 100 feet long — that streaked the SouthernCalifornia sky like paint on blue canvas.

他是加利福尼亞州桑蘭市的長(zhǎng)期居民，退休后，他成了著名的風(fēng)箏制作師，設(shè)計(jì)、制作和手繪這些驚人的飛行物——蝴蝶、燕子、整群的貓頭鷹，超過(guò)100英尺長(zhǎng)的蜈蚣——它們?cè)谀霞又莸奶炜诊w過(guò)，就像藍(lán)色畫(huà)布上的油畫(huà)。

Wong’s death, at his home in Sunland, was confirmed by filmmaker Tom. His survivors includethree daughters, Kay Fong, Tai-Ling Wong and Kim Wong; and two grandchildren.

黃齊耀在桑蘭的家中去世，他的死訊獲得了電影制片人湯姆的確認(rèn)。他尚在世的親人包括三個(gè)女兒，凱伊·方(Kay Fong，音)，泰琳·黃(Tai-Ling Wong，音)和金·黃(Kim Wong，音)，以及兩個(gè)孫輩。

When his daughters were small, Wong encouraged them to make art, as his father hadencouraged him. Yet he would not let them have coloring books.

當(dāng)女兒們年紀(jì)還小的時(shí)候，他鼓勵(lì)她們創(chuàng)作藝術(shù)，就像他的父親曾經(jīng)鼓勵(lì)過(guò)他那樣。但他不會(huì)給她們買(mǎi)涂色書(shū)。

The reason was simple: He did not want his children constrained, he said, by lines laid down byothers.

原因很簡(jiǎn)單：他說(shuō)，他不希望孩子們被他人畫(huà)下的線條所束縛。