aobo222 2007-10-8 15:32
涂鸦历史（中英对照）
Cultural Introduction文化背景介绍
Graffiti is considered one of the four elements of hip hop, along with emceeing (rapping), DJing, and b-boying (breakdancing). Graffiti, like the other three elements, is an artform, a means of cultural expression. Like the other forms of hip hip, it also expresses resistance. Graffiti challenges, for example, mainstream notions of what counts as art, what counts as public space, and what counts as property, just as emceeing/DJing challenges what counts as music, and bboying challenges what counts as dance.
众所周知，涂鸦与MC,DJ和b-boy一起，被认为是HIPHOP文化四元素之一。涂鸦，与其他的三个元素一样，是一种艺术形式，一种文化的表达。就像hiphop的其他形式一样，他表达着抵抗。举个例子来说，涂鸦的挑战比拼，主要是通过利用艺术的手法，在公共场所来表达自己的想法。 就好像mc与dj的比拼用音乐，bboy的比拼用舞蹈一样。
Graffiti, unlike the other forms of hip hop, is more easily misunderstood because it is often done illegally and the artists are often secretive about their real identities. As such, it has not received the kind of positive mainstream recognition afforded to rappers, DJ's, and dancers. Some professionals in the art world have embraced graffiti, but that doesn't mean that the public at large understands and appreciates what graffiti is all about.
涂鸦却也有别于其他的三种hiphop形式，由于它总是非法的，而且很多涂鸦艺术家经常隐瞒其真实的创作意向，涂鸦很容易被世人误会。因此，涂鸦并没有像说唱，dj与街舞一样被人们纳入主流流行文化。虽然很多艺术界的专家都十分信奉涂鸦艺术，但那并不等于说所有的公众都了解并欣赏涂鸦的各种行为。
Graffiti History
Graffiti has a long and proud history. The subculture surrounding graffiti has existed for several decades, and it's still going strong. The graffiti artists (or "writers" as they prefer to call themselves) are passionate, skilled, community-oriented, and socially conscious in ways that profoundly contradict the way they've been portrayed as common criminals and vandals.
涂鸦有着一段长远的光荣历史。围绕着涂鸦产生的非主流文化已经存在了好几十年，并且越来越趋向于强大。那些涂鸦人（更喜欢被称为writers的人们）拥有着热情，技术，明确的思想表达方向与
社会意识，使他们的行为与通常意义上的犯罪行为有着不同的意义。
Graffiti, if we define it as any type of writing on the wall goes back to ancient Rome, and if drawn images count, then we could point to the first graf artists. But the style of urban graffiti that most people have seen and know about, the kind that uses spraycans, came from New York City in the late 1960s, and was born on the subway trains. Taki 183, who lived on 183rd street in Washington Heights, worked as a messenger who traveled all throughout the city. While he did so, he would use a marker and write his name wherever he went, at subway stations and also the insides and outsides of subway cars. Eventually, he became known all throughout the city as this mysterious figure. In 1971, he was interviewed for an article by the New York Times. Kids all over New York, realizing the fame and notoriety that could be gained from "tagging" their names on subway cars (that traveled all over the city, naturally) began to emulate Taki 183. The goal was to "get up" (using the slang of the day), to have one's name in as many places as possible, and as kids competed against each other to get famous, the amount of graffiti on trains exploded.
如果我们将涂鸦定义为所有在墙上画的东西，那么我们可以追述古罗马的壁画，从这种意义上来说，那就是做早的涂鸦作品。但是现在人们所熟知的现代城市涂鸦作品，很多都是以喷漆为工具来创作的。它诞生于60年代美国纽约的地铁。Taki 183，一个住在华盛顿183街区的信差，将自己的标记写满了整个城市他所到过的地方，地铁站，甚至地铁车厢里。最后，由于他所写的标记，他成了纽约街知巷闻的名人。孩子们开始发现，把自己的“tagging“写到城市的各个地铁车辆上，就可以让自己出名，便纷纷开始效仿Taki 183。为的就是让自己的名字以涂鸦的形式被广为传播。
Tagging and More
For tagging on the insides of trains, permanent markers worked, but using spraycans of paint quickly became popular as well, especially for tagging on the outside of trains. Graffiti became so much more than simple tagging, however. Graffiti writers, in addition to getting their name around as much as possible, would try to outdo each other in terms of style. At first, writers would try to make their tags (or signatures) more stylish than anyone else's. Later on, they would add more colors, special effects, and they'd make their name bigger. Spraycans allowed large pieces of graffiti to be created fairly quickly which was important because writers didn't want to get caught by the police or people working for the MTA (Metropolitan Transit Authority). As you will see in the Graffiti Styles section of this wesite, graffiti really evolved into a complex artform with its own techniques and vocabulary. From simple tags on the insides of trains to throwups to masterpieces that spanned multiple subway cars, the art and science of graffiti grew in leaps and bounds.
TAG在车厢内的出现促进了涂鸦人们的积极性，用喷漆的快速涂鸦变得越来越流行，特别是把自己的TAG写到列车的外面。涂鸦演变出了许多简单签名以外的东西。涂鸦人们为了使自己的名字尽可能的被传播，争相地使自己的风格具有更强烈的个性。起初，writers尝试着让自己的TAG或者签名比其他涂鸦人更有形，然后加入各种各样的颜色，特殊的效果，同时将他们写得更大。涂鸦人使用喷漆作为自己创作的工具，因为一方面喷漆可以比较方便的作出大幅的作品，另一方面，它使用起来较为方便快捷，以至于涂鸦人不会在涂到一半被警察或者为MTA (Metropolitan Transit Authority)工作的人抓住。所以由此可见涂鸦人在选择自己的涂鸦STYLE的时候，往往会加入很多其个人的艺术形式，类似于手法，技巧，词汇之类的东西。从车厢内的简单签名，到地铁，列车外的大型的富有艺术技巧的喷绘，涂鸦经历了翻天覆的变化与成长。
Style Wars
The "style wars" in the 1970s between graffiti artists trying to get famous and creating bigger and better pieces resulted in the emergence of an entire subculture surrounding graffiti. Graf writers would gather at what they called "writer's benches" at subway stations to look at each other's sketchbooks, to plan "bombing" runs, and to watch as trains passed by so they could discuss the latest pieces they or other writers had recently produced. Older writers would take younger writers on as apprentices and assistants to help on larger pieces. Whole writing "crews" would form to collaborate on pieces, to help each other "rack up" paint (by any means necessary), and to watch out for authorities. Some crews would travel together to avoid gang troubles, but they were rarely violent. A common misconception is that graffiti is all gang-related. Most graffiti is not gang-related. Gang-related graffiti is most often used to mark territory, and not as much time or effort is spent in its creation.
70年代，“Style Wars”在主张将涂鸦名气化扩大化与主张将涂鸦艺术化技巧化的人之间展开，导致了整个非主流涂鸦文化的紧张态势。涂鸦人们会聚集在他们称为"writer's benches"的地铁车站，来交流自己的草稿本的作品，计划bombin（街喷）的路线和观察列车上其他涂鸦人所作的涂鸦作品。在做较大的涂鸦时，一些比较老练的涂鸦人会带着新手一起完成自己的作品。一个涂鸦CREW就是在这样的合作，互相帮助来完成作品是形成的。同时新手也可以为自己crew的主要作者来放风，堤防周围的威胁。有的crew也集结起来用来对付一些绑匪争端，但是他们很少采取暴力。通常人们都会误解所有的涂鸦都是与绑匪纠结有关的，但其实事实并非如此。绑匪涂鸦一般都是用来做恐吓示威标语的，并不像通常意义上的涂鸦那样花时间与心血来创作。
The Golden Age
NYC subway graffiti became world famous, and its style and sensibilities were transplanted to other parts of the country and the world, mixing with local traditions and styles in new ways. The 70s were the golden age of subway graffiti, but for the MTA, it was a problem that had long gone out of control. Graf writers did not just battle each other in their quest to be the "King of all Lines" and all the other titles they bestowed upon themselves. They had to deal with police patrolling the trains and the yards where they worked, their masterpieces being washed off of cars, barbed wire fences, and guard dogs, not to mention concerned parents who sometimes did not understand.
纽约的地铁涂鸦变的名及一时，它的风格波及到世界各地，并被混合入当地的风俗与传统。70年代是地铁涂鸦的黄金时期，可是说除了MTA，没有人能控制他的爆发。涂鸦人不仅要将所有的铁路全部”干掉”， 他们还要对付警察的巡逻，路障以及侦查犬，跟要避免让不理解他们行为的父母阻挠。
Creativity
What these kids did, however, was to find a way to express themselves creatively in a society that told them that they didn't have the talent or drive. They came from ghettos that many said were devoid of culture. Graffiti and hip hop in general proved the world wrong. The graf writers (and emcees, and DJs, and bboys) proved that they could create something beautiful that required skill and dedication, something that contributed to the city even if people didn't always understand what it was all about. They expressed their identity in a society that tried to keep them anonymous, that tried to ignore social problems as if they didn't exist. Mayor Ed Koch (in the 1980s) once inquired why the NYC youth couldn't be given brooms and sponges to help the city instead of using their energies to write all over it. Clearly, he didn't understand the difference between being a janitor and being an artist. In our culture, where self-expression is becoming more and more highly regulated, graffiti plays an important role in brashly symbolizing unfettered individuality and resistance
那些孩子们所作的就是告诉这个认为他们没有能力的世界，他们是能创造属于他们自己的艺术的，即使被认为是从贫民窟里出生的没有文化的人，也会能创造富有技巧与意识的美，也能创造出有益于社会，甚至并不明白他们所创造的是什么东西的人们。他们在这个忽略他们存在的地方表达着他们的思想和情绪。
Contemporary Graffiti
With heightened security in the 80's, subway graffiti slowly died out. In 1989, the last train with significant amounts of graffiti on it was taken off the lines, ending an era. Traveling on the subways in 2003, there is virtually no graffiti to be seen on the outside of trains, and only dim scratchings here and there on the insides. But graffiti lives on, on city walls and other more unlikely places. Recently, there has been a trend towards writing graffiti on freight trains. Nowadays, artists are "getting up" not just in their own city, but across the country, furthering the transmission and mixing of different graffiti styles from all over. Graffiti has also become a way to make money. Graffiti art has been featured in exclusive galleries and has exerted its influence on the world of graphic design. Nowadays, it is not uncommon to see graffiti-style or graffiti-inspired art on t-shirts, posters, and CD covers.
80年代，在高警戒环境的影响下，地铁涂鸦开始渐渐消失。1989年，最后一辆满载着涂鸦的列车停运，结束了列车涂鸦的时代。2003年的列车上几乎已经再也无法再看到车身上涂鸦的影子。但是，涂鸦人就存在于城市的墙面上和其他更超乎想象的地方。最近很多人又开始了货运列车的涂鸦。现在，涂鸦艺术家不单单满足于在自己的城市创作，他们走遍整个国家，并对各个地方的涂鸦风格作交流与混合。同时，涂鸦也成了一种赚钱的方式。街头涂鸦设计风格开始在全世界的设计圈内风靡。现在我们很容易就可以在汗衫，海报，甚至CD封面看到涂鸦风格的设计。
Please note, however: subway graffiti is not completely dead. Through the windows, if you are at the walls near the tracks (that aren't underground), there's still plenty of graffiti to be seen. When the subway trains are underground, if you look through the windows in between stations, you can still see a lot of graffiti, some of it older probably, but some of it newer as well. Self expression can be stifled but never completely stopped.
但请记住，地铁列车涂鸦并没有完全绝迹。透过列车车窗，你仍旧可以看到很多被画在轨道沿岸墙面上的涂鸦。而在地下铁中，进出站是你很容易就会发现站台周围的涂鸦。有些已经比较陈旧了，但有些也是新出现的。人们用涂鸦表达的感情可以被阻挠，但是永远不会被完全抹杀。
Graffiti and Hip Hop
As we mentioned earlier, graffiti is considered one of the four elements of hip hop (along with emceeing, DJing, and B-Boying). These were the four major forms of creative expression that came from the Bronx, NY and spread to the rest of the world. Graffiti represented the visual, emceeing and DJ produced the music, and B-Boying was the dance. In the early days of hip-hop, all of these elements were deeply intertwined. Graf artists were very often B-boys and emcees and DJs as well. At the hottest parties, you might see a writer doing his thing on a wall while the DJ spins and scratches, the emcee revs up the crowd, and the B-boy battling each other on the dance floor.
就像我们前面提到过的，涂鸦是HIPHOP的四大元素之一。这些艺术形式都是起源于纽约的布朗克斯，然后波及整个世界的。这些元素互相紧紧联系着。在早期的hiphop形成历史中，你可以经常看到涂鸦与其他三种形式同时进行。
The Two Today
Hip hop in 2003 is mostly centered around the emcee (or rapper), since the it's the emcee that sells product (in the form of CDs) that the music industry can sell. Graf writers, B-boys, and DJs have faded somewhat into the background, but there's a movement trying to bring them back, which you can see in music videos featuring more dancers, graf writers, and a greater spotlight on DJs who are the ones actually making the beats.
如今的HIPHOP几乎都是围绕着MC来运转的，因为MC的音乐可以被用来录制成类似于CD这样的产品来进行商业的运作与买卖。而涂鸦，街舞和DJ则和很多的在地下进行。但是它们在很多情况下会出现在MC的音乐录影带里，DJ则混合于说唱的配乐当中。
Graffiti was done by writers of all ethnicities. They tended to be young (teenagers, mostly) but some of the hardcore writers from the 70s are still going strong today. Writing was inclusive...if you had the talent. It was based on skill, not the color of your skin, your religion, or anything else that didn't translate to the pieces you made. Graffiti is multicultural, representing the ethnic diversity of New York, the city that spawned it. Hip hop has changed, and has moved far beyond the Bronx, but many of hip hop's founding fathers hope that it can remain a powerful multicultural force in spite of all the commercialism and marketing that surrounds it now
涂鸦人来自各个不同的种族，不同的年龄段，但多数都偏向于低龄化，青少年居多，但现在有些70年代的硬核涂鸦人到现在还在为涂鸦奋斗的。只要你拥有天赋，涂鸦的形势可以非常广泛。它建立在技术的基础上，而不是你的肤色，你的信仰，或者其他与你创作作品无关的东西上。涂鸦是多元化的，表现着它的诞生地纽约的海纳百川。HIPHOP文化不停的改变着，已经远远偏离了原来在纽约布朗克斯产生时的样子，许多元老级的嘻哈人希望HIPHOP能保持着它强有力的多元化特质，而不要被现在许多商业的市场多混合同化。
The Environment
Graffiti existed (and still exists) as a major part of the urban environment. Young rappers growing up and wandering the city streets still see graffiti all around them. For some, graffiti represents decay, but for hip hop culture, graffiti provided the visual inspiration that encouraged other forms of creativity and expression, such as emceeing. Maybe you don't have to know about every element of hip hop in order to be part of the culture, but you do have to know about it if you want to know what inspired some of the best the hip hop artists of today--who grew up surrounded by graffiti, learning the moves of the best b-boys, and rocking to the beats of the freshest DJs
涂鸦以城市环境重要组成部分的身份存在着。年轻的说唱者们在充满涂鸦的街区里长大。从某种意义上来说，涂鸦象征着堕落，但是就HIPHOP文化而言，涂鸦证明了视觉艺术的表达对其他表达形式，例如说唱的鼓励作用。你不需要对所有HIPHOP元素都加以了解，但是你必须明白，现在最好的嘻哈音乐人，工作者，都出生于充满涂鸦环绕的环境中。
Conclusion
We hope this website gave you a new perspective on graffiti, or at least reminded you of things you already know. We think graffiti is an important and powerful artform, and this document is dedicated to all the graf writers out there, past, present, and future.
我们希望网络能给你对涂鸦的一个新的看法，或至少唤醒你从前已经拥有的对它的认识。对我们来说，涂鸦是一种非常重要的，有影响力的艺术形式。
本篇献给从前的，现在的，以及将来所有的为涂鸦奋斗的艺术家们。