［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(yǔ)〉美好時(shí)期，指從普法戰(zhàn)爭(zhēng)結(jié)束到第一次世界大戰(zhàn)爆發(fā)前的一段時(shí)期，以法國(guó)社會(huì)百業(yè)繁榮及巴黎上流社會(huì)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(chǎn) 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(yǔ)〉世紀(jì)末的（尤指文學(xué)、藝術(shù)等方面具有19世紀(jì)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(bào)已占據(jù)法國(guó)首都巴黎視覺文化的中心位置。印刷技術(shù)的發(fā)展使彩色平版印刷的水平逐漸提高，歌舞升平的巴黎物質(zhì)豐裕，為頗具天賦的藝術(shù)家提供了設(shè)計(jì)廣告海報(bào)的絕好機(jī)會(huì)。阿爾豐斯·穆夏（1860—1939）憑借他為歌劇《吉斯蒙達(dá)》設(shè)計(jì)的新穎海報(bào)，踏入巴黎的街頭藝術(shù)圈，可謂恰逢其時(shí)。正如穆夏后來(lái)記述的，他設(shè)計(jì)的海報(bào)“令人耳目一新”，公眾對(duì)此尋覓已久。穆夏在巴黎創(chuàng)作的大多數(shù)海報(bào)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(bào)作品，他也因此蜚聲國(guó)際。

[2]穆夏的海報(bào)作品反映了19世紀(jì)末巴黎現(xiàn)代生活的和諧之美。海報(bào)主題從文化活動(dòng)和鐵路服務(wù)到多種多樣的消費(fèi)品，應(yīng)有盡有，消費(fèi)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(chuàng)作這些海報(bào)時(shí)，穆夏在《吉斯蒙達(dá)》海報(bào)樣板的基礎(chǔ)上發(fā)展出了一種新風(fēng)格，突出單個(gè)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(tǒng)治下，捷克人被禁止舉行政治集會(huì)。體育協(xié)會(huì)索科爾（捷克語(yǔ)“獵鷹”的意思）為年輕人提供體育訓(xùn)練并組織國(guó)家體育比賽，希望通過(guò)不懈的努力激發(fā)民族精神，抵制德國(guó)化。穆夏為該組織制作海報(bào)，由此表明了自己的立場(chǎng)——支持該團(tuán)體的愛國(guó)事業(yè)。

[4]在這幅海報(bào)（彩色平版印刷，168.5厘米×82.5厘米，1912年）中，穆夏將現(xiàn)實(shí)元素與象征性元素相結(jié)合。身披紅色披風(fēng)的女孩是布拉格的化身，紅色是索科爾的標(biāo)志色；冠冕讓人想起布拉格的城墻，權(quán)杖則帶有布拉格的徽章，手持的若干花環(huán)由國(guó)樹歐椴樹的枝條做成。背景隱現(xiàn)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(yáng)狀帶刺圓環(huán)，圓環(huán)象征未來(lái)的希望。□