地全星鬼瞼児 Chizensei Kirenji 1961
序列89 Order 89 杜輿 Du Xing
大きな顔の強面、棒術と拳法の使い手だが、見かけによらず腕が立たず、裏方の事務的な仕事をした。
赤一色の画面の中の白の塊が印象的な作品。
Du Xing had a big face and a scary face like a demon, but he was not good at armed force and was doing a back office work.
From the work, you can feel the humor of holding a child.
地空星小覇王 Chikusei Shohao 1961
序列87 Order 87 周通 ZhouTong
数百の手下を持つ山賊の頭だったが、梁山泊ではさほど強くなく子者呼ばわりされていた。
構図は堂々としているが厳しい足跡よりもドリッピングが目につくのは Zhou Tongを表現しているのでは？
He was the head of a thief with hundreds of men, but he was not so strong in Ryozanpaku and was called the weak.
The composition is bold, but the reason why the drip is more noticeable than the gliding.
Isn't it expressing Zion Tong?
地僻星打虎将 Chihekisei DaKosho 1961
序列86 Order 86 李忠 Li Zhong
虎殺しという渾名があるが元軟膏売り、市井の暮らしが長く金銭にはケチ、だが腕前は立つ。入山後は歩兵隊の将校として活躍戦死する。
一気に描きあげた白髪さんの息吹きが聞こえてくるような足のカリグラフィ作品。
He's called tiger killer, but he was a former ointment seller.
The life of the common people was long and the money was bad.
However, his was very strong in the fight.
After entering the mountain, he became an infantry officer and was very active, but he died in battle.
It’s a like calligraphic work of the foot, that like makes you hear the breath of Shiraga.
古来日本文化には～遊びをせんとや生れけむ、戯れせんとや生れけん、遊ぶ子供の声きけば、我が身さえこそ動がるれ～梁塵秘抄（りょうじんひしょう）や禅語「遊心」が風流＝芸術の根底にあります。
西洋ではホイジンガの「ホモ・ルーデンス」という遊戯が人間活動の本質であり、文化を生み出す根源だと思想があります。
私には三人の赤ん坊を育てた臨床体験が鮮明に脳裏に刻みこまれています。乳に満ち足り、寝足りた赤ん坊の行為ですがそれはそれは好奇心に溢れています。手足で遊んだり、触れるものは何でも口に持っていったり、触覚、視覚、聴覚をフル回転して一時の休みもなく遊んでいます。ハイハイができるようになるとその好奇心は一段と高まり、その好奇心により運動能力が発達していく様に見えます。
この好奇心こそ人間の本質であり asobiではないでしょうか？
さて前書きが長くなりましたが、その狙いは私の 密やかな asobiを正当化するための方便でもあるのです。
寛仁大度な作家さま方が私の“asobi”に目くじらたてられないことを願っての、
ところで、今私が目にしている作品はかってはあなたの胎内から産み出されたものですね。安産であったか、七転八倒の難産であったかはわかりませんが産み出された作品はもう一つの独立した人格？というか画格を持った生命体として存在しているのです。
そして見る者の心に生命の輝きを点火させ、時空を超えて生命のエネルギーを放出し続けるのです。
もうそれは産みの親である作家さんの圏外の事象なのです。
感動された時、もうその人のPersonal possessionになるのですから。
感動するとは一体どういうことでしょうか？
それは見者の内にある感性が呼び覚まされる、そして共鳴することではないでしょうか。見者の未窟の鉱脈を探り当てる歓喜と奏でる協奏曲こそ至宝の asobi ではないでしょうか？
References to play abound in Japanese culture passed down over the centuries. Good examples include one of the Ryojin-hisho* songs, “We are all born to play, born to have fun. When I hear the voices of children playing, my old body still responds, wanting to join in,” and the Zen word, Yushin/Asobi-gokoro (A playful mind/Playfulness). Such references indicate that play (asobi) is one of the foundations of art and the popular arts. Similar ideas can be seen in the West, such as Johan Huizinga’s Homo Ludens (or Playing Man), which discussed the importance of play as an essential element in human activity and the origin of culture.
The experience of nursing and rearing my three children is vividly imprinted on my mind. Babies who had plenty of breast milk and sufficient sleep were absolutely brimming with curiosity. They played constantly, with their senses of touch, sight, and hearing in high gear, playing with their hands and feet, and putting anything they touched in their mouths. Once they started crawling, their curiosity went up another gear, seeming to drive the development of their physical abilities and motor skills. This curiosity is surely the essence of humanity, the manifestation of Asobi-gokoro or playful mind.
Please forgive the lengthy introduction, which largely serves to justify my own furtive play. I hope my playing will not overtax the artists’ generosity and compassion. You know, the artwork that I am now looking at has come forth from your womb. I don’t know if it was an easy delivery or an excruciatingly painful, difficult delivery, but now that it is done, the work that you gave birth to exists as a separate entity with its own independent character and its own life.
That entity sparks the fire of life in the hearts of viewers, triggering the ongoing emission of life energy that will transcend time and space. What happens is already outside the control of the artist who gave birth to it. When your art moves someone emotionally, that experience becomes his or her personal possession.
What does it mean to move someone? Surely it means stirring the viewer’s emotions and resonating inside him or her.Performing a ‘concerto’ that resounds with the joy of discovering an untouched vein of something precious inside the viewer is surely the most treasured form of play.
*Ryojin-hisho (Songs to Make the Dust Dance on the Beams): a folk song collection compiled by Cloistered Emperor Go-Shirakawa in the end of Heian period. (12th century)