アート・遊｜ART U

Blog｜Art U Staff Blog “asobe”

天傷星行者　Tenshosei Gyoja  1960 

天傷星行者　Tenshosei Gyoja  1960 

尼崎市蔵

序列14　Order14　 武松 Wu Song

大酒飲みの大男、虎退治で名をなすが、兄嫁の不貞で殺人を犯し一転罪人となる。誤送役人を返り討ちにしてさらなる罪を重ね梁山泊入りする。入山後は一代勢力を築き貢献するが最後の戦いで片腕を無くし寺男として天寿を全うした。

〜わしの酒飲みは＜水滸伝＞の影響や〜水滸伝の好漢は皆大酒飲みです。白髪さんも負けずの酒豪、オールドパー、紹興酒がお好きでした。二人の酒豪が格闘しているようなど迫力のある作品です。

Wu Song laved liquor very much. He became famous by tiger extermination. 

But he became criminal in the affair of his brother-in-law.

Kill the escort officer, commit a further crime and headed the Ryozanpaku.

After entering the mountain, he made a great contribution. 

In the final battle, he lost his arm and completed his life, at a temple.

~My liquor lover was the influence of the Water Margin Hero series~The heroes of the Water Margin Hero series loved liquor.

Shiraga also loved sake, Old Par, and Shaoxing sake. 

It is a powerful work like the battle of two heavy drinkers.

天孤星花和尚　 Tenkosei Kaosho　1962

天孤星花和尚　 Tenkosei Kaosho　1962

序烈13  Order13    魯智深 Lu Zhishen, 

全身に刺青のある大力持ちで猪突猛進型の好漢。元官吏だが薬屋の父と娘の不条理な災難を見逃せず肉屋を殺して逃亡の身となる。仏門に身を隠すが大酒飲みで破門される。菜園の番人になるがここでもたちの悪い下人達を屈服させる。武器は62斤の禅杖、直情の和尚は梁山泊の花形好漢。

豚や肉が飛び散る肉屋殺しのシーンは白髪代表作品「赤い液」を連想させる。また、菜園の肥溜に罠を仕掛けたチンピラ達自身が嵌るところは「泥にいどむ」を思い浮かせる。

He is an energetic hero with a tattoo on his whole body.

Although a former official, without overlooking the absurd disaster of the drugstore’s father and daughter, he kills the butcher and became a fugitives.

He hides himself in the Buddhist gate but is excommunicated because he is a heavy drinker.

He became the keeper of the garden, but again, he beat the bad men’s sword.

The weapon is a 62 loaf Zen cane,  he is a popular hero in Ryozanpaku.

In the scene of pig and meat spattering and killing, it is reminiscent of the "Red Liquid“(1956), which is the representative work of Shiraga.

In addition, the episode that the thugs who set up traps in the garden's fertilization got addicted to their traps reminds us of "Challenge Mud “(1955).

天満星美髯公　Temmansei Bizenko  1960

天満星美髯公　Temmansei Bizenko  1960

天満星美髯公　Temmansei Bizenko  1960

兵庫県立美術館蔵　Hyogo Prefectural Museum of Art

序列12　Order12  Zhou Tong

立派な顎髭を蓄えた三国志関羽のような堂々たる交換が、彷彿とされる華やかな赤の作品。

初期作品のタイトルは、師・吉原治良の～作品にタイトルをつけるな～の指示の元に作品A,B,Cと無機的につけていた。しかし迸るような感情の気質の白髪にとっては納得いかなかったのだろう、自分の生み出した作品に対して。後日、作品を追跡しては命名していった。

アート・遊で’60年代の作品のキャンバスの裏にまるで我が子を慈しむようにタイトルを書いておられた姿が目に浮かぶ。

A gorgeous red work with an image of a stately hero like KANFU of a SANGOKUSHI with a fine beard.

The title of the initial works were inorganically given as works A, B,

and C under the direction of the teacher, Jiro Yoshiwara’s instruction, “Do not give a title to the work.”

However, I wonder if Shiraga, who has an emotional disposition, was  not

satisfied. Later, he chased and named the work.

I remember that in my gallery, Shiraga wrote the title on the back of the canvas of his 1960s work ,as it to take care of childr

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“asobi”＜あそび＞って一体なんでしょうか？

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？

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Asobi

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)

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