アート・遊|ART U

Blog|Art U Staff Blog “asobe”

kazuo SHIRAGA “The Water Margin Hero Series”地狗星金毛犬 Chikusei Kinmoken 

地狗星金毛犬 Chikusei Kinmoken 

序列108 Order108   段景住 Duan Jingzhu



The red and yellow haired, thin man tried to enter the mountain as a thief.

It is a character that hates Shiraga and the work is unknown.

kazuo SHIRAGA “The Water Margin Hero Series”地賊星鼓上蚤  Chizokusei  Kojoso       2001

地賊星鼓上蚤  Chizokusei  Kojoso       2001

序列107  Order 107  時遷 Shi Qian


白髪さんはこそ泥がきらいで order106 の白勝とこれと2点だけ描いていなかった、描く気がせえへんのやと。

~豪傑がみなかっこええんや、特に時遷 Shi Qianだけがものすごくかっこええ、藍色の夜の空間にレンジャーみたいにロープにすがって三日月が出てますのや、粋なもんやな、これ描いたろ、、~古本屋から取り寄せた北斎の水滸伝の複製画が制作の契機でした。

これで<水滸伝シリーズ>は完結しました、実に 40 年の年月を経て。


An agile, dark-black, slender man who does not make a sound when he bounces on a drum.

Shigara hated thieves and didn't draw  No.106 and order 107. 

I couldn't draw.

~ Hero are all cool. 

In particular, this is a painting by Shi Qian, whose hangs on a rope like a ranger in a dark blue and crescent moon night space ~

He was impressed by the reproduction of the Water Margin Hero series by Hokusai, so he drew this work.

 <the Water Margin Hero series> was complete.  It’s took 40 years.

Moreover, it is a memorable that the title was put in at  Art-U.

kazuo SHIRAGA “The Water Margin Hero Series”地耕星白日鼠  Chikosei Hakujitsuso      2001

地耕星白日鼠  Chikosei Hakujitsuso      2001

序列106 Order 106 白勝 Bai Sheng




<水滸伝シリーズ>が完結するのに 40 年かかったのです。

He's a boss who loves gambling and is the lowest man with no strength or special skills.

Shiraga hated little thieves and couldn't portray this person for a long time. 

By the way, Bai Sheng drawn by a young person was so cool that was inspired to draw it.

It took more than 40 years for< the Water Margin Hero series> to be completed.



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。

感動された時、もうその人のPersonal possessionになるのですから。
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)