(Translated by Google Translate)
Located right next to the Kokugikan in Tokyo, Edo-Tokyo Museum. Exhibition to commemorate the 20th anniversary, that inside the capital, and Edo was held. Subtitle of urban landscape, in the Asia is attached.
Inside the capital, the so-called Kyoto, was made to model the capital of Tang at the time, the Changan.
The venue, all the drawings, such as Keijo Korean cities, and in Beijing, other was the capital of the Ming and Qing were exhibited. Kyoto, was a city of Asia, which is influenced by the culture of such China clearly.
However, Edo is a bit different with such China model.
For the urban model of orderly China, mainly in Edo Castle, as swirling like, Edo, has a structure of curved according to a grid system.
To not have a wall like China, there were no clear boundaries such as Namdaemun of Kyoto, with the times, Edo, began to expand to the outside gradually.
Perhaps, Rakuchu Kyoto figure is likely to have been made based on Qingming Uekawa figure of China. However, in the ming Uekawa figure, to the center of town from the suburbs, without a break, was full of glory, the capital of the Northern Song Dynasty, the state of capital is depicted in scrupulosity.
In places, convenient cloud is floating a lot, Rakuchu Kyoto figure of Japan are not drawn only part to be the highlight Nijo Castle, Kiyomizu Temple, and Shijo Ohashi, the so-called city.
Use the how to draw Rakuchu Kyoto figure, a picture of Edo many drawn. Even there, not drawn such as Edo Castle Sensoji Temple, Asakusa, only place that represents the Edo.
If you look at the overall view of the city, Kyoto and Edo, has a structure completely different, but in such a picture, it seems that a city similar.
Not interested too much about the structure of the city, it is in a city, as a mass of buildings and facilities typical, Japanese, might have been looking at the city.
The venue, all the drawings of such city, in addition to such Rakuchu Kyoto figure, etc. armor materials letter Tripitaka that was brought from China and Korea, the Tokugawa Hidetada, Zojoji of turf, on Kan'eiji of Ueno, the samurai, many items reminiscent of the Edo period was exhibited.
Overall, the exhibition, felt to be lacking in unity, as the planning of the 20th anniversary of opening, it was a lousy little content.
2014年4月27日日曜日
大江戸と洛中（江戸東京博物館）
東京、両国の国技館のすぐ横にある、江戸東京博物館。開館20周年を記念して、大江戸と洛中、という企画展が開催された。アジアの中の都市景観、という副題が付けられている。
洛中、いわゆる京都は、当時の唐の都、長安をモデルに作られた。
会場には、明と清の都だった北京、その他の都市、そして朝鮮の京城などの全図が展示されていた。京都は、明らかにそうした中国の文化に影響されたアジアの都市だった。
しかし、江戸は、そうした中国モデルとは少し異なっている。
碁盤の目のように整然とした中国の都市モデルに対して、江戸は、江戸城を中心に、まるで渦を巻くように、曲線状の構造を持っている。
江戸は、中国のような城壁を持たず、京都の南大門のような明確な境界も無かったために、時代とともに、徐々に外部に拡大していった。
洛中洛外図は、おそらく、中国の清明上河図を元に作られたのだろう。しかし、清明上河図では、栄華を極めた、北宋の都、汴京の様子が、郊外から町の中心部まで、切れ目無く、克明に描かれている。
日本の洛中洛外図は、所々に、都合の良い雲がたくさん浮かんでおり、二条城、清水寺、四条大橋など、いわゆる都市のハイライトとなる部分しか描かれていない。
洛中洛外図の描き方を使って、多くの江戸の絵も描かれた。そこでも、江戸城、浅草の浅草寺など、江戸を代表する箇所しか描かれていない。
都市の全体図を見ると、京都と江戸は、全く違った構造をしているが、そうした絵の中では、同じような都市に見えてしまう。
日本人は、都市の構造についてはあまり関心を持たず、都市の中にある、代表的な建物や施設の固まりとして、都市を見ていたのだろう。
会場には、そうした都市の全図、洛中洛外図などの他に、中国や朝鮮からもたらされた大蔵経、徳川秀忠の書状、芝の増上寺、上野の寛永寺に関する資料、武士の鎧など、江戸時代を彷彿とさせる品々が展示されていた。
全体的に、展覧会としては、まとまりに欠けていてように感じられ、開館20周年記念の企画としては、ややお粗末な内容だった。
洛中、いわゆる京都は、当時の唐の都、長安をモデルに作られた。
会場には、明と清の都だった北京、その他の都市、そして朝鮮の京城などの全図が展示されていた。京都は、明らかにそうした中国の文化に影響されたアジアの都市だった。
しかし、江戸は、そうした中国モデルとは少し異なっている。
碁盤の目のように整然とした中国の都市モデルに対して、江戸は、江戸城を中心に、まるで渦を巻くように、曲線状の構造を持っている。
江戸は、中国のような城壁を持たず、京都の南大門のような明確な境界も無かったために、時代とともに、徐々に外部に拡大していった。
洛中洛外図は、おそらく、中国の清明上河図を元に作られたのだろう。しかし、清明上河図では、栄華を極めた、北宋の都、汴京の様子が、郊外から町の中心部まで、切れ目無く、克明に描かれている。
日本の洛中洛外図は、所々に、都合の良い雲がたくさん浮かんでおり、二条城、清水寺、四条大橋など、いわゆる都市のハイライトとなる部分しか描かれていない。
洛中洛外図の描き方を使って、多くの江戸の絵も描かれた。そこでも、江戸城、浅草の浅草寺など、江戸を代表する箇所しか描かれていない。
都市の全体図を見ると、京都と江戸は、全く違った構造をしているが、そうした絵の中では、同じような都市に見えてしまう。
日本人は、都市の構造についてはあまり関心を持たず、都市の中にある、代表的な建物や施設の固まりとして、都市を見ていたのだろう。
会場には、そうした都市の全図、洛中洛外図などの他に、中国や朝鮮からもたらされた大蔵経、徳川秀忠の書状、芝の増上寺、上野の寛永寺に関する資料、武士の鎧など、江戸時代を彷彿とさせる品々が展示されていた。
全体的に、展覧会としては、まとまりに欠けていてように感じられ、開館20周年記念の企画としては、ややお粗末な内容だった。
2014年4月20日日曜日
Mt. Fuji, Cherry-blossam and Flowers in Spring (Yamatane Museum of Art)
(Translate by Google Translate)
To commemorate that Fuji has been registered as a World Cultural Heritage, a special exhibition at Yamatane Museum of Art, Hiroo, Tokyo.
Was drawn on Mount Fuji, paintings since the Edo period were exhibited.
The drawing style is varied indeed, I represent well, how the people of this country, whether've been thinking this mountain.
At the entrance, painting with a focus floating in the clouds, "God in our heart" by Yokoyama Taikan, the near the summit of Mount Fuji has been exhibited at the venue.
Drew divinely, the Fuji as an object of faith, Fuji diagram representative of Grand View.
During the Edo period, drawn by a number of ukiyo-e, worship view of Mount Fuji. Worshipers who were depicted as pea countless, are climbing up the path of Mount Fuji. The figure of this place, there is no divine but never, in a sense, of people, faith in this mountain, it is told well.
"Never running out" by Kobayashi Kokei. It depicts Mount Fuji in hanging scroll, but the form is stretched up and down, color has become bright blue.
He may have wanted to express the color of the water, the fact that it would run out, no.
Fuji drawn on the Fifty-three Stages of the Tokaido Hiroshige Utagawa is not a Mount Fuji as an object of such faith. In the workings of the daily lives of people, and has appeared as a background graphic.
The second half of the exhibition, the exhibition on the theme every year, will be held at this time, a picture of a cherry tree.
Hayami Mifune going to see cherry blossoms at night. Cherry in the dark, has no color. Sense in shades dull, and to represent the cherry great.
To commemorate that Fuji has been registered as a World Cultural Heritage, a special exhibition at Yamatane Museum of Art, Hiroo, Tokyo.
Was drawn on Mount Fuji, paintings since the Edo period were exhibited.
The drawing style is varied indeed, I represent well, how the people of this country, whether've been thinking this mountain.
At the entrance, painting with a focus floating in the clouds, "God in our heart" by Yokoyama Taikan, the near the summit of Mount Fuji has been exhibited at the venue.
Drew divinely, the Fuji as an object of faith, Fuji diagram representative of Grand View.
During the Edo period, drawn by a number of ukiyo-e, worship view of Mount Fuji. Worshipers who were depicted as pea countless, are climbing up the path of Mount Fuji. The figure of this place, there is no divine but never, in a sense, of people, faith in this mountain, it is told well.
"Never running out" by Kobayashi Kokei. It depicts Mount Fuji in hanging scroll, but the form is stretched up and down, color has become bright blue.
He may have wanted to express the color of the water, the fact that it would run out, no.
Fuji drawn on the Fifty-three Stages of the Tokaido Hiroshige Utagawa is not a Mount Fuji as an object of such faith. In the workings of the daily lives of people, and has appeared as a background graphic.
The second half of the exhibition, the exhibition on the theme every year, will be held at this time, a picture of a cherry tree.
Hayami Mifune going to see cherry blossoms at night. Cherry in the dark, has no color. Sense in shades dull, and to represent the cherry great.
富士の桜と春の花（山種美術館）
富士山が世界文化遺産に登録されたことを記念した、東京、広尾の山種美術館の特別展。
富士山が描かれた、江戸時代以降の絵画が展示されていた。
その描き方は実に様々で、この国の人々が、どのようにこの山を考えてきたのかを、よく表している。
会場に入口には、横山大観の心神、という雲間に浮かぶ、富士山の山頂付近を中心とした絵が展示されていた。
信仰の対象としての富士山を、神々しく描いた、大観の代表的な富士山図。
江戸時代に、多くの浮世絵師によって描かれた、富士山への参拝図。無数の豆粒のように描かれた参拝者たちが、富士山の登山路を上っている。こちらの図は、決して神々しくはないが、人々の、この山への信仰を、ある意味で、よく伝えている。
小林古径の不尽。掛け軸に富士山を描いてるが、形は上下に引き延ばされ、色は明るい青になっている。
尽きることがない、ということを、水の色で表現したかったのかもしれない。
歌川広重の東海道五十三次に描かれた富士山は、そうした信仰の対象としての富士山ではない。人々の日々の暮らしの営みの中に、その背景図として登場している。
展覧会の後半は、毎年、この時期に開催される、桜の絵をテーマにした展示。
速水御舟の夜桜。暗闇の中での桜は、色を持っていない。くすんだ色合いで、桜を表現するというセンスが素晴らしい。
富士山が描かれた、江戸時代以降の絵画が展示されていた。
その描き方は実に様々で、この国の人々が、どのようにこの山を考えてきたのかを、よく表している。
会場に入口には、横山大観の心神、という雲間に浮かぶ、富士山の山頂付近を中心とした絵が展示されていた。
信仰の対象としての富士山を、神々しく描いた、大観の代表的な富士山図。
江戸時代に、多くの浮世絵師によって描かれた、富士山への参拝図。無数の豆粒のように描かれた参拝者たちが、富士山の登山路を上っている。こちらの図は、決して神々しくはないが、人々の、この山への信仰を、ある意味で、よく伝えている。
小林古径の不尽。掛け軸に富士山を描いてるが、形は上下に引き延ばされ、色は明るい青になっている。
尽きることがない、ということを、水の色で表現したかったのかもしれない。
歌川広重の東海道五十三次に描かれた富士山は、そうした信仰の対象としての富士山ではない。人々の日々の暮らしの営みの中に、その背景図として登場している。
展覧会の後半は、毎年、この時期に開催される、桜の絵をテーマにした展示。
速水御舟の夜桜。暗闇の中での桜は、色を持っていない。くすんだ色合いで、桜を表現するというセンスが素晴らしい。
2014年4月19日土曜日
Japanese Paintings in 100 years (Tokyo Metropolitan Art Museum)
(Translated by Google Translate)
Was held at the Tokyo Metropolitan Art Museum Tokyo, Ueno, special exhibition to commemorate 100 years of Japanese Art Institute revival.
Was designed from the fact that in 1914, one year after Okakura Tenshin, who founded the Japan Academy of Arts passed away, Inten that Shimomura Kanzan and colleagues Yokoyama Taikan is revived is the 100th anniversary this year, exhibitions big way.
Hibo Kannon by Kano Hogai. Kutsugen by Yokoyama Taikan. Nukatanookimi in spring Asuka by Yasuda Yukihiko. These art works provides an overview, Meiji period, Japanese painter who is, or came painted what.
The venue, as well as masterpieces of such past, work which won a prize at the recent Inten was also on display a number. I can and wonder, with a probability of almost, decide which picture of recent.
Again, the picture, things like atmosphere of the era, might appear with nature.
There is western style paintings, still life by Yorozu Tetsugoro? I thought, but Yorozu, apparently there is that it has also exhibited at the Inten.
A mysteries painting by Maeda Seison. Has made the unfortunate death of military commander Heike, Tairano Tomomori is revived, and that the attack Minamoto no Yoshitsune, it is a perfect example fantastic world of Noh work "Funa Benkei".
The lower left half of the screen, like a haze or smoke with a focus on white spread, the upper right half, blue sea is drawn, the men who Tomomori and has appeared To Kotsuzen from the haze , that moment is depicted.
Maiko of Kyoto by Hayami Mifune. But drawn was sitting on the porch, not beautiful in any way, and the maiko like monster. And that draw up to one one of the lines of the tatami, fineness of the brush not in Japanese painting up to that point, that was accounted say this with a Taikan Yokoyama, so far as, white excommunication this painter.
Then, in the late as in the previous fiscal year, I visited with two portions, even in the Mifune, in Grand View, even Kanzan, it is neither a Hirayama Ikuo, and painter named Iwahashi Eien, work that remains deeply impression most, 1975 it was a work painted in, and winding Noriyuki Dosanko recollection.
Were exhibited on the walls of the three sides of a large room, a long, long picture scroll of 29 m length. The right end of the beginning, bear is hibernating. From there, by superimposing the flow of the day, the flow of one year, a fine elaborate brush stroke, majestic world of home Iwahashi, wilderness of Hokkaido, is developed.
In the land of harsh winter, all together, while each other and need each other, humans, animals, trees also, mountains and fields as well, and is engaged in the raw together.
While looking slowly, indescribable impression is, come to sprout in the mind, the long picture scroll.
Also while I was to go back to first, and admire from a distance at a distance, before long, it becomes enough to not be holding its excitement.
The art work to be impressed this much, it was really long time.
In the future, those that live in that era, painter who was facing from the front to the era drew will continue to shake, our hearts.
Was held at the Tokyo Metropolitan Art Museum Tokyo, Ueno, special exhibition to commemorate 100 years of Japanese Art Institute revival.
Was designed from the fact that in 1914, one year after Okakura Tenshin, who founded the Japan Academy of Arts passed away, Inten that Shimomura Kanzan and colleagues Yokoyama Taikan is revived is the 100th anniversary this year, exhibitions big way.
Hibo Kannon by Kano Hogai. Kutsugen by Yokoyama Taikan. Nukatanookimi in spring Asuka by Yasuda Yukihiko. These art works provides an overview, Meiji period, Japanese painter who is, or came painted what.
The venue, as well as masterpieces of such past, work which won a prize at the recent Inten was also on display a number. I can and wonder, with a probability of almost, decide which picture of recent.
Again, the picture, things like atmosphere of the era, might appear with nature.
There is western style paintings, still life by Yorozu Tetsugoro? I thought, but Yorozu, apparently there is that it has also exhibited at the Inten.
A mysteries painting by Maeda Seison. Has made the unfortunate death of military commander Heike, Tairano Tomomori is revived, and that the attack Minamoto no Yoshitsune, it is a perfect example fantastic world of Noh work "Funa Benkei".
The lower left half of the screen, like a haze or smoke with a focus on white spread, the upper right half, blue sea is drawn, the men who Tomomori and has appeared To Kotsuzen from the haze , that moment is depicted.
Maiko of Kyoto by Hayami Mifune. But drawn was sitting on the porch, not beautiful in any way, and the maiko like monster. And that draw up to one one of the lines of the tatami, fineness of the brush not in Japanese painting up to that point, that was accounted say this with a Taikan Yokoyama, so far as, white excommunication this painter.
Then, in the late as in the previous fiscal year, I visited with two portions, even in the Mifune, in Grand View, even Kanzan, it is neither a Hirayama Ikuo, and painter named Iwahashi Eien, work that remains deeply impression most, 1975 it was a work painted in, and winding Noriyuki Dosanko recollection.
Were exhibited on the walls of the three sides of a large room, a long, long picture scroll of 29 m length. The right end of the beginning, bear is hibernating. From there, by superimposing the flow of the day, the flow of one year, a fine elaborate brush stroke, majestic world of home Iwahashi, wilderness of Hokkaido, is developed.
In the land of harsh winter, all together, while each other and need each other, humans, animals, trees also, mountains and fields as well, and is engaged in the raw together.
While looking slowly, indescribable impression is, come to sprout in the mind, the long picture scroll.
Also while I was to go back to first, and admire from a distance at a distance, before long, it becomes enough to not be holding its excitement.
The art work to be impressed this much, it was really long time.
In the future, those that live in that era, painter who was facing from the front to the era drew will continue to shake, our hearts.
世紀の日本画（東京都美術館）
東京、上野の東京都美術館で開催された、日本美術院再興100年を記念する特別展。
日本美術院を創設した岡倉天心が亡くなって1年後の1914年に、横山大観や下村観山らが再興した院展が、今年で100周年を迎えることから企画された、大々的な展覧会。
狩野芳崖の悲母観音。横山大観の屈原。安田靫彦の飛鳥の春の額田王など、美術の教科書に載っている名画が展示され、明治以降、日本画家達が、どんなものを描いて来たかを、概観することができた。
会場には、そうした過去の名品だけでなく、最近の院展で入選した作品も数多く展示されていた。不思議と、ほとんどの確率で、どれが最近の絵かを判別することが出来る。
やはり、絵には、その時代の雰囲気のようなものが、自然と表れるのかもしれない。
洋画の萬鉄五郎の静物画があって、おやっ？と思ったが、萬は、院展にも出展したことがあったらしい。
前田青邨の知盛幻生。平家の武将で不運な死を遂げた、平知盛が蘇り、源義経を襲うという、謡曲『船弁慶』の幻想的な世界を見事に表現している。
画面の左下半分は、白を中心とした煙や靄のようなものが広がり、右上半分は、青い海が描かれ、知盛とその部下達が、靄の中からこつ然と姿を現した、その瞬間が描かれている。
速水御舟の京の舞妓。縁側に腰掛けた、決して美しくはない、お化けのような舞妓を描いている。畳の線の一本一本まで描くという、それまでの日本画にはない筆の細かさは、横山大観をして、この画家を破門しろ、とまで言わせしめた、という。
その絵が描かれた1920年には、岡倉天心、横山大観と受け継いで来た日本画の世界には、明らかに新しいタイプの才能が生まれていた。
そして、前期と後期、2回に分けて訪れた中で、一番印象に深く残った作品は、その御舟でも、大観でも、観山でも、平山郁夫でもなく、岩橋英遠という画家が、昭和50年代に描いた、道産子追憶之巻という作品だった。
広い部屋の3方の壁に展示された、全長29メートルの長い長い絵巻。始まりの右端には、熊が冬眠している。そこから、一日の流れと、一年の流れを重ね合わせて、岩橋の故郷、北海道の大自然の雄大な世界が、細かい丹念な筆さばきで、展開される。
厳しい冬の大地では、人間も、動物も、木々も、野や山々も、すべてが一体となって、お互いを必要とし合いながら、いっしょにその生を営んでいる。
その長い絵巻を、ゆっくりと眺めているうちに、何とも言えない感動が、心の中に芽生えてくる。
また最初に戻ったり、少し離れて遠くから眺めたりとしているうちに、やがて、その感動が押さえきれないほどになって来る。
これほど心を動かされる作品に巡り会ったのは、本当に久しぶりだった。
その時代に生き、その時代に正面から向き合った画家達が描いたものは、今後も、私たちの心を、揺さぶり続けるだろう。
日本美術院を創設した岡倉天心が亡くなって1年後の1914年に、横山大観や下村観山らが再興した院展が、今年で100周年を迎えることから企画された、大々的な展覧会。
狩野芳崖の悲母観音。横山大観の屈原。安田靫彦の飛鳥の春の額田王など、美術の教科書に載っている名画が展示され、明治以降、日本画家達が、どんなものを描いて来たかを、概観することができた。
会場には、そうした過去の名品だけでなく、最近の院展で入選した作品も数多く展示されていた。不思議と、ほとんどの確率で、どれが最近の絵かを判別することが出来る。
やはり、絵には、その時代の雰囲気のようなものが、自然と表れるのかもしれない。
洋画の萬鉄五郎の静物画があって、おやっ？と思ったが、萬は、院展にも出展したことがあったらしい。
前田青邨の知盛幻生。平家の武将で不運な死を遂げた、平知盛が蘇り、源義経を襲うという、謡曲『船弁慶』の幻想的な世界を見事に表現している。
画面の左下半分は、白を中心とした煙や靄のようなものが広がり、右上半分は、青い海が描かれ、知盛とその部下達が、靄の中からこつ然と姿を現した、その瞬間が描かれている。
速水御舟の京の舞妓。縁側に腰掛けた、決して美しくはない、お化けのような舞妓を描いている。畳の線の一本一本まで描くという、それまでの日本画にはない筆の細かさは、横山大観をして、この画家を破門しろ、とまで言わせしめた、という。
その絵が描かれた1920年には、岡倉天心、横山大観と受け継いで来た日本画の世界には、明らかに新しいタイプの才能が生まれていた。
そして、前期と後期、2回に分けて訪れた中で、一番印象に深く残った作品は、その御舟でも、大観でも、観山でも、平山郁夫でもなく、岩橋英遠という画家が、昭和50年代に描いた、道産子追憶之巻という作品だった。
広い部屋の3方の壁に展示された、全長29メートルの長い長い絵巻。始まりの右端には、熊が冬眠している。そこから、一日の流れと、一年の流れを重ね合わせて、岩橋の故郷、北海道の大自然の雄大な世界が、細かい丹念な筆さばきで、展開される。
厳しい冬の大地では、人間も、動物も、木々も、野や山々も、すべてが一体となって、お互いを必要とし合いながら、いっしょにその生を営んでいる。
その長い絵巻を、ゆっくりと眺めているうちに、何とも言えない感動が、心の中に芽生えてくる。
また最初に戻ったり、少し離れて遠くから眺めたりとしているうちに、やがて、その感動が押さえきれないほどになって来る。
これほど心を動かされる作品に巡り会ったのは、本当に久しぶりだった。
その時代に生き、その時代に正面から向き合った画家達が描いたものは、今後も、私たちの心を、揺さぶり続けるだろう。
Kano Tanyu and his 2 brothers (Itabashi Art Museum)
(Translated by Google Translate)
It takes 20 to 30 minutes to go to Itabashi Art Museum from Takashimadaira Station Toei or Narimasu, or under Akatsuka of Tobu Tojo Line, both walk.
Near, remains of Akatsuka Castle medieval, also in Tokyo, and one of the best museums in the difficulty to go. It may become troublesome with nature, and to carry the foot.
However, to be sick, in this case, sometimes, interesting exhibition is carried out. Each time, it means you forgot to go, and regret.
This time, the exhibition of Kano brothers - Tanyu, Naonobu and Yasunobu, indeed, it did not go to the translation to miss this opportunity.
Upon grandson of Kano Eitoku, Kano Ttanyu became patronized painter of the Tokugawa family and down to Edo, brother of the two, Naonobu and Yasunobu also worked as a purveyor painter, from these three people, Kano of Edo four house was born, I went to play the center of the art world through the Edo period.
Kano Naonobu, brother of five-year-old younger than Tanyu. Following Tanyu, and communion from the mansion to the shogunate Takekawa town, was working as a painter patronized, but passed away at the young of 43 years old.
Kano Yasunobu is 11 years younger than Tanyu. Also Yasunobu, and communion in the mansion Nakahashi than shogunate, became a painter patronized.
In terms of the only work on display in this exhibition, I was like most, it was the work of Yasunobu.
Tanyu's Works are sharp in a nutshell. Like, it's impression that as it is still dragging, the atmosphere of the era of the Warring States period.
Style of painting is also a variety. And Nanga, painted carefully ink painting of landscape, Yamato-e, the animals, such as The Tale of Genji picture scroll, Buddhist paintings depicting the high priest and Buddha. In either case, a great workmanship, I show off respond to any order of those in power, the breadth of competence.
Works Naonobu, impression probably because near work, such as those referring to the picture of his brother apparently gave larger and year Sagukasoke, that are quite similar Tanyu was strong.
That he passed away at a young age might also factor had hindered the development of the world to own.
Among such, clever writing view of two twin six songs of the two, has seen a brush stroke dynamic world of its own Naonobu is depicted.
The work of Yasunobu, the difference between the Tanyu can be seen clearly. Compared to the sharpness of the Tanyu spacious, in a relaxed impression, to give a sense of security to the viewer.
Peony diagram is drawn is the pale pink petals. Among the exhibition room in a row is Byobu-ga, it seems that a short piece on, but its delicate brush tip, shade of petals, delicately beautiful.
This exhibition is carried out by dividing the previous fiscal year, to late, after all, it was decided that the Itabashi Art Museum had no opportunity to go too, to visit for two consecutive months usually.
Of course, there was more than enough to avail.
It takes 20 to 30 minutes to go to Itabashi Art Museum from Takashimadaira Station Toei or Narimasu, or under Akatsuka of Tobu Tojo Line, both walk.
Near, remains of Akatsuka Castle medieval, also in Tokyo, and one of the best museums in the difficulty to go. It may become troublesome with nature, and to carry the foot.
However, to be sick, in this case, sometimes, interesting exhibition is carried out. Each time, it means you forgot to go, and regret.
This time, the exhibition of Kano brothers - Tanyu, Naonobu and Yasunobu, indeed, it did not go to the translation to miss this opportunity.
Upon grandson of Kano Eitoku, Kano Ttanyu became patronized painter of the Tokugawa family and down to Edo, brother of the two, Naonobu and Yasunobu also worked as a purveyor painter, from these three people, Kano of Edo four house was born, I went to play the center of the art world through the Edo period.
Kano Naonobu, brother of five-year-old younger than Tanyu. Following Tanyu, and communion from the mansion to the shogunate Takekawa town, was working as a painter patronized, but passed away at the young of 43 years old.
Kano Yasunobu is 11 years younger than Tanyu. Also Yasunobu, and communion in the mansion Nakahashi than shogunate, became a painter patronized.
In terms of the only work on display in this exhibition, I was like most, it was the work of Yasunobu.
Tanyu's Works are sharp in a nutshell. Like, it's impression that as it is still dragging, the atmosphere of the era of the Warring States period.
Style of painting is also a variety. And Nanga, painted carefully ink painting of landscape, Yamato-e, the animals, such as The Tale of Genji picture scroll, Buddhist paintings depicting the high priest and Buddha. In either case, a great workmanship, I show off respond to any order of those in power, the breadth of competence.
Works Naonobu, impression probably because near work, such as those referring to the picture of his brother apparently gave larger and year Sagukasoke, that are quite similar Tanyu was strong.
That he passed away at a young age might also factor had hindered the development of the world to own.
Among such, clever writing view of two twin six songs of the two, has seen a brush stroke dynamic world of its own Naonobu is depicted.
The work of Yasunobu, the difference between the Tanyu can be seen clearly. Compared to the sharpness of the Tanyu spacious, in a relaxed impression, to give a sense of security to the viewer.
Peony diagram is drawn is the pale pink petals. Among the exhibition room in a row is Byobu-ga, it seems that a short piece on, but its delicate brush tip, shade of petals, delicately beautiful.
This exhibition is carried out by dividing the previous fiscal year, to late, after all, it was decided that the Itabashi Art Museum had no opportunity to go too, to visit for two consecutive months usually.
Of course, there was more than enough to avail.
探幽３兄弟展 狩野探幽・尚信・安信（板橋区立美術館）
東京、板橋区の赤塚にある、板橋区立美術館。東武東上線の下赤塚か成増、あるいは都営地下鉄の高島平駅から、いずれも歩くと20〜30分はかかる。
近くに、中世の赤塚城の遺構が残る、都内でも、行きにくさでは屈指の美術館。自然と、足を運ぶのが億劫になってしまう。
しかし、具合の悪いことに、ここでは、時々、興味深い展覧会が行われる。その度に、行きそびれ、後悔することになる。
今回は、狩野派、探幽とその弟、尚信・安信の3人の作品が揃うとあっては、さすがに、この機会を逃す訳には行かなかった。
狩野探幽は、狩野永徳の孫にあたり、江戸に下って徳川幕府の御用絵師となったが、その二人の弟、尚信・安信も探幽とともに御用絵師として活躍し、この3人から、江戸の狩野四家が生まれ、江戸時代を通じて画壇の中心を担っていった。
狩野尚信は、探幽の5歳年下の弟。探幽に続き、竹川町に幕府より屋敷を拝領し、御用絵師として活躍したが、わずか43歳という若さで亡くなってしまった。
狩野安信は、探幽より11歳年下。安信もまた、幕府より中橋に屋敷を拝領し、御用絵師となった。
この展覧会に展示された作品だけで言えば、私が最も気に入ったのは、安信の作品だった。
探幽の作品は、一言で言えばシャープ。まるで、戦国時代の時代の雰囲気を、そのまままだ引きずっているような印象だ。
絵の様式も多彩だ。山水の水墨画、源氏物語絵巻のような大和絵、動物を丹念に描いた南画、そして、仏や高僧を描いた仏画。いずれにおいても、素晴らしい出来映えで、権力者のどんな注文にも応える、力量の幅広さを見せつける。
尚信の作品は、探幽と年も近く、明らかに兄の絵を参考にしたような作品が多かったせいか、探幽とかなり似ている、という印象が強かった。
若くして亡くなってしまったことも、独自の世界への発展を妨げてしまった要因かもしれない。
そんな中でも、2つの六曲二双の竜虎図は、ダイナミックな筆さばきを見せており、尚信独自の世界が描かれている。
安信の作品には、明らかに探幽との差が見て取れる。探幽のシャープさに比べると、ゆったりとした、伸びやかな印象で、見る者に安心感を与える。
薄いピンク色でその花びらが描かれている牡丹図。屏風画が並んでる展示室の中では、小品に見えてしまうが、その繊細な筆先と、微妙に花びらの陰影が、美しい。
この展覧会は、前期、後期に分けて行われ、結局、普段はあまり行く機会のなかった板橋区立美術館に、2ヶ月続けて訪れることになった。
勿論、そのかいは十二分にあった。
2014年4月13日日曜日
From Hakubakai to Kofukai : Aspects of Japanese Oil Painting (Tokyo Station Gallery)
(Translated by Google Translate)
The Tokyo Station last year , was renewed , when it comes to the holidays , many people rushed as ever , and have a photo taken in front of the new station building.
Is in the Tokyo Station , Tokyo Station Gallery , the exhibition on the theme of Kofu Association which is an organization typical of Western image of Japan was held.
Kuroda Seiki , by Kume Keiichiro et al led the foreign film art world of the Meiji , Hakuba Association was formed in 1896 , he descended from the French Impressionists , and allowed to spread to Japan techniques to express the feeling of air and light.
Kuroda et al. Thought in 1907 , Bunten is started , that it has completed its role broke up the white horse meetings , but disciples of Kuroda , Miyake Katsumi , Nakazawa Hiromitsu , Yamamoto forest Koresuke , Kobayashi Shokichi , Okano Sakae , apart from the Bunten , as the successor organization of Hakuba meeting , Sugiura jade and designer Atomi Tai , formed the Kofu meeting in 1912.
This Kofu-kai has been working as a gateway to success still oil painter of our young , they will hold a 100th anniversary exhibition this time.
In this exhibition, it was content to the effect The exhibition of painters involved in Kofu meeting, the work of young, that, an overview of the history more than 100 years of such Kofu meeting.
Writer of painter and later well-known to the public was exhibited in the very beginning, Kuroda Seiki, Kume Keiichiro, and Fujishima Takeji, was greater painters who do not know much.
At best, it was enough to have known the name Sugiura jade, Torajiro Kojima, Uchida Iwao, Genichiro Inokuma, Koiso Ryohei, Suda Kokuta per.
Work when so many young, absolutely, work that is similar to the style of painting painter had learned at that time there were many. Obviously, I have to imitate the Barbizon School, Monet, Cezanne, Renoir, Van Gogh, and Giacometti.
At the end of the hall, in the center of Kofu and Hakuba Board meeting, related the history of foreign film organizations in Japan were on display at the panel.
Than any paintings that were on display in this exhibition, this panel was interesting.
More than anything, it is surprising to the large number of organizations. Many organizations, was born about this, or disappear, it would probably be was carried out by division, why, and be appalled at.
Looking not a painter, from human outsider, I wanted to say this myself.
"Why is not enough only to paint something ?"
The Tokyo Station last year , was renewed , when it comes to the holidays , many people rushed as ever , and have a photo taken in front of the new station building.
Is in the Tokyo Station , Tokyo Station Gallery , the exhibition on the theme of Kofu Association which is an organization typical of Western image of Japan was held.
Kuroda Seiki , by Kume Keiichiro et al led the foreign film art world of the Meiji , Hakuba Association was formed in 1896 , he descended from the French Impressionists , and allowed to spread to Japan techniques to express the feeling of air and light.
Kuroda et al. Thought in 1907 , Bunten is started , that it has completed its role broke up the white horse meetings , but disciples of Kuroda , Miyake Katsumi , Nakazawa Hiromitsu , Yamamoto forest Koresuke , Kobayashi Shokichi , Okano Sakae , apart from the Bunten , as the successor organization of Hakuba meeting , Sugiura jade and designer Atomi Tai , formed the Kofu meeting in 1912.
This Kofu-kai has been working as a gateway to success still oil painter of our young , they will hold a 100th anniversary exhibition this time.
In this exhibition, it was content to the effect The exhibition of painters involved in Kofu meeting, the work of young, that, an overview of the history more than 100 years of such Kofu meeting.
Writer of painter and later well-known to the public was exhibited in the very beginning, Kuroda Seiki, Kume Keiichiro, and Fujishima Takeji, was greater painters who do not know much.
At best, it was enough to have known the name Sugiura jade, Torajiro Kojima, Uchida Iwao, Genichiro Inokuma, Koiso Ryohei, Suda Kokuta per.
Work when so many young, absolutely, work that is similar to the style of painting painter had learned at that time there were many. Obviously, I have to imitate the Barbizon School, Monet, Cezanne, Renoir, Van Gogh, and Giacometti.
At the end of the hall, in the center of Kofu and Hakuba Board meeting, related the history of foreign film organizations in Japan were on display at the panel.
Than any paintings that were on display in this exhibition, this panel was interesting.
More than anything, it is surprising to the large number of organizations. Many organizations, was born about this, or disappear, it would probably be was carried out by division, why, and be appalled at.
Looking not a painter, from human outsider, I wanted to say this myself.
"Why is not enough only to paint something ?"
洋画家たちの青春 白馬会から光風会へ（東京ステーションギャラリー）
昨年、リニューアルした東京駅には、休日となると、相変わらず大勢の人が押しかけ、新しい駅舎の前で記念撮影をしている。
その東京駅の中にある、東京ステーションギャラリーで、日本の西洋画の代表的な団体である光風会をテーマにした展覧会が開催された。
明治の洋画画壇を牽引した黒田清輝、久米桂一郎らによって、1896年に白馬会が結成され、フランスの印象派の流れを汲んだ、光と空気感を表現する技法を日本に普及させた。
1907年に、文展が開始され、その役目を終えたと考えた黒田らはその白馬会を解散したが、黒田の弟子達、三宅克己、中澤弘光、山本森之助、小林鍾吉、岡野栄、跡見泰とデザイナーの杉浦非水は、文展とは別に、白馬会の後継団体として、1912年に光風会を結成した。
この光風会は、若手の洋画家達の登竜門として現在も活動しており、このたび記念すべき第100回展を開催する。
この展覧会では、光風会に関係する画家達の、若き日の作品を展示し、そうした光風会の100年以上にわたる歴史を概観する、という趣旨の内容だった。
最初の方に展示されていた、黒田清輝、久米桂一郎、藤島武二、などの一般にもよく知られている画家以降の作家は、あまり知らない画家達が多かった。
せいぜい、杉浦非水、児島虎次郎、内田巌、猪熊弦一郎、小磯良平、須田剋太あたりの名前を知っていた程度だった。
若い時の作品が多いので、どうしても、その時に学んでいた画家の画風に似た作品が多かった。明らかに、バルビゾン派、モネ、セザンヌ、ルノワール、ゴッホ、ジャコメッティなどを真似してる。
会場の最後には、白馬会と光風会を中心にして、日本の洋画団体の関連史がパネルで展示されていた。
このパネルは、この展覧会に展示されていたどの絵画作品よりも、興味深いものだった。
何よりも、団体の数の多さに驚かされる。どうして、これほど多くの団体が、生まれては、消えたり、分裂して行ったのだろうと、あきれてしまう。
画家ではない、門外漢の人間から見ると、思わずこう言いたくなった。
「ただ絵を描いているだけじゃ、どうしてだめなの？」
その東京駅の中にある、東京ステーションギャラリーで、日本の西洋画の代表的な団体である光風会をテーマにした展覧会が開催された。
明治の洋画画壇を牽引した黒田清輝、久米桂一郎らによって、1896年に白馬会が結成され、フランスの印象派の流れを汲んだ、光と空気感を表現する技法を日本に普及させた。
1907年に、文展が開始され、その役目を終えたと考えた黒田らはその白馬会を解散したが、黒田の弟子達、三宅克己、中澤弘光、山本森之助、小林鍾吉、岡野栄、跡見泰とデザイナーの杉浦非水は、文展とは別に、白馬会の後継団体として、1912年に光風会を結成した。
この光風会は、若手の洋画家達の登竜門として現在も活動しており、このたび記念すべき第100回展を開催する。
この展覧会では、光風会に関係する画家達の、若き日の作品を展示し、そうした光風会の100年以上にわたる歴史を概観する、という趣旨の内容だった。
最初の方に展示されていた、黒田清輝、久米桂一郎、藤島武二、などの一般にもよく知られている画家以降の作家は、あまり知らない画家達が多かった。
せいぜい、杉浦非水、児島虎次郎、内田巌、猪熊弦一郎、小磯良平、須田剋太あたりの名前を知っていた程度だった。
若い時の作品が多いので、どうしても、その時に学んでいた画家の画風に似た作品が多かった。明らかに、バルビゾン派、モネ、セザンヌ、ルノワール、ゴッホ、ジャコメッティなどを真似してる。
会場の最後には、白馬会と光風会を中心にして、日本の洋画団体の関連史がパネルで展示されていた。
このパネルは、この展覧会に展示されていたどの絵画作品よりも、興味深いものだった。
何よりも、団体の数の多さに驚かされる。どうして、これほど多くの団体が、生まれては、消えたり、分裂して行ったのだろうと、あきれてしまう。
画家ではない、門外漢の人間から見ると、思わずこう言いたくなった。
「ただ絵を描いているだけじゃ、どうしてだめなの？」
2014年4月12日土曜日
Andy Warhol 15 Minutes Eternal (Mori Art Museum)
(Translated by Google Translate)
Asia traveling exhibition that is organized around the work of Andy Warhol Museum America, of Pittsburgh, will be held in Singapore, Hong Kong, Shanghai, Beijing.
And down the long elevator of Roppongi Hills, the approach followed by the entrance, BMW that Warhol painted had been exhibited.
After graduating from college, he started the work of designers of advertising of fashion magazines, Warhol was eventually successful.
The entrance of the venue, work of such initial line up.
And looked like male figure dress shoes, stockings, women, fashion model, full of design sense, the number of illustrations for various magazines.
From this work, I seen that certain of the design sense of Warhol.
When it comes to the 1960s, Warhol turned to the artist. Thereby, it should be talking about work on the theme Campbell soup, Marilyn Monroe, and Presley, immediately, was a great success.
Work depicting as it can of the famous Campbell soup. In the first version, and drawn like a painting still normal, polite, but drawn by hanging on purpose ink.
In the 1970s, use the technique of silk screen, you begin to order portrait. If you pay $ 25,000 one point, everyone was writing me a portrait of his Warhol.
If he want to join the party lot, he can offer to sell shares the portrait to celebrities, in the advertising it, Warhol, solicited customers in general.
The venue, such as the portrait of Ryuichi Sakamoto Michael Jackson, Mick Jagger, and Valentino, were lined with.
Then, work of about 1,000 points are made about, Warhol was a lot of money in the hands of several billion yen.
The term of art era is over, the era of art and business, come, Warhol was practice it themselves.
He sat in the office dressed a suit, literally, Warhol at the time, that had received the order on the phone as a business man.
A number of works that Warhol has collaborated young artists, and Basquiat people. "As we saw today, this picture is the most interesting" was visiting the venue, one of the young women, was saying.
Due to that we have the familiar silk screen of Warhol, Basquiat original painting is probably looked very much fresh.
The wall of each corner of the venue, other words, is also used in the name of the exhibition "the future everyone will be famous only 15 minutes" that, Warhol sayings of many written were.
As a copy, words such irony of Warhol was put, was introduced in a variety of mass media. In that sense, it would nice to say his work.
The work you have included a photograph of Warhol, many celebrities of the 1980s from the 1960s appeared.
In addition to the Monroe and Presley, 13 Elizabeth Taylor, Sylvester Stallone, Arnold Schwarzenegger, Muhammad Ali, President Reagan, Pope Paul, etc., such as Mao Zedong.
In that era, man who spent youth is looking at such a work of Warhol, absolutely, it's own at that time come to overlap.
In this exhibition, it will become in such a nostalgic mood, you were not expecting it at all.
This exhibition was a traveling exhibition of Asia by the Warhol Museum. Normally, goods or catalogs that are sold at the shop of the Mori Art Museum had been made at a special corner of the venue all.
Rather than the Mori Art Museum, sales, will enter the organizers were planning a traveling exhibition Asia. The sponsor, the name of global companies such as financial services BNY Mellon, Bloomberg, and Christie's are lined up.
Sight like a symbol of Warhol told era of art and business, come, what is that, looked like a work of Warhol like.
Asia traveling exhibition that is organized around the work of Andy Warhol Museum America, of Pittsburgh, will be held in Singapore, Hong Kong, Shanghai, Beijing.
And down the long elevator of Roppongi Hills, the approach followed by the entrance, BMW that Warhol painted had been exhibited.
After graduating from college, he started the work of designers of advertising of fashion magazines, Warhol was eventually successful.
The entrance of the venue, work of such initial line up.
And looked like male figure dress shoes, stockings, women, fashion model, full of design sense, the number of illustrations for various magazines.
From this work, I seen that certain of the design sense of Warhol.
When it comes to the 1960s, Warhol turned to the artist. Thereby, it should be talking about work on the theme Campbell soup, Marilyn Monroe, and Presley, immediately, was a great success.
Work depicting as it can of the famous Campbell soup. In the first version, and drawn like a painting still normal, polite, but drawn by hanging on purpose ink.
In the 1970s, use the technique of silk screen, you begin to order portrait. If you pay $ 25,000 one point, everyone was writing me a portrait of his Warhol.
If he want to join the party lot, he can offer to sell shares the portrait to celebrities, in the advertising it, Warhol, solicited customers in general.
The venue, such as the portrait of Ryuichi Sakamoto Michael Jackson, Mick Jagger, and Valentino, were lined with.
Then, work of about 1,000 points are made about, Warhol was a lot of money in the hands of several billion yen.
The term of art era is over, the era of art and business, come, Warhol was practice it themselves.
He sat in the office dressed a suit, literally, Warhol at the time, that had received the order on the phone as a business man.
A number of works that Warhol has collaborated young artists, and Basquiat people. "As we saw today, this picture is the most interesting" was visiting the venue, one of the young women, was saying.
Due to that we have the familiar silk screen of Warhol, Basquiat original painting is probably looked very much fresh.
The wall of each corner of the venue, other words, is also used in the name of the exhibition "the future everyone will be famous only 15 minutes" that, Warhol sayings of many written were.
As a copy, words such irony of Warhol was put, was introduced in a variety of mass media. In that sense, it would nice to say his work.
The work you have included a photograph of Warhol, many celebrities of the 1980s from the 1960s appeared.
In addition to the Monroe and Presley, 13 Elizabeth Taylor, Sylvester Stallone, Arnold Schwarzenegger, Muhammad Ali, President Reagan, Pope Paul, etc., such as Mao Zedong.
In that era, man who spent youth is looking at such a work of Warhol, absolutely, it's own at that time come to overlap.
In this exhibition, it will become in such a nostalgic mood, you were not expecting it at all.
This exhibition was a traveling exhibition of Asia by the Warhol Museum. Normally, goods or catalogs that are sold at the shop of the Mori Art Museum had been made at a special corner of the venue all.
Rather than the Mori Art Museum, sales, will enter the organizers were planning a traveling exhibition Asia. The sponsor, the name of global companies such as financial services BNY Mellon, Bloomberg, and Christie's are lined up.
Sight like a symbol of Warhol told era of art and business, come, what is that, looked like a work of Warhol like.
アンディ・ウォーホル展 永遠の15分（森美術館）
アメリカ、ピッツバーグのアンディ・ウォーホル美術館の作品を中心に構成され、シンガポール、香港、上海、北京で開催されるアジア巡回展。
六本木ヒルズの長いエレベーターを下り、入り口に続くアプローチに、ウォーホルが絵の具を塗りたくったBMWが展示してあった。
ウォーホルは、大学を卒業後、ファッション雑誌の広告のデザイナーの仕事を始め、やがて成功を収めた。
会場の入り口付近には、そうした初期の作品が並ぶ。
靴、ストッキング、女性のドレス、ファッションモデルと思しき男性像など、デザインセンスに溢れた、雑誌用のイラストの数々。
そうした作品から、ウォーホルのデザインセンスの確かさが見て取れる。
1960年代になると、ウォーホルはアーティストに転身する。そして、キャンベルスープ、マリリン・モンロー、プレスリーを題材にした作品で話題になり、すぐに、大きな成功を収めた。
有名なキャンベルスープの缶をそのまま描いた作品。最初のバージョンでは、まだ通常の絵画のように描かれ、ご丁寧に、インクをわざと垂らして描いている。
1970年代になると、シルクスクリーンの手法を使い、注文肖像画を始める。1点25,000ドル払えば、誰でもウォーホルに自分の肖像画を書いてもらえた。
ウォーホルは、足しげくパーティーに参加しては、有名人達に肖像画を売りつけて、それを宣伝にして、一般の客を募った。
会場には、マイケル・ジャクソン、ミック・ジャガー、ヴァレンティノ、そして坂本龍一などの肖像画が並んでいた。
そうして、およそ1,000点ほどの作品が作られ、ウォーホルは、数十億円の大金を手にした。
ウォーホルは、芸術の時代が終わり、ビジネスアートの時代が来る、と語り、自らそれを実践した。
当時のウォーホルは、スーツを着こなしてオフィスに座り、文字通り、ビジネスマンのように電話で注文を受けていたという。
ウォーホルが若きアーティスト、バスキアとコラボレートした作品の数々。会場を訪れていた、若い女性の一人が、”今日見た中で、この絵が一番面白い”と言っていた。
ウォーホルのシルクスクリーンを見慣れてきたせいで、バスキアの肉筆画が、よほど新鮮に見えたのだろう。
会場の各コーナーの壁には、この展覧会の名称にも使われている、”将来は誰もが15分だけは有名人になるだろう”という言葉の他、多くのウォーホル語録が書かれていた。
ウォーホルのそうした皮肉が込められた言葉は、コピーとして、いろいろなマスメディアで紹介された。その意味では、彼の作品と言っていいのだろう。
ウォーホルの写真を含めた作品には、1960年代から1980年代にかけての多くの有名人が登場する。
プレスリーやモンローの他に、エリザベス・テーラー、シルベスター・スタローン、アーノルド・シュワルツェネッガー、モハメッド・アリ、レーガン大統領、ローマ法王パウロ13世、毛沢東などなど。
その時代に、青春時代を過ごした人間がウォーホルのそうした作品を見ていると、どうしても、その頃の自分のことがオーバーラップしてくる。
この展覧会で、こんなノスタルジックな気分になるとは、全く予想していなかった。
この展覧会は、ウォーホル美術館によるアジアの巡回展だった。通常は、森美術館の売店で売られるカタログやグッズは、すべて会場内の特設コーナーで行われていた。
売り上げは、森美術館ではなく、アジア巡回展を企画した主催者に入るのだろう。協賛には、BNYメロン、ブルームバーグ、クリスティーズなどの金融業などのグローバル企業の名前が並んでいる。
ビジネスアートの時代が来る、と語ったウォーホルを象徴するような光景は、そのものが、まるでウォーホルの作品のように見えた。
2014年4月6日日曜日
MOT Anual 2014 (The Museum of Contemporary Art Tokyo)
(Translated by Google Translate)
Exhibition to introduce subtitle that attempt, six tries to retry of capturing the world (fragment, Fragment) through fragment surrounding the we are on, was held at the Tokyo Metropolitan Museum of Contemporary Art, the work of artists of national annual meeting. That of the 13th this time.
Corner of the first works by Noriko Takada safety, Masako twin. In the basin, made of pumice, a small Roman Colosseum is located.
And giving the process carefully, to tailor the work of art, what is around us. To the viewer, you are encouraged to see from another point of view, the world common you are looking at everyday.
In a sense, is the fact that his team was in the symbol of the whole exhibition, this work was later found.
Video works of MIYANAGA Ryo, is WAVY, in the sound of bustle of the city, and the video of the city, the image of the rural areas, continue to overlap.
Work of Masaya Aota is what he sharpen with a file, such as detergent is on, the surface of the plastic bottles of various colors, were arranged on a table.
I wonder that the household goods of day-to-day, only made one time, and that, reborn art work.
Work of Fukuda Hisayo showcased the work on the theme of text and character. Disconnect the page of old paperback, work called letter, of Rambo, is adding a little processing in one by one.
Other, such as work that is cut out carefully, the part of writing the original paper, the character.
To live Shodo of the Seto Inland Sea, Yoshida Natsuna's work is which drew on the surface of the cube of the deformation, the scenery looked like the landscape of the island.
The other, on the surface of the square pillar, etc. work uses to draw a picture of the formation, depicting the core of the earth.
This Shodo, or twirling a mountain, Yoshida, seems to be living that, limp to the sea. These works have been produced from such experience.
That Paramodel, works by unit of two artists are those arranged as geometric patterns on one side wall plastic rail. Or, such as those pieced together a three-dimensional view of the premises of the subway were separately on the premises diagram of one large, large pieces in many cases.
Only exhibition corner of this parameter model, was able to take photos.
Not both, that complain of something loudly, work the corner of the six, was something to take note of what casual, and to it was added to the personality of the artist only a little, and that, going to catabolism to work.
In the same venue, exhibition of contemporary art of Latin America and Spain has been carried out, but in this exhibition work, flavor is quite different from the MOT this Anyuru, those so-called "dark" of content in many cases. Among them, those criticized the dictatorship was seen several points.
The gap and such work, the work of this annual MOT, it had me
think unintentionally. Perhaps, also planning side, would there was a aim accentuate the differences in the type.
For better or worse, still peaceful, Japan, might be a peaceful country.
However, artists, continue to make works that criticize strongly the government and society, really dangerous country, I wonder if the countries of Latin America and Spain?
Or, as artists, if look away from something, you are making a work on the theme of the world around day-to-day, would a dangerous country called Japan?
Exhibition to introduce subtitle that attempt, six tries to retry of capturing the world (fragment, Fragment) through fragment surrounding the we are on, was held at the Tokyo Metropolitan Museum of Contemporary Art, the work of artists of national annual meeting. That of the 13th this time.
Corner of the first works by Noriko Takada safety, Masako twin. In the basin, made of pumice, a small Roman Colosseum is located.
And giving the process carefully, to tailor the work of art, what is around us. To the viewer, you are encouraged to see from another point of view, the world common you are looking at everyday.
In a sense, is the fact that his team was in the symbol of the whole exhibition, this work was later found.
Video works of MIYANAGA Ryo, is WAVY, in the sound of bustle of the city, and the video of the city, the image of the rural areas, continue to overlap.
Work of Masaya Aota is what he sharpen with a file, such as detergent is on, the surface of the plastic bottles of various colors, were arranged on a table.
I wonder that the household goods of day-to-day, only made one time, and that, reborn art work.
Work of Fukuda Hisayo showcased the work on the theme of text and character. Disconnect the page of old paperback, work called letter, of Rambo, is adding a little processing in one by one.
Other, such as work that is cut out carefully, the part of writing the original paper, the character.
To live Shodo of the Seto Inland Sea, Yoshida Natsuna's work is which drew on the surface of the cube of the deformation, the scenery looked like the landscape of the island.
The other, on the surface of the square pillar, etc. work uses to draw a picture of the formation, depicting the core of the earth.
This Shodo, or twirling a mountain, Yoshida, seems to be living that, limp to the sea. These works have been produced from such experience.
That Paramodel, works by unit of two artists are those arranged as geometric patterns on one side wall plastic rail. Or, such as those pieced together a three-dimensional view of the premises of the subway were separately on the premises diagram of one large, large pieces in many cases.
Only exhibition corner of this parameter model, was able to take photos.
Not both, that complain of something loudly, work the corner of the six, was something to take note of what casual, and to it was added to the personality of the artist only a little, and that, going to catabolism to work.
In the same venue, exhibition of contemporary art of Latin America and Spain has been carried out, but in this exhibition work, flavor is quite different from the MOT this Anyuru, those so-called "dark" of content in many cases. Among them, those criticized the dictatorship was seen several points.
The gap and such work, the work of this annual MOT, it had me
think unintentionally. Perhaps, also planning side, would there was a aim accentuate the differences in the type.
For better or worse, still peaceful, Japan, might be a peaceful country.
However, artists, continue to make works that criticize strongly the government and society, really dangerous country, I wonder if the countries of Latin America and Spain?
Or, as artists, if look away from something, you are making a work on the theme of the world around day-to-day, would a dangerous country called Japan?
MOTアニュアル2014 フラグメント（東京都現代美術館）
われわれの周囲にあるフラグメント（断片、かけら）を通して世界を捉えなおそうとする6つの試み、という副題がついている、東京都現代美術館で開催された、毎年恒例の国内のアーティストの作品を紹介する展覧会。今回で13回目とのこと。
最初のコーナーは、双子の高田安規子・政子による作品。洗面器の中に、軽石で作られた、小さなローマのコロッセオが置かれている。
身の回りにあるものを、繊密な加工を施して、アート作品に仕立て上げる。見る者に、普段見ているありふれた世界を、別な視点から見ることを促している。
この作品は、ある意味で、この展覧会全体を象徴していたことが、あとでわかった。
宮永亮の映像作品、WAVYは、都会の映像と、農村の映像が、街の喧噪の音の中で、オーバーラップしていく。
青田真也の作品は、洗剤などが入っている、いろいろな色のプラスチックのボトルの表面をヤスリで削り、台の上に並べたもの。
日常の生活用品が、一手間加えたただけで、アート作品に生まれ変わる、ということだろうか。
福田尚代の作品は、文字や文章をテーマにした作品を展示。ランボーの手紙、という作品は、古い文庫本のページを切り離し、1枚1枚に少し加工を加えている。
他にも、原稿用紙の、文字を書く部分を、丹念に切り抜いている作品など。
瀬戸内海の小豆島に暮らす、吉田夏奈の作品は、島の風景とおぼしき景色を、変形の立方体の表面に描いた作品。
他に、四角い柱の表面に、地層の絵を描いたり、地球のコアを描いた作品など。
吉田は、この小豆島で、山を駆け巡ったり、海にもぐったり、という暮らしをしているらしい。それらの作品は、そうした経験から生みだされている。
パラモデルという、2人のアーティストのユニットによる作品は、プラレールを壁一面に幾何学模様のように並べたもの。あるいは、別々の地下鉄の構内の立体図をつなぎ合わせ、大きな一つの構内図にしたものなど、大規模な作品が多かった。
このパラモデルの展示コーナーだけが、撮影が可能だった。
6つのコーナーの作品は、いずれも、声高に何かを訴える、というものではなく、何気ないものに注目し、それに少しだけアーティストの個性を加えて、作品に異化していく、というものだった。
同じ会場で、スペインとラテンアメリカの現代アートの展覧会が行われていたが、その展示作品は、このMOTアニュルとは全く趣が異なり、いわゆる”濃い”内容のものが多かった。中には、独裁政権を批判したものが何点か見受けられた。
そうした作品と、このMOTアニュアルの作品のギャプには、思わず考え込まされてしまった。おそらくは、企画側も、そのタイプの違いを際立たせる狙いがあったのだろう。
良くも悪くも、日本は、まだまだのどかな、平和な国なのかもしれない。
しかし、本当に危険な国は、アーティストが、政権や社会を強烈に批判する作品を作り続ける、スペインやラテンアメリカの国々なのだろうか？
それとも、アーティストが、何かから目をそらすかのように、日常的な身の回りのことをテーマに作品を作っている、日本という国なのだろうか？
最初のコーナーは、双子の高田安規子・政子による作品。洗面器の中に、軽石で作られた、小さなローマのコロッセオが置かれている。
身の回りにあるものを、繊密な加工を施して、アート作品に仕立て上げる。見る者に、普段見ているありふれた世界を、別な視点から見ることを促している。
この作品は、ある意味で、この展覧会全体を象徴していたことが、あとでわかった。
宮永亮の映像作品、WAVYは、都会の映像と、農村の映像が、街の喧噪の音の中で、オーバーラップしていく。
青田真也の作品は、洗剤などが入っている、いろいろな色のプラスチックのボトルの表面をヤスリで削り、台の上に並べたもの。
日常の生活用品が、一手間加えたただけで、アート作品に生まれ変わる、ということだろうか。
福田尚代の作品は、文字や文章をテーマにした作品を展示。ランボーの手紙、という作品は、古い文庫本のページを切り離し、1枚1枚に少し加工を加えている。
他にも、原稿用紙の、文字を書く部分を、丹念に切り抜いている作品など。
瀬戸内海の小豆島に暮らす、吉田夏奈の作品は、島の風景とおぼしき景色を、変形の立方体の表面に描いた作品。
他に、四角い柱の表面に、地層の絵を描いたり、地球のコアを描いた作品など。
吉田は、この小豆島で、山を駆け巡ったり、海にもぐったり、という暮らしをしているらしい。それらの作品は、そうした経験から生みだされている。
パラモデルという、2人のアーティストのユニットによる作品は、プラレールを壁一面に幾何学模様のように並べたもの。あるいは、別々の地下鉄の構内の立体図をつなぎ合わせ、大きな一つの構内図にしたものなど、大規模な作品が多かった。
このパラモデルの展示コーナーだけが、撮影が可能だった。
6つのコーナーの作品は、いずれも、声高に何かを訴える、というものではなく、何気ないものに注目し、それに少しだけアーティストの個性を加えて、作品に異化していく、というものだった。
同じ会場で、スペインとラテンアメリカの現代アートの展覧会が行われていたが、その展示作品は、このMOTアニュルとは全く趣が異なり、いわゆる”濃い”内容のものが多かった。中には、独裁政権を批判したものが何点か見受けられた。
そうした作品と、このMOTアニュアルの作品のギャプには、思わず考え込まされてしまった。おそらくは、企画側も、そのタイプの違いを際立たせる狙いがあったのだろう。
良くも悪くも、日本は、まだまだのどかな、平和な国なのかもしれない。
しかし、本当に危険な国は、アーティストが、政権や社会を強烈に批判する作品を作り続ける、スペインやラテンアメリカの国々なのだろうか？
それとも、アーティストが、何かから目をそらすかのように、日常的な身の回りのことをテーマに作品を作っている、日本という国なのだろうか？
2014年4月5日土曜日
The marvelous real - contemporary spanish and latin american art from the Musac collection (The Museum of Contemporary art Tokyo)
(Translated by Google Translate)
Exhibited a collection Spain, Castile and León Museum of Contemporary Art, the exhibition of the Museum of Contemporary Art, Tokyo.
It is used in the flyer of the exhibition, in the building, photo of a man wearing a suit, is riding a white horse. Reminiscent to those in the image with the impact, want to go to this exhibition to see.
This is a video work called architecture, devoted of Fernandez Fernando Sanchez, a horse. White horse also this, run around and in the hallway, room in a beautiful building which was based on white.
At the university, when the students caused the opposition to the government, it is designed to make the cavalry get into campus, this building was built in the Franco dictatorship.
This work represents well the characteristics of this exhibition. In the countries of Latin America and Spain, many works, was content to criticize the dictatorship.
Innocent children of Jorge Pineda. White cloth is stretched on the wall, but from the bottom, only the foot of the girl facing the wall looking into.
Is going on in front of, to the oppression that can not be normal vision of dictatorship, to avert your eyes, which represents the girl who had holed up.
Goya painted a black picture, the misery war with France. Picasso was criticized on the big screen of black and white, bombing of Guernica to Hitler. Such tradition has been passed on to painters of the Spanish-surely even now.
Video work of Pilar Albarracin has parodied traditional flamenco of Spain.
The work called family of Enrique Marti, the wall full of exhibition space, photos of people looked like the family are arranged.
At first glance, it's pleasing impression, but a closer look well, you can look like a ghost, something strange is or not appear, expression of each person, come no longer a family photo just.
Represents lurking directly behind the everyday world, the world of darkness, it's a little scary work.
Today, the countries of Latin American and Hispanic and Spain, Brazil, Venezuela, and Chile, faces the harsh reality.
However, in these circumstances, artists take over the tradition of Spain realism, has been making, with irony, laugh in particular, such a rich art work.
Exhibited a collection Spain, Castile and León Museum of Contemporary Art, the exhibition of the Museum of Contemporary Art, Tokyo.
It is used in the flyer of the exhibition, in the building, photo of a man wearing a suit, is riding a white horse. Reminiscent to those in the image with the impact, want to go to this exhibition to see.
This is a video work called architecture, devoted of Fernandez Fernando Sanchez, a horse. White horse also this, run around and in the hallway, room in a beautiful building which was based on white.
At the university, when the students caused the opposition to the government, it is designed to make the cavalry get into campus, this building was built in the Franco dictatorship.
This work represents well the characteristics of this exhibition. In the countries of Latin America and Spain, many works, was content to criticize the dictatorship.
Innocent children of Jorge Pineda. White cloth is stretched on the wall, but from the bottom, only the foot of the girl facing the wall looking into.
Is going on in front of, to the oppression that can not be normal vision of dictatorship, to avert your eyes, which represents the girl who had holed up.
Goya painted a black picture, the misery war with France. Picasso was criticized on the big screen of black and white, bombing of Guernica to Hitler. Such tradition has been passed on to painters of the Spanish-surely even now.
Video work of Pilar Albarracin has parodied traditional flamenco of Spain.
The work called family of Enrique Marti, the wall full of exhibition space, photos of people looked like the family are arranged.
At first glance, it's pleasing impression, but a closer look well, you can look like a ghost, something strange is or not appear, expression of each person, come no longer a family photo just.
Represents lurking directly behind the everyday world, the world of darkness, it's a little scary work.
Today, the countries of Latin American and Hispanic and Spain, Brazil, Venezuela, and Chile, faces the harsh reality.
However, in these circumstances, artists take over the tradition of Spain realism, has been making, with irony, laugh in particular, such a rich art work.
驚くべきリアル スペイン、ラテンアメリカの現代アート（東京都現代美術館）
スペイン、カスティーリャ・イ・レオン現代美術館のコレクションを展示した、東京都現代美術館の展覧会。
展覧会のちらしに使われている、建物の中で、背広姿の男が、白い馬に乗っている写真。インパクトのあるイメージで、この展覧会に行きたいと、見る者に思わせる。
これは、フェルナンデス・サンチェス・フェルナンドの、馬に捧げる建築、という映像作品。白を基調とした美しい建物の中を、これまた白い馬が、廊下、部屋の中などを走り回る。
この建物は大学で、学生が政府に対して反対運動を起こした場合に、大学内に騎馬隊を送り込めるように設計し、フランコ独裁政権下に建てられた。
この作品は、この展覧会の特徴をよく表している。多くの作品が、スペインやラテンアメリカの国における、独裁政権を批判する内容だった。
ホルヘ・ピネダの無邪気な子供。壁に白い布が張られているが、その下から、壁の方を向いた少女の足だけが覗いている。
目の前で起きている、独裁政権の正視できないような弾圧に対して、目を背け、閉じこもってしまった少女を表現している。
フランスとの悲惨さ戦争を、黒い絵で描いたゴヤ。ヒトラーのゲルニカへの空爆を、白黒の大画面で批判したピカソ。そうした伝統は、今も確実にスペイン系の画家達に受け継がれている。
ピラール・アルバラシンの映像作品は、スペインの伝統的なフラメンコをパロディ化している。
エンリケ・マルティの家族という作品は、展示スペースの壁いっぱいに、家族と思しき人々の写真が並べられている。
一見すると、微笑ましい印象だが、よくよく見ると、一人一人の表情が、お化けのようになっていたり、奇妙な物が写っていたりと、単なる家族写真ではなくなってくる。
日常世界のすぐ裏側に潜んでいる、暗闇の世界を表している、ちょっと怖い作品だ。
現在も、スペインと、ブラジル、ベネズエラ、チリなどのラテンアメリカ系の国々は、厳しい現実と向き合っている。
しかし、そうした中で、スペイン・リアリズムの伝統を引き継ぐアーティスト達は、時に皮肉り、特に笑い飛ばす、そんな豊かなアート作品を、作り続けている。
Zbynek Sekal (Gallery TOM)
(Translated by Google Translate)
Before the back parlor Tokyo, Shibuya, the eyes immediately Nabeshima Shoto Park Shoto, there is a gallery of TOM characteristic appearance.
Then, sculptor of Czech born, the exhibition of Trade Zbynek Seka was held.
Just the other day, I have seen in the Kanagawa Prefectural Museum of Modern Art in Kamakura, the work of this Sequard, works are on display at any gallery TOM.
Most of the works that were on display at the Kanagawa Prefectural Museum of Modern Art, was the collections of this gallery TOM.
In a room of concrete driving range, work Sequard are arranged cluttered. That feeling is good with anything.
Most of the bronze sculpture.
Work such as Untitled structure, or fleas, and simple title is often, some, there is also a rich narrative works that lady, and centaurs.
Figure of the lady and centaur, is expressed in a rustic shape of Sequard unique, simple.
Famous works as a writer of cosmic horror, that portrait, Lovecraft also caught the eye.
The portrait, whose name they also attached, can not be seen only in the same way to me. However, in its form, surely, Sequard would had the sight of Lovecraft.
I did not notice in Kamakura, but this time, while you are looking at the work of Sequard, was reminded of Paul Klee.
The writer of this two, I feel strongly something in common. If the word, it is, I wonder what was said even the freedom,.
In my heart, writer of both, pleading or something stronger.
Because it is a small gallery, in about 20 minutes, you've finished watching all the pieces. However, it might be nice to say that deep impression, and, close forever.
Special Exhibition Zbynek Sekal (The Museum of Modern Art, Kamakura Annex)
Before the back parlor Tokyo, Shibuya, the eyes immediately Nabeshima Shoto Park Shoto, there is a gallery of TOM characteristic appearance.
Then, sculptor of Czech born, the exhibition of Trade Zbynek Seka was held.
Just the other day, I have seen in the Kanagawa Prefectural Museum of Modern Art in Kamakura, the work of this Sequard, works are on display at any gallery TOM.
Most of the works that were on display at the Kanagawa Prefectural Museum of Modern Art, was the collections of this gallery TOM.
In a room of concrete driving range, work Sequard are arranged cluttered. That feeling is good with anything.
Most of the bronze sculpture.
Work such as Untitled structure, or fleas, and simple title is often, some, there is also a rich narrative works that lady, and centaurs.
Figure of the lady and centaur, is expressed in a rustic shape of Sequard unique, simple.
Famous works as a writer of cosmic horror, that portrait, Lovecraft also caught the eye.
The portrait, whose name they also attached, can not be seen only in the same way to me. However, in its form, surely, Sequard would had the sight of Lovecraft.
I did not notice in Kamakura, but this time, while you are looking at the work of Sequard, was reminded of Paul Klee.
The writer of this two, I feel strongly something in common. If the word, it is, I wonder what was said even the freedom,.
In my heart, writer of both, pleading or something stronger.
Because it is a small gallery, in about 20 minutes, you've finished watching all the pieces. However, it might be nice to say that deep impression, and, close forever.
Special Exhibition Zbynek Sekal (The Museum of Modern Art, Kamakura Annex)
ズビネック・セカール展（ギャラリーTOM）
東京、渋谷の奥座敷、松濤の鍋島松濤公園のすぐ目に前に、特徴的な外観のギャラリーTOMがある。
そこで、チェコ生まれの彫刻家、ズビネック・セカールの展覧会が開催された。
つい先日、このセカールの作品を、鎌倉の神奈川県立近代美術館で見て、このギャラリーTOMでも作品が展示されていることを知った。
神奈川県立近代美術館で展示されていた作品のほとんどは、このギャラリーTOMの収蔵品だった。
コンクリート打ちっぱなしの室内に、雑然とセカールの作品が並べられている。その感じが何ともいい。
ほとんどがブロンズの彫刻作品。
構造体、ノミ、あるいは無題など、シンプルな題名の作品が多いが、中には、ケンタウロスと貴婦人、という物語性が豊かな作品もある。
ケンタウロスと貴婦人の姿が、セカール独特の、シンプルで素朴な形状で表現されている。
コズミック・ホラーの作家として有名な、ラヴクラフトの肖像、という作品も目を引いた。
その肖像は、誰の名前がついていても、私には同じようにしか見えない。しかし、セカールは、その形の中に、確実に、ラヴクラフトの姿を見ていたのだろう。
鎌倉では気がつかなかったが、今回、セカールの作品を見ているうちに、パウル・クレーのことを思い出した。
この2人の作家には、共通する何かを強く感じる。それは、言葉にすれば、自由、とでもいったことだろうか。
どちらの作家も、私の心の中に、強く何事かを訴えかける。
小さなギャラリーなので、20分ほどで、すべての作品を見終わってしまった。しかし、その深い印象は、永遠に近い、と言ってもいいかもしれない。
（参考）特別展示 ズビネック・セカール（神奈川県近代美術館鎌倉別館）
400 years journey of ceramic art over the strait (Korean Cultural Center Gallery)
(Translated by Google)
A modern building is in Yotsuya, Tokyo. There was a Korean Cultural Center. In order to see this exhibition, this time, I visited for the first time.
In the 16th century which has troops in Korea, in the war, people who occupation pottery of many abducted, Toyotomi Hideyoshi, was taken away in Japan.
Lee Santaira that was taken away Nabeshima clan, this exhibition, which focuses on Chin Jyukan officer that was taken away Shimazu clan.
Entered the front entrance of the Korean Cultural Center, the left hand was the venue immediately.
The wall around the venue, and, for the family of the two, such as commentary Arita, of Satsuma porcelain is described in the panel, in the room, ceramic works of about 30 points about was on display.
Locate the soil suitable for ceramic art in the land of Arita, Risan flat that was taken away by the Nabeshima clan, began making pottery in the land.
Seems the 17th century, and was made immediately pottery you started in Arita, a small bowl of two. White, around the vessel casual, rustic brush strokes, flowers are depicted in blue background.
From the place name of the port to make that shipment, is called Imari, eventually, porcelain, that have come to be exported to Europe.
On the other hand, has established residence in the land you have, including the nursery River, while given the status of Shibun, living, officers et al. Taken away Shimazu clan, continued to observe the customs of Korea much in isolation from their surroundings .
World Expo was held in Paris at the end of the samurai period, bathed rave reviews from all over the world, white Satsuma beautiful overglaze enamels Nishikite accounted known to the world the height of its technical capabilities.
It is, as something that descendants of people who came abducted from the Korean Peninsula once made, the people of Europe that praised white Satsuma, must never would have guessed about.
Was made in the 19th century, openwork incense burner. Pattern surrounding beautiful, but the fineness of openwork top and eye-opening unintentionally. In ceramics, that can make things so much, and nothing but surprised.
The work was on display, more than half, was the collections of the Japan Folk Crafts Museum. When considering the ceramics of Korea, and fully realize again, and collect them, the size of the presence of willow Muneyoshi.
Japan and Korea. Two regions that separated the sea, has been colored by always sad event. The in front of such a miracle in the severe circumstances, people are kidnapped, was taken away forcibly, have been achieved, the heart is moved greatly.
It was a really small exhibition but, deep flavor, was the exhibition of the contents unforgettable.
A modern building is in Yotsuya, Tokyo. There was a Korean Cultural Center. In order to see this exhibition, this time, I visited for the first time.
In the 16th century which has troops in Korea, in the war, people who occupation pottery of many abducted, Toyotomi Hideyoshi, was taken away in Japan.
Lee Santaira that was taken away Nabeshima clan, this exhibition, which focuses on Chin Jyukan officer that was taken away Shimazu clan.
Entered the front entrance of the Korean Cultural Center, the left hand was the venue immediately.
The wall around the venue, and, for the family of the two, such as commentary Arita, of Satsuma porcelain is described in the panel, in the room, ceramic works of about 30 points about was on display.
Locate the soil suitable for ceramic art in the land of Arita, Risan flat that was taken away by the Nabeshima clan, began making pottery in the land.
Seems the 17th century, and was made immediately pottery you started in Arita, a small bowl of two. White, around the vessel casual, rustic brush strokes, flowers are depicted in blue background.
From the place name of the port to make that shipment, is called Imari, eventually, porcelain, that have come to be exported to Europe.
On the other hand, has established residence in the land you have, including the nursery River, while given the status of Shibun, living, officers et al. Taken away Shimazu clan, continued to observe the customs of Korea much in isolation from their surroundings .
World Expo was held in Paris at the end of the samurai period, bathed rave reviews from all over the world, white Satsuma beautiful overglaze enamels Nishikite accounted known to the world the height of its technical capabilities.
It is, as something that descendants of people who came abducted from the Korean Peninsula once made, the people of Europe that praised white Satsuma, must never would have guessed about.
Was made in the 19th century, openwork incense burner. Pattern surrounding beautiful, but the fineness of openwork top and eye-opening unintentionally. In ceramics, that can make things so much, and nothing but surprised.
The work was on display, more than half, was the collections of the Japan Folk Crafts Museum. When considering the ceramics of Korea, and fully realize again, and collect them, the size of the presence of willow Muneyoshi.
Japan and Korea. Two regions that separated the sea, has been colored by always sad event. The in front of such a miracle in the severe circumstances, people are kidnapped, was taken away forcibly, have been achieved, the heart is moved greatly.
It was a really small exhibition but, deep flavor, was the exhibition of the contents unforgettable.
海峡をつなぐ陶芸 400年の旅（韓国文化院ギャラリー）
豊臣秀吉が、朝鮮に出兵した16世紀に、その戦争の中で、多くの陶芸を生業とする人々が拉致され、日本に連れ去られた。
この展覧会は、鍋島藩に連れ去られた李参平と、島津藩に連れ去られた沈壽官にフォーカスを当てている。
韓国文化院の正面の入り口を入って、すぐ左手が会場だった。
会場の周囲の壁には、その二つの一族について、そして、有田焼、薩摩焼の解説などがパネルで解説され、部屋の中には、およそ30点ほどの陶芸作品が展示されていた。
鍋島藩によって連れ去られた李参平らは、有田の地で陶芸に適した土を見つけ、その地で陶芸を作り始めた。
17世紀、有田で陶芸が始められてすぐに作られたと思われる、2つの小さな器。白い、何気ない器の周りに、素朴な筆使いで、草花が青地で描かれている。
有田焼は、その出荷を行う港の地名から、伊万里焼と呼ばれ、やがて、ヨーロッパにまで輸出されるようになった。
一方、島津藩に連れ去られた沈壽官らは、苗代川をはじめとした地に居を定め、士分の地位を与えられながらも、周囲とは孤立して暮らし、ずっと朝鮮の風習を守り続けた。
美しい色絵錦手の白薩摩は、幕末にパリで行われた万博で、世界中から絶賛を浴び、その技術力の高さを世界に知らしめた。
白薩摩を賞賛したヨーロッパの人々は、それが、かつて朝鮮半島から拉致されて来た人々の末裔が作ったものだとは、およそ想像だにしなかったに違いない。
19世紀に作られた、透かし彫りの香炉。周囲の絵柄も美しいが、上部の透かし彫りの細かさには、思わず目を見張る。陶芸で、これほどの物が作れることに、ただただ驚かされる。
展示された作品は、半分以上が、日本民藝館の収蔵品だった。朝鮮の陶磁器を考える際に、それらを収集した、柳宗悦の存在の大きさを、改めて思い知る。
朝鮮と日本。この海を隔てた2つの地域は、つねに悲しい出来事に彩られてきた。拉致され、無理矢理連れ去られた人々が、その厳しい境遇の中で、成し遂げてきたそうした奇跡を目の前にし、大きく心が動かされる。
実に小規模な展覧会だったが、趣の深い、忘れがたい内容の展覧会だった。
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