2014年 A BIRD 2015年 THE SEA 2015年 A ANT
54.5×78.8 cm 78.8×109 cm 78.8×109 cm
2015年 A ROCK 2015年 A ROCK 2015年 A ANT
78.8×109 cm 78.8×109cm 54.5×78.8
54.5×78.8 54.5×78.8 54.5×78.8cm
2015年 A WILD BOAR 2015年 A BRANCH 2015年 A FISH
78.8×109cm 78.8×109cm 78.8×109cm

Dear Sir

   I am a male Japanese painter born in 1938. The exhibition of the Belgian painter Alechinsky was held in Japan , in the autumn of 2016 and the spring of 2017. On that occasion, my publication “Free Art” was displayed at the counter of the art museum, which made me feel very much honored as his painting had been my favorite.
The passage from here is that of what I think about Japanese modern art. .

In my publication “Free Art” published in 2015, Ithought I would pursue the directionality of Japanese modern art, by taking up various people such as the American composer John Cage, the philosopher Nietzsche, the novelist Henry Miller ,Beet Takeshi, the Japanese comic talent and concurrently the movie director, and Rinzai, the founder of the zen Rinzai Sect. It is impossible to come to a conclusion or something like that easily, but what interested me casually was Japanese culture up to Ed Period. After I published this book, I called my attention to works of people called the Rin School of Edo Period and wrote a short essay “The Rin School of the Twenty-first Century”, wishing their pictures would be connected to modern painting somewhere.
In the global perspective, the modern society moves forward in line with the progress of Western civilization. When seen with the large span of the human race, this Western civilization cannot be ignored. However, at the present time, the modern society has given rise to various issues: the war of massacre, environmental disruption, the problem of terrorism, increase in patients of psychiatric disorders, and the contradiction of Western rationalism posed by Nietzsche at the end of the nineteenth century, and also the profound consciousness of danger to the human race that was posed by Tristan Tzara and brought about the movement of Dada. These issues have expanded gradually to the modern society, becoming the core of the issues.
Western painting has also advanced in line with the historical background, but there is an intellectual framework unique to the West. To see Western painting in this framework, it is true understandable, stirring, and strongly persuasive works have been produced and they elevate the value of artistic works. Free, most liberated, and unrestricted works have appeared as lively and pleasant existences in the Western intellectual framework.
However, something somewhat different is going to join the Western intellectual framework in art, which I think is the influence of modern social thoughts. It is what Mr.John Cage has talked about frequently, namely the depature from the structure of rationalism, to which Eastern elements are going to be added. This departure from rationalism seems to be fairly difficult to understand for Westerners. Therefore, I think being strongly interested in things of a bit of the Eastern flavor is the present circumstances of western modern art. I am afraid this flavor would not suffice to understand the East, especially the essence of Japanese art. I am concerned in Japan Western modern art cannot be understood easily and that thus the market of modern art in Japan does not grow. Likewise, I suspect Westerners are unable to understand full-fledged modern art in the East and Japan.
“The Rin School of the Twenty-first Century” that I wrote is related to the foregoing. From the historical background of the country known as Japan, something unique to Japan and strange has been submerged somewhere. It may be: the departure from rationalism; primitive connection indigenous to humans regardless of the East and the West; accepting all--- whoever and whatever they may be; intuition; frankly believing in coincidence. I would like to consider these matters in “The Rin School of the Twenty-first Century.”
Soujiro Suganuma

“Culture up to Edo Period of Japan has a gap. There is a spacious allowance that cannot be entirely filled up.”

In “Red and White Plum Blossoms” of Kourin Ogata, there are plum trees on the right and left, with a river flowing in the middle. Both of these plum trees make us well understand their image of blooming. On the other hand, the river in the middle is not a typical one. Seeing it as a river, it seemingly looks like one, but it doesn’t have concreteness like the plum trees. It is a river like patterns having graphic abstractness. It is a picture of a completely different style when compared with the trees on both side. Pictures of plums differ from those of rivers in style. He draws pictures of the different styles together grandly without hesitation. This may be said the collagic technique of modern painting. Yet it is still different from collage in general. I somehow feel strange.
Collage makes seers inspired and gives them fresh surprise by its unexpectedness, by taking in things totally different in nature on a screen. Nevertheless, when seen as one pictures, it is well-balanced as a whole. Even if there are things of different natures, such different natures are merged into the whole when seen as an entire picture. This is a collagic picture in general. For instance, Jean Dubuffett and Lichtenstein drew pictures a lot using the collagic technique. There are coexisting worlds of different natures that surprise people, behind which well-calculated, sophisticated and intellectual worlds have been submerged. Thereby, integrity as painting is preserved and strong persuasiveness is given to seers.
How about Kourin’s “Red and White Plum Blossoms”? Has something like Western intelligence been submerged, though it is a collagic picture? That odd plum tree is bent. Twisted branches extend freely and bloom. The plum tree on the left stretches beyond the screen and returns. Can the world of intelligence be seen in this kind of misshapen tree? There may be something like intelligence, but there is something a little different other than intelligence,i.e., a strange induction. Even the river in contrast to the trees is a formal, graphic picture, the shapes of the curves and waves of the river are unexpectedly familiar.
Where were these pictures born? There seem to be special secrets when creating artistic works about people of Edo Period. It originates from the fact that humans were constantly coupled with nature directly and possessed a quite rare sense of feeling nature by intuition and making it into artistic works as it is.
In Japan of today, this sort of creation about Edo Period would be impossible since we are leading a life with Western civilization as its center. However, there have recently arisen problems of Western civilization one after another. I wish that in this day and age, we could feel the indefinite world, not filled up with Western rationalism, having a gap or something and being serene like the movement of clouds, as in the Edo Period, and we could take advantage of this feeling for creation. It is like the Rin School of the twenty-first century.

 私は1938 年生まれ、男性、日本人画家です。日本では、2016年秋、2017年春にベルギーの画家アレシンスキーの展覧会が開催されました。 その際、拙著『フリーアート』が美術館の売り場に置かれ、アレシンスキーの絵画をとても気に入っている私にとって、大変光栄に思いました。



 コラージュというのは、ある画面の中にまったく異質なものをとりこむことにより、その意外性が見る人をはっとさせ、新鮮な驚きを与える、しかし、そうはいうものの、一枚の絵画として見ると、全体のバランスが整っている。異質なものがあっても、全体の絵画としてみると、その異質が全体に融合している。これが一般的なコラージュ的な絵画だ。例えばジャン・デュビュッフェJean DubuffettとかリキテンスタインLichtensteinはコラージュ手法を使った絵画を沢山描いている。異質な世界が共存していて人を驚かすが、その背後には非常に計算された緻密で知的な世界が潜んでいる。それによって、絵画としての総合性が保たれていて、見る人に強い説得力を与える。