 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
| テキスト エッセイの目次 | text list | |||
| 1、日本の肖像画（作品テーマ） 2、ゆらぐ日本の主体性 3、日本のアートシーンの構造 4、日本の美術教育の弱点 5、描くことと癒し 6、絵画の特性を分類したもの |
1,Statement [ Japanese new portrait ] 2,Subjectivity of swinging Japan 3,Structure of art scene in Japan 4,Weak point of education of art in Japan 5,Drawing and healing. 6,The one that characteristic of painting was classified |
|||
|
|
||||
| ゆらぐ日本の主体性 私たち日本人の主体性が、母性的で受動的な側面があることは、テキスト「1、日本の肖像画」で述べてきた。日本文化は母性的な文化を育んできた一方で、歴史的には外部の父性的な力によって何度か文化、共同体、政治などが分断されてきた。 日本にとっての外部の力である父性は、たとえば長い間、東アジアの覇権を握っていた中国がその役割を担っていた。また明治時代（1800年代後半）以降は米国が、黒船の襲来や太平洋戦争後の介入などでその役割を担っている。 日本人はこのような外部の力を持ち前の受動性を活かして、文化、社会のダイナミズムを起こすために、時には積極的に、しかし負の影響が大きすぎると、時には痛みを伴って受け入れてきた歴史がある。たとえば遣唐使派遣、遣唐使廃止、国風文化の隆盛。江戸時代鎖国、開国文明開化など・・・・枚挙にいとまがない。 このような母性的な主体性や社会構造になった原因のひとつは、日本の地理的風土的影響が大きかったと思われる。東アジアの．辺境に位置した日本は自国のオリジナルな文化や社会構造を組み立てるよりも、外部の構造を自国の文化にうまく取り入れ、文化を発展させるほうが効率がよかったのだろう。そこでは独自性や個別性、理念や隠喩よりも、同調性や協調性、現実主義や連想・類推性を基調にした文化が豊かに発展してきた。 また、このような外部の力の分断は、人工的なことだけではなく、かなりの高い確立で地震や台風などが到来する日本では、天災によっても、もたらされた。毎年おとずれる天災とつきあっていくうちに、そのような超越的な力を受け止めることができる精神構造、社会構造を構築していき、受動的な精神性を育んできたように思う。 さて私の作品のいくつかは、切断した作品がある。私自身の気持ちとしては決して作品を切断したくはなかったのだが、日本人の肖像画・主体性を描くときに、かわいい母性的な表象を表現する一方で、父性的な外部の力を表象する必要がどうしてもあり、切断せざるをえなくなってしまった事情がある。しかし切断された肖像画の表情が涼しげなのは、決してその切断を「悪」とみなさず、ゆらぎながらも積極的に切断を受けとめ乗り越えていく精神性、文化体系を私たちはもっていると信じるからである。 欧米の切断された肖像画との比較 欧米の美術史の肖像画の文脈においては、肖像画の切断や解体は20世紀以降、頻繁にみられる表現である。 それは父性社会で養われてきたた神との契約による強固な主体の構築の要請や、原罪思考、契約社会に対する抑圧の反動として、自我の解放や自己同一性の解体などが模索された結果、現れてきた表象のように思う。 たとえばピカソのキュビズムやホックニーの多視点写真による肖像画の解体。一つの光、一つの視点だけでみる表現方法の限界を押し広げようとしているように感じる。 デュシャンの階段を下りる女やマレービッジの連続写真などでは、運動性が静止画に内包され、静止し閉じた身体を解放するための連続性が画面に導入されているようだ。またベーコンの歪んだ人体や顔は、暴力的な圧力を人体に加圧しているように見える。 |
Subjectivity of swinging Japan A subjectivity we Japanese motherhood and passive sides have been described in text "1 and portrait of Japan". The culture, the community, and politics, etc. have been historically cut by paternity several-time power while such a motherhood culture has been brought up. For instance for a long time, China that had grasped the hegemony of east Asia played the role to paternity who was outside power for Japan. Moreover, the United States plays the role by the raid of the black ship and the intervention after the Pacific War, etc. since the Meiji era (In the latter half of the 1800's). The Japanese has the history to have accepted that a positive, negative influence is too large because the passivity of inborn is made the best use of, and the dynamism of the culture and the society is caused at times such outside power attended with the pain at times. For instance, prosperity of Japanese envoy to Tang Dynasty China dispatch, Japanese envoy to Tang Dynasty China abolition, and national customs and manners culture. It is [itomaganai] . to the ････ enumeration such as the isolation in Edo period and civilization and enlightenment of opening the country to the world. The cause of becoming such a subjectivity and the social structure seems to be large geographically and the climate to influence about Japan. As for Japan located in the Far East in east Asia, it was efficient to develop the cultures in the direction where an outside structure was taken to the culture of the home country well more than an original culture and the social structure of the home country were assembled. Making to [bun] ..association, made of the analogy, and the analogy.. has developed richly than originality and the metaphor there. Moreover, there is a geographical situation to which the natural disaster such as earthquakes and typhoons comes by considerable establishment in not only the culture and economical but also Japan. The spirit might been brought up passive to develop the mental structure where such transcendent power can be caught and the social structure. Well, there is a work that cuts some of my work. There is a necessity for symbolizing paternity outside power by all means while a motherhood lovely symbol is expressed when a Japanese portrait and the subjectivity are portrayed, and are circumstances that cannot help being cut though I wanted never to cut the work as my own feelings. It is however because the spirit and the cultural system that the expression of the cut portrait cool is positively caught cutting though never considers the cutting to be "Badness", and swings and got over are believed to be our leakage. Comparison with portrait into which Europe and America is cut In the context in the portrait of the art history of Europe and America, cutting and the dismantlement of the portrait are the expressions frequently seen after the 20th century. It thinks of it as a reactionary to a strong subject, the individual, and the contract society that has been supported in the paternity society like the symbol that has appeared as a result of liberate of the ego and dismantle of the self-identity being groped. For instance, dismantlement by Picasso's [kyubizumu] and Hockney's multi aspect photograph. It tries to push the limit of the expression seen only in one light and one aspect and to expand it. In sequential photographs etc. of the woman and [mare-bijji] that was the drop of Duchamp's stairs, the movement was involved to the still picture, do geostationary, and the continuousness to liberate the shut body was introduced into the screen. Moreover, bacon pierces violence pressure and pressurizing is pierced to the human body. In addition, the expression for those' who appreciated changing to feel the movement and continuousness in the form was done though Judd presented a cubic solid work as a portrait and the work geostationary. (There are various metaphors. ) There is a part that comes in succession like this, too directionality exists the meaning of cutting of the portrait cut in the art history of Europe and America and the portrait of Japan of my work completely, and there is an opposite part, too. We think that we should understand the difference, make to relativity, and catch it coolly though we think that we frankly occupy the difference of the ideal way of our subjectivity and the subjectivity of Europe and America of it. Because I think that the ideal way of the subjectivity is an essential element related to the setting of all the social structures such as the culture, economy, the education, maturities, and bringing up a child. |
 Image 1 2010 101×82.7cm oil and acryl on canvas The surrounding subject / Blue nigt devided child Daichi Tsuji  Image 2 2011 182×100cm oil and acryl on canvas The surrounding subject / Yellow devided child Daichi Tsuji  Image 1 2010 101×82.7cm oil and acryl on canvas The surrounding subject / Snow blue devided child Daichi Tsuji  Image 3 Picasot アンブロワーズ・ヴォラールの肖像 1910  Image 4 エドワード・マイブリッジ 階段を下りる女  Image 5 マルセル デュシャン 階段を下りる女 The 19th century in Edo Netsuke wood carving root  ,Image 6 デビット・ホックニー  Image 7 Bacon フランシス ベーコン  Image8 ドナルド ジャッド |
||
| back to top ▲ |
|
Copyright(c) Daichi Tsuji All Rights Reserved. |