|Thesis|The World of Teruo Sato |Person|2-2 The Token on Wilderness Inside of Myself
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(2) About"The Token on Wilderness Inside of Myself" and other related works


   In Sato's paintings, clouds are the reinforcing emphasizing material for the horizon and they also predict the upcoming of the wind. They also bring separation from the universe and unification into their world. The wind and clouds are the elements that introduce a sense of dynamic time inside the painting. Since horizontal lines are the outline of the death, clouds can be taken as an accompaniment of death as well.
   Furthermore, from Sato's point of view since the field of gravity on the earth turned into the center of the universe, it was necessary to draw all creation to appear to feel the gravity. Also Sato needed to restrain himself from using perpendicular lines since he put his whole heart and soul into the secular world.

Wind ; 1970

   In order to show this, the effective way is to put a thick cloud-like lid over the upper empty space. The birth of first cloud is seen in "The Token on Wilderness inside of Myself". In "Wind" which is the sister work of "The Token on Wilderness inside of Myself", the clouds had made a progress. On the other hand, in "The War Theory" which is the child of "The Token on Wilderness inside of Myself", the use of clouds had just started to stand up and walk in the painting.
   However, the clouds in the distance which were separated near the horizon on the ground and several standing tornadoes show that clouds are independent existence. There is something remarkable about this cloud development.
   The clouds in "The Pillage by a Tank" are already expressing a full self-assertion. Another characteristic may be the existence of the bird. As shown in the previous part, this bird is an adjutant stork and is used as a tool which has an extremely important meaning in Sato's painting. Sato had already introduced this bird in the trial work of "The Token on Wilderness inside of Myself".

The Pillage by a Tank 1
The Pillage by a Tank 1 ; 1970
The Pillage by a Tank 2
The Pillage by a Tank 2 ; 1970

   First of all, a bird is a part of the sky and it also suggests the existence of the sky even if it is hidden. Birds hold a duality by becoming a part of the nature and the creatures.
   Also the birds in Sato's paintings, such as crows and gulls, become an accent in the sky when placed in the distance. However, when birds like adjutant storks are placed in the foreground, they become a company of the clouds. When a bird is painted in the foreground, Sato draws very complicated clouds.
   Next, we see "The Pillage by a Tank". The tank on the top in the painting is an American one, and the one in the bottom is Soviet's. As previously described, the horizontality is the direction of death, perpendicularity is the direction of life.
   The gun barrel of the American tank, which was said to be used during the operation of landing on Okinawa islands in 1945, is placed sideways, so the horizontal line created by it suggests that it is the guide to the death world. Therefore, as if it corresponds to death, there is the more number of corpses in this painting than the other and even the tank is running over a part of the pile of corpses.
   An adjutant stork also comes into the painting shown above. It is already mentioned that the meaning of this bird is the key element of the sky. In addition, it also symbolically means a guide of death. When it is specifically drawn big, it strengthens the meaning.

On Windy Day
On Windy Day ; 1967
Drought in Summer
Drought in Summer ; 1967
Windy Day
Windy Day ; 1969
Spring ; 1967

   Three of his works, such as "On Windy Day ", "Drought in Summer", and "Windy Day" were painted one to three years prior to "The Token on Wilderness inside of Myself", and these three works are considered the important steps that lead to it. Although Sato's eyes were pointing to the air, the physical existence, such as the hole in "Spring", which clearly points at the center of the Earth is never drawn.
   When interpreting this painting as if it is a fault on the ground, there should be life directing upward from the top of the pile of corpses. Then, a holier world is to emerge to the extension of it. The leg of the cheerful woman in "On Windy Day" and the face of a goddess of the sun in "Drought in Summer" are the reserves of the holy representatives.

Experimental Work
Experimental Work of
The Token on Wilderness Inside of Myself ; 1970

    In the experimental work of "The Token on Wilderness inside of Myself" which was already shown in the previous chapter, Sato drew a face of a huge adjutant stork in this part. It is the god of death who was placed in a holy place.

― Written, summarized and translated by Taketoshi Murayama ―                                                       ― Original translation is rewritten by Tomoko Daijo McLean ―

This text must not be translated into any other languages without author's permission.

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