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| | Thesis |The World of Teruo Sato |Work| 1 Implement of the Painter |  To Broad Band Index |
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Written, summarized and translated by Taketoshi Murayama| 1, Implement of the painter |  |
The painter turns his back to the words. The painter approaches
the image from the reverse side of the words. Entering an image through
the words is an approach of the literary man. The image is a product of
the sense. The words are nothing more than a convention. The image is an
implement frequently used by the painters. If an image occurs to the painter's
mind, it becomes "representation"; if placed in the external world, it is called "object".
The operation to directly combine "object" with "representation" is, in a wide sense, the symbol operation. The painter's ability is displayed in the process of operating
the image and relating it to the world at his will. Image is the father
of work and world is its mother's body. Within the self, the painter blends
the paternity and the maternity.
The world elucidated to the painter through "field" is part of the universe. The "field", here means specific
time and space in which the painter discovers a material or a theme when
he actually produces a work. The painter cannot change the world which
has been elucidated to him; however, he manipulates it freely and through
this act, he can relate himself to the various "realities".
The common purpose of all "abstract picture" is to separate the "reality" that the external world brings
about and the "reality" that the painter creates, extracting
what the image produces in a single piece of work. In contrast, an attempt
to lay out the two realities and canceling them out in a single piece of
work is the purpose of "representational painting".
The painter's attempt to appeal free image-operation emerged
most typically in the "expressionism" that bloomed from the postimpressionism in the 20th century. In view of this, painting techniques are roughly classified into
the expressive way and the faithful way, which is used in representational
paintings.
Image is what a person can interpret freely, meanwhile the
undeniable "reality" appears in the world;- this applies to pictures as well. No matter how
the painter can freely operate the image, he as a human, must submit to
the "reality" of the world. If the painter were a god, he could produce various kinds
of realities at the same time. Only the attempt to adjust the image to
the world leads him to human reality. This approach is called "realism".
If a painter who is endowed with a high Creator-like
ability feels it painful to renounce free imagecreation, he will continuously
persist with the image's originality. On the other hand, he will plow through
the road of "realism" if he feels pleasure to cancel the image's
originality. The abstract painter sticks to the ability like a god, being
fractious to the way of living as a human being: the representational painter is obedient to it.
Hence the realist must hold fast to the human reality, and
understand that the painter's capability results from his experience. He
should not let God concern with any aspect of his activity. Only thing
allowed to him is becoming ‘God’ himself within his work.
Image is composed of the implements
provided by the world, but yet this is not true for all images; some are
awakened by words. The words are not a world, but a sign. However, the words
have produced a world of literature.
The
painter can touch and communicate directly with a world without any use of
words. There are two ways for him to confront the words:
If he makes an approach to harmonize with the words, he may end
up in a humble servant of literature; which would popularize his works
and make them easier to understand, but has a risk of being interpreted
as just an "illustration". If he has a sense of opposition to
the words, he can become a sovereign of colors and lines ? that will pave
the way for the pure, holy picture, but will be self-righteous as well.
So in this case, the painter will be compelled to confront the literature
in one way or another.
The painter's way of concerning words incessantly forces
him the alternative of whether to flow with popularity, or to be alienated.
As long as being a human, the painter cannot eliminate the words: there is no
way to escape from this option.
When the image concerns a human being, it deeply relates to the
play. Picture, which directly handles the image, gets close to the play
as well. Since the distance between picture and play is equal to that of
literature, the picture becomes the greatest rival for the literature over
dramatic sense.
Architecture makes use of the third dimension, which is impossible
for picture. Further it can fully absorb the picture on its wall. For example, the Sistina chapel has, in a sense, created Michelangelo's (1475-1564 Italian sculptor, painter and architect) "The Last Judge". Above all, still life picture is most strongly prescribed by the architecture;
it has even an architectonic structure in its whole interior.
Nevertheless, since the picture holds inside the duality of image and world, architectural elements can be dragged in as part of its world; this makes the picture none the more self-assertive in spite of belonging to architecture. The defect of architecture is in its operation of only diagrammatic images, not having a world inside it.
Dessin is a picture with image by itself which lacks a world.
This is true for colored dessin as well. The picture can oppose the architecture
by having both image and world. The dessin, however, renounced its strongest arm on its own accord: put another way, it has confined itself in a sketchbook.
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